This demo showcases the Library of Inspiration, an initiative making STEM learning more accessible, engaging, and inclusive, particularly for underrepresented children. Freely available, take-home technology kits distributed via school libraries, enable young learners to explore coding, robotics, audio, and VR. Co-designed with children, teachers, and librarians, the kits are tailored to be relevant and engaging. Attendees will participate in a live demonstration, aligning with themes of equity, diversity, inclusion, and social justice. Our demo highlights hands-on STEM engagement, child-centered co-design, scalability, and community impact. It contributes to IDC's key themes by emphasizing socially-just technology design, participatory research with children, and scalable educational initiatives. By transforming school libraries into digital inclusion hubs, this initiative ensures children can develop future-ready skills. Attendees can explore, discuss, and reflect on how playful, co-designed, self-directed STEM learning can foster innovation. We hope to inspire educators, researchers, and designers to develop more equitable, learner-driven approaches to technology education

We present the design of the Memory Machine (MeMa), a technology probe that can store, contextualise, and document media to represent memories. We accumulate vast physical and digital possessions throughout our lives, making it difficult to distinguish value in amassed images, albums, videos, mementos, and music. One option we wanted to explore via MeMa was to frame personal memories as a gift, in turn providing a way to revisit, share, and collate personal archives. We deployed MeMa into participants’ homes and tasked them to create a digital gift involving an autobiographical memory. Through qualitative methods we uncovered the experience of twelve gift-givers. We found that the framing as a gift brought meaning to a collection of media, promoting reflection and emotional reminiscence in participants. Our contributions include design implications involving the relationship between emotions, technology, and gifting.

This workshop uses the outputs of a two-year Research through Design project as a springboard for bringing together a community of researchers interested in Hybrid Gifting. We have discovered that the many creative and socio-psychological processes involved in choosing or making a gift inform a great deal about interactions with common digital technologies, especially when they are used to make a hybrid gift with both physical and digital components. This workshop will be a temporally extended opportunity to experience the full cycle of giving and receiving gifts, whether you use our outputs or prototypes or your own ideas, artworks, or design fictions. Let’s take this opportunity to use our research to celebrate and care for each other, and perhaps envision new ways of celebrating and caring for others.

Volunteering benefits recipients, volunteers, communities, and society, while digital technologies establish new opportunities for virtual volunteering. We describe how volunteers transitioned the UK's long-established Oxjam grassroots music festival online in response to the COVID pandemic, delivering a local pilot before scaling up nationwide. We adopt an infrastructural perspective to reveal how two teams of volunteers defined a flexible festival format, knitted together diverse technologies into a technical platform, and operated this to deliver the festival. We highlight the need for teams of volunteers to orchestrate both audience and performer trajectories through festivals. We argue for deliberately designing in volunteer labour rather than automating it out by translating traditional roles online while defining new digital ones. We propose to make these roles rewarding through a more social volunteer experience, including privileged backstage access. We highlight the challenges of using social media for such events, including complying with algorithmic policing of rights.

Gifting is socially and economically important. Studies of gifting physical objects have revealed motivations, values, and the tensions between them, while HCI research has revealed weaknesses of digital gifting and explored possibilities of hybrid gifting. We report an “in the wild” study of a hybrid chocolate gift deployed as a commercial product. Interviews reveal the experiences of receivers and givers, as well as the producer's friction points and tangible benefits. We reveal how in hybrid gifts the digital elevates the physical while the physical grounds the digital. We discuss how hybrid gifts bridge the tension between receiver-preference and relationship-signalling motivations, the need to further strengthen the exchange and reveal stages of hybrid gifting, and to manage the privacy of sensitive personal messages. We propose to extend the concept of hybrid wrapping to include a finer-grained interleaving of digital into complex packaging and multi-layered wrappings to create more holistic gifting experiences.

Museums are interested in designing emotional visitor experiences to complement traditional interpretations. HCI is interested in the relationship between Affective Computing and Affective Interaction. We describe Sensitive Pictures, an emotional visitor experience co-created with the Munch art museum. Visitors choose emotions, locate associated paintings in the museum, experience an emotional story while viewing them, and self-report their response. A subsequent interview with a portrayal of the artist employs computer vision to estimate emotional responses from facial expressions. Visitors are given a souvenir postcard visualizing their emotional data. A study of 132 members of the public (39 interviewed) illuminates key themes: designing emotional provocations; capturing emotional responses; engaging visitors with their data; a tendency for them to align their views with the system's interpretation; and integrating these elements into emotional trajectories. We consider how Affective Computing can hold up a mirror to our emotions during Affective Interaction

HCI has recently increased its interest in the domains of museums and gifting. The former is often oriented primarily towards the past, while the latter is often oriented towards the future, in terms of anticipating the receiver’s reactions. Our article provides a sustained and well-evidenced new theoretical framework on the role of time-orientation on the design of forward-oriented (gifting) experiences in past-oriented (museum) settings. This Temporal Experience Design Framework develops from the analysis of two such studies, one smartphone app and one VR experience using passive haptics. Both interventions prompted the user to reflect on the past while planning a gift or donation for future consumption. We apply a novel combination of analyses to both projects using the lenses of conversational storytelling, performance, and human geography. Our analyses reveal the power of orienting users towards the past and the future – simultaneously – to enhance the present moment of a performative engagement. Our aim is to provide a conceptual framework that can help design researchers to identify, name, and understand how time-orientation can be used to enhance user and visitor experience. We also extrapolate design guidelines that we expect may be fruitful outside these contexts.

We explore how a combination of manipulations and transitions can extend Substitutional Reality to create a highly personal Virtual Reality experience. Our design aimed to meet two challenges faced by museums: the limitations of object handling and the desire for visitors to create their own interpretations. Using a Research-through-Design methodology, we built a performance-led Mixed Reality (MR) experience that lets museum visitors physically handle 3D prints or scans of museum objects to share personal stories about them. The stories are recorded and donated to the participating museum. We reflect on the complex design and the findings gained from a two-day in-the-wild deployment to explore engagement and disruption through manipulations of physicality, visuals, and scale; the transitions between spaces; and a trajectory of storytelling performance. We chart a wide scope for Performative Substitutional Reality and draw implications for VR, MR, and performance-led research in any context.

We explore how usage data captured from ideation cards can enable reflection on design. We deployed a deck of ideation cards on a Masters level module over two years, developing the means to capture the students' designs into a digital repository. We created two visualisations to reveal the relative co-occurrences of the cards as concept space and the relative proximity of designs (through cards used in common) as design space. We used these to elicit reflections from the perspectives of students, teachers and card designers. Our findings inspire ideas for extending the data-driven use of ideation cards throughout the design process; informing the redesign of cards, the rules for using them and their live connection to supporting materials and enabling stakeholders to reflect and recognise challenges and opportunities. We also identified the need, and potential ways, to capture a richer design rationale, including annotations, discarded cards and varying card interpretations.

We explore how physical artefacts can be connected to digital records of where they have been, who they have encountered and what has happened to them, and how this can enhance their meaning and utility. We describe how a travelling technology probe in the form of an augmented acoustic guitar engaged users in a design conversation as it visited homes, studios, gigs, workshops and lessons, and how this revealed the diversity and utility of its digital record. We describe how this record was captured and flexibly mapped to the physical guitar and proxy artefacts. We contribute a conceptual framework for accountable artefacts that articulates how multiple and complex mappings between physical artefacts and their digital records may be created, appropriated, shared and interrogated to deliver accounts of provenance and use as well as methodological reflections on technology probes.

We present an ethnographic study of the practice of miniature wargaming in order to shed light onto the complex lives of physical things and the ways in which they acquire data footprints. We take an extended view of the practice, revealing how people invest great effort into crafting miniatures, playing with them, curating and telling stories about them, and passing them on. Throughout, we emphasise the use of both traditional and digital technologies to build rich data footprints. In discussing our findings, we adopt a "thing-centric" perspective that focuses on the extended lifetimes of the miniatures themselves. This enables us to identify opportunities for digital augmentation in support of capturing "life away from the table" and a need for HCI to focus on designing trajectories of things.

In this paper we present our findings from an experiment designed to test the effectiveness of complex, thumbnail based layouts and the interaction methods required, in video retrieval scenarios for handheld devices such as smartphones. Our evaluation explores the relationship between the number of thumbnails (Quantity) visible on screen and their discernible detail (Quality) with regards to the related necessary amount of interaction. The results indicate that such layouts achieve a very high rate of accuracy and speed but that the nature of the interaction is of critical importance for the success of the system.

This paper presents an interactive thumbnail-based video browser for mobile devices such as smartphones featuring a touch screen. Developed as part of on-going research and supported by user studies, it introduces HiStory, a hierarchical storyboard design offering an interface metaphor that is familiar and intuitive yet supports fast and effective completion of Known-Item-Search tasks by rapidly providing an overview of a video's content with varying degrees of granularity.

In this paper we introduce a novel fuzzy vector quantization algorithm that tries to solve certain problems related to the implementation of fuzzy cluster analysis in vector quantization. The proposed method employs an objective function that combines the merits of fuzzy and crisp clustering in a uniform fashion. The algorithm's structure encompasses two basic design strategies. The first one concerns the transition from fuzzy mode, where each training vector is assigned to more than one codewords, to crisp mode where each training vector is assigned to only one codeword. To accomplish this, we use analytical conditions that are extracted by the minimization of the aforementioned objective function. The second one is a specially designed pattern reduction module that helps to significantly reduce the computational cost. This module acts upon a training vector as soon as it is transferred in crisp mode. The resulting vector quantization scheme is fast and easy to implement. Finally, simulation experiments show that the method is efficient, while it appears to be insensitive with respect to the selection of its design parameters.