Friction – disagreement and breakdown – is an omnipresent aspect of conducting interdisciplinary research yet is rarely presented in formal research reporting. We analyse a performance-led research process where professional dancers with different disabilities explored how to improvise with an industrial robot, with the support of an interdisciplinary team of human-computer and human-robot interaction researchers. We focus on one site of friction in our research process; how to dance – safely – with robots? By presenting our research process, we exemplify the different ways in which we encountered this friction and how we reconfigured the research process around it. We contribute five ways in which we arrived at a generative ethical outcome, which may be helpful in productively engaging with friction in interdisciplinary collaboration.

Glitches – moments when technologies do not work as desired – will become increasingly common as industrially-designed robots move into complex contexts. Taking glitches to be potential sites of critical ethical reflection, we examine a glitch that occurred in the context of a collaborative research project where professional dancers with different disabilities improvised with a robotic arm. Through a first-person account, we analyse how the dancer, the robot, and the rest of the research team enacted ethics in the moment of glitch. Through this analysis, we discovered a deep and implicit ethical misalignment wherein our enactments of ethics in response to the glitch did not align with the values of the project. This prompted a critical re-engagement with our research process through which we forged a dialogue between different ethical perspectives that acted as an invitation to bring us back into ethical alignment with the project’s values.

As robots enter the messy human world so the vital matter of safety takes on a fresh complexion with physical contact becoming inevitable and even desirable. We report on an artistic-exploration of how dancers, working as part of a multidisciplinary team, engaged in contact improvisation exer-cises to explore the opportunities and challenges of dancing with cobots. We reveal how they employed their honed bodily senses and physical skills to engage with the robots aesthetically and yet safely, interleaving improvised physical manipulations with reflections to grow their knowledge of how the robots behaved and felt. We introduce somatic safety, a holistic mind-body approach in which safety is learned, felt and enacted through bodily contact with robots in addition to being reasoned about. We conclude that robots need to be better designed for people to hold them and might recognise tacit safety cues among people. We propose that safety should be learned through iterative bodily experience interleaved with reflection.

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.

Self-care apps offer a wide variety of different therapy paradigms, pedagogies and concepts for people to maintain and make sense of their mental health. However, as human-made artefacts, these apps are being imbued with their designers’ interests, opinions, biases and assumptions about self-care. This paper is interested in making these (often) implicit notions visible. After selecting 69 apps from the Google Play Store, we use Feminist Content Analysis to investigate the store descriptions of these apps: Inductively through thematic analysis and deductively through charting concepts found within the descriptions. Our findings indicate that commercial self-care apps portray themselves as “future creating” tools for individual self-discovery, but they also create narratives that propagate an overly simplistic, individualistic and potentially harmful view of mental distress. We conclude this paper by sketching out alternative design considerations for how self-care apps can portray themselves and communicate in a more transparent, plurality-embracing fashion.

Virtual reality experiences typically isolate the user from the real world. Notions of immersion are conventionally associated with the idea of convincing users that they are in another place, disassociated from physical reality. Given the user is however situated in that physical reality, kinesthetic bodily sensations often conflict with the virtual reality. In this paper we seek to elucidate the challenges associated with developing Visual-Kinaesthetic Experiences - experiences which provide related visual and kinaesthetic spectacle. Rather than use complex motion platforms, we submit here that physical reality is replete with interesting kinaesthetic experiences, which may be repurposed by the application of new visuals to create engaging hybrid experiences. We approach this by describing the development and deployment of Oscillate - a virtual reality experience that takes place on a swing, using it as an example to draw out what makes such experiences intrinsically interesting, and to construct three design challenges for this space.

We apply the HCI concept of trajectories to the design of a sculpture trail. We crafted a trajectory through each sculpture, combining textual and audio instructions to drive directed viewing, movement and touching while listening to accompanying music. We designed key transitions along the way to oscillate between moments of social interaction and isolated personal engagement, and to deliver official interpretation only after visitors had been given the opportunity to make their own. We describe how visitors generally followed our trajectory, engaging with sculptures and making interpretations that sometimes challenged the received interpretation. We relate our findings to discussions of sense-making and design for multiple interpretations, concluding that curators and designers may benefit from considering \'18trajectories of interpretation'.

This paper uses a detailed ethnographic study of an ambulatory experience, where participants were invited to explore the perspective of two notorious terrorists, in order to discuss the nature of instruction-giving and, most particularly, the methodical ways in which such instructions are complied with. Four distinct layers of compliance are identified, as are three different kinds of accountability, all of which stand potentially at odds with one another. The paper examines the tensions created by this, tensions that are further aggravated by instructions usually being delivered down a thin channel, with considerable surrounding contextual complexity and little opportunity for repair, and uncovers some core challenges for future design in relation to providing instructions for, and orchestrating a range of possible activities.

Our surroundings are becoming infused with sensors measuring a variety of data streams about the environment, people and objects. Such data can be used to make the spaces that we inhabit responsive and interactive. Personal data in its different forms are one important data stream that such spaces are designed to respond to. In turn, one stream of personal data currently attracting high levels of interest in the HCI community is physiological data (e.g., heart rate, electrodermal activity), but this has seen little consideration in building architecture or the design of responsive environments. In this context, we developed a prototype mapping a single occupant’s respiration to its size and form, while it also sonifies their heartbeat. The result is a breathing building prototype, formative trials of which suggested that it triggers behavioral and physiological adaptations in inhabitants without giving them instructions and it is perceived as a relaxing experience. In this paper, we present and discuss the results of a controlled study of this prototype, comparing three conditions: the static prototype, regular movement and sonification and a biofeedback condition, where the occupant’s physiological data directly drives the prototype and presents this data back to them. The study confirmed that the biofeedback condition does indeed trigger behavioral changes and changes in participants’ physiology, resulting in lower respiration rates as well as higher respiration amplitudes, respiration to heart rate coherence and lower frequency heart rate variability. Self-reported state of relaxation is more dependent on inhabitant preferences, their knowledge of physiological data and whether they found space to ‘let go’. We conclude with a discussion of ExoBuilding as an immersive but also sharable biofeedback training interface and the wider potential of this approach to making buildings adapt to their inhabitants.