Mariana's Song is a multisensory experience for care home residents unable to take part in regular activities. Designed to support Personhood through a blended physical/digital installation, it is a user-led experience, centered around video and closely facilitated in concert with expert arts practitioners. The narrative and duration of the interaction is guided by each resident, unique on each viewing, which includes ‘sensory props’ that guide each resident's experience and stimulate the senses to create a transformative space. We provide a worked example of digital, physical, and spatial design decisions taken to reinforce Personhood for residents with advanced dementia. We present learnings from 106 sessions, facilitated one to one between Artists and residents. We contribute to the literature around designing to Materialize Personhood, informed by Kitwood's 12 key characteristics, as well as Parametricism, a novel approach to non-linear experiences, to support the unique needs of people with advanced dementia.

Alongside the benefits of a world in which more and more things are internet connected (i.e., the IoT), scaffolded by increasingly powerful AI systems, there is a growing recognition of a flipside to this vision of the future. Issues associated with privacy, transparency, legibility and trust have been widely recognized – which the Mozilla Foundation has encapsulated in their Internet Health Reports [13]. This workshop will explore these tensions and concerns through the lens of craft, both as a practice and a conceptual ethos. We will use embroidery as a craft-oriented ‘thinking through making’ activity as the foundation for discussions of our craft characteristics of which consist of; bespokeness, localism, embodiment, provenance, authenticity, and care. Participants will gain a rich understanding of debates around IoT while being engaged in a ‘thinking through doing’ embodied approach to gaining new insights and leave with their own hand embroidered badge.

Prototypes and other ‘things’ have had many uses in HCI research—to help understand a problem, as a stepping stone towards a solution, or as a final outcome of a research process. However, within the messy context of a research through design project, many of these roles do not form part of the final research narratives, restricting the ability of other researchers to learn from this practice. In this paper we revisit prototypes used in three different design research projects, conducted over a period when the Internet of Things emerged into everyday life, exploring complex hidden relationships between the internet, people and physical objects. We aim to explore the unreported roles that prototypes played in these projects, including brokering relationships with participants and deconstructing opaque technologies. We reflect on how these roles align with existing understandings of prototypes in HCI, with particular attention to how these roles can contribute to design around IoT.

We describe three design works from a research through design project seeking to develop new ways to curate and create digital media to support ongoingness - a form of continuing bonds in bereavement that prioritises the present and an ongoing, positive relationship with the deceased. We use the three pieces in this paper as lenses to view how dialogic potential is at play within each piece - drawing on aspects of dialogism, a Bakhtinian theory, to do so. Our aim is that by sharing the work and blending the particular theoretical perspective of dialogism with experiential and design aspects of the pieces we offer up a rich design space and new ways to conceive of design and digital technologies in the context of bereavement and death.

In this paper, we present a method of Dialogical Sketching. We introduce the development of this method as a discursive aid to understanding design probe responses within participatory co-design engagements but also articulate its potential more broadly within participatory research. Situated within a research study into the potential of digital jewellery to support self, we focus on how sketching can elucidate reflection on layers of meaning conveyed both explicitly and implicitly in participants' probe responses. The method enabled an iterative dialogue not bound by certainty, but more by inference, interpretation and suggested meanings. Systems of sketching scaffolded conversations about personal issues and feelings that were difficult to articulate in a way that was imaginative, rather than descriptive. We argue that the method firstly enriches the potential of probes, secondly encourages discourse in open and often uncertain ways and thirdly can enable sustained participatory engagement even through challenging circumstances.

We describe the design and use of ReFind, a handheld artefact made for people who are bereaved and are ready to re-explore their relationship to the deceased person. ReFind was made within a project seeking to develop new ways to curate and create digital media to support ongoingness - an active, dynamic component of continuing bonds. We draw on bereavement theory and care championing practices that enable a continued sense of connection between someone bereaved and a person who has died. We present the design development of ReFind and the lived experience of the piece by the first author. We discuss our wider methodology which includes autobiographical design and reflections on if and how the piece supported ongoing connections, the challenges faced, and insights gained.

HCI draws on a variety of traditions but recently there have been calls to consolidate contributions around the problems researchers set out to solve. However, with this comes the assumption that problems are tractable and certain, rather than constructed and framed by researchers. We take as a case study a Tumblr community of teen shoplifters who post on how to steal from stores, discuss shoplifting as political resistance, and share jokes and stories about the practice. We construct three different "problems" and imagine studies that might result from applying different design approaches: Design Against Crime; Critical Design and Value Sensitive Design. Through these studies we highlight how interpretations of the same data can lead to radically different design responses. We conclude by discussing problem making as a historically and politically contingent process that allow researchers to connect data and design according to certain moral and ethical principles.

We describe the design of SelfReflector an internet-connected mirror that uses online facial recognition to estimate your age and play music from when it thinks you were 14 years old. The mirror was created for a specific shop (SPeX PisTOls optical boutique), within a research through design project centered on the high street as a space of vital social, economic and environmental exchange that offers a myriad of psychosocial support for people beyond a place to purchase goods. We present in detail how the design emerged as our research interests developed related to IoT and how people use the high street to experiment with, and support sense of self. We discuss SelfReflector in relation to challenges for IoT, facial recognition and surveillance technologies, mirrorness and the values of a craft approach to designing technology centering on the nature of the bespoke and 'one-off'.

This paper argues that comics are a powerful and valuable medium for representing research through design. We review different formats for representing design including the academic paper, the photo-essay and the annotated portfolio. We argue that the comic book form can be better suited to representing various aspects of the design process including interaction, form and aesthetics. We illustrate our argument with examples taken from a comic book about the design of Paper Street View, an interactive system, which allows users to navigate Google Street View with a paper map and brass marker. We argue that comics are well suited to capturing the dynamic process of making, the dialogue and different viewpoints that contribute to interdisciplinary work as well as the interactive and aesthetic elements of a final design.

This comic reveals multilayered details and insights about the design and making of Paper Street View, a suite of artefacts that allow groups of older people in care environments to navigate Google Street View using a paper map. In creating the comic we wanted to account for material thinking in design. We show that comics can be used as a dynamic and visual way of presenting and composing discussions about making. Comics allow you to talk around artefacts gathered during the design process (i.e. CAD drawings, prototypes, sketches and notes) and encourage a more dynamic use of image and text.

This paper describes the challenges and lessons learned in the experience-centered design (ECD) of the Spheres of Wellbeing, a technology to promote the mental health and wellbeing of a group of women, suffering from significant mental health problems and living in a medium secure hospital unit. First, we describe how our relationship with mental health professionals at the hospital and the aspirations for person-centric care that we shared with them enabled us, in the design of the Spheres, to innovate outside traditional healthcare procedures. We then provide insights into the challenges presented by the particular care culture and existing services and practices in the secure hospital unit that were revealed through our technology deployment. In discussing these challenges, our design enquiry opens up a space to make sense of experience living with complex mental health conditions in highly constrained contexts within which the deployment of the Spheres becomes an opportunity to think about wellbeing in similar contexts.

Moving home in later life is an experience born of necessity for many older people. Yet, although a good deal of research has considered how to support “ageing in place,” relatively little attention has been given to the transition of moving to a new home, or how a feeling of belonging is accomplished once there. We present findings from two studies that explore “placing in age.” The first looks at downsizing one's home and the second at living in a residential care home. We reflect on what placing in age means in these two circumstances, and how technology might be used to support it. We highlight the importance of continuity through change and the ability to “design” everyday life. Rather than support for stability or reminiscing about the past, the aim is to address the need for change and to enable the meaningful spending of time now and in the future.

We consider the role of making in current HCI design practices and how it may affect the wellbeing of those who participate in these processes. Through an exploration of psychological concepts of wellbeing and their connection to making experiences, we suggest that making can facilitate and support both hedonic and eudemonic facets of wellbeing. We illustrate this in the context of three case studies that engaged people in creative making activities as part of user-centered design processes. Based on our experiences, we argue that researchers ought to be mindful of the potential impact our design processes have on our participants and provide considerations for those designing for and with participants where wellbeing is a concern.

In the field of mental health care technologies, very limited attention has been given to the design of interventions for individuals who undergo treatment for severe mental health problems in intense care contexts. Exploring novel designs to engage vulnerable psychiatric patients in therapeutic skills practice and expanding on the potential of technology to promote mental health, the paper introduces the design concept of the Spheres of Wellbeing. A set of interactive artifacts is developed specifically for women with a dual diagnosis of a Learning Disability and Borderline Personality Disorder, living in the medium secure services of a forensic hospital in the UK. The women present a difficult to treat group due to extremely challenging behaviors and a fundamental lack of motivation to engage in therapy. The Spheres are designed to assist the women in practices of mindfulness, to help them tolerate emotional distress and to strengthen their sense of self, all of which are vital components of their specialist treatment Dialectical Behavioral Therapy (DBT). The Spheres are intended to supplement the therapy of the women and to contribute to our understanding of designing technology to enhance mental wellbeing and quality of life more generally.

Probes have been adopted with great enthusiasm in both Design and HCI. The heterogeneity with which they have been used in practice reflects how the method has proved elusive for many. Originators and commentators of probes have discussed misinterpretations of the method, highlighting the lack of accounts that describe in detail the design of probes and their use with participants. This paper discusses our particular use of Design Probes as directed craft objects that are both tools for design and tools for exploration across a number of projects, spanning a decade, centered on self-identity and personal significance. In offering an example of what a framework for probe design and use might look like, we attempt to address the identified lacuna, providing a synthetic account of probe design and use over an extended period and conceptualizing the relationship between the properties of probes and their use in design projects.

Writers and practitioners in dementia care have invoked personhood to offer potential for preserving the agency of people living with dementia. In this context we use personhood to explore how relationships bring agentive potential to experience-centered design through a co-creative, design-led inquiry with Gillian, a woman living with dementia, and John her husband. We designed bespoke probes to empathically engage the couple in the design of both jewellery and digital jewellery to support Gillian's personhood. Our design activity addressed the relationships involved in the context of Gillian's family life and the progression of her illness and how they could be mediated technologically. Reminiscence became, through Gillian and John's own hands, acts of sense making and legacy. The process of design became the way of conducting the inquiry and the designed artifacts became ways of posing questions to make sense of our experiences together.

This two-day workshop will bring together an interdisciplinary group of researchers, designers and practitioners who are interested in the topic of wellbeing in the field of interaction design. Wellbeing is defined as positive mental health, and not only the absence of mental illness, but also the presence of positive psychological functioning. The workshop will provide a platform to share resources, create new ideas for design and build valuable future collaborations. During the first day participants will present their work and exchange their knowledge and experiences in the field. The workshop will utilize a series of interactive activities to support participants in collaboratively constructing a shared understanding of the concept of wellbeing and its challenges in terms of design. On the second day participants will be invited to create low-fidelity prototypes that support an aspect of wellbeing using Microsoft .NET Gadgeteer and other prototyping materials. These practical activities will stimulate discussion so as to contribute to a better understanding of how wellbeing can be facilitated through design, how to address evaluation challenges as well as illustrate related ethical questions.

Design and digital technologies to support a sense of self and human relationships for people living with dementia are both urgently needed. We present an enquiry into design for dementia facilitated by a public art commission for an adult mental health unit in a hospital in the UK. The interactive art piece was informed by the notion of personhood in dementia that foregrounds the person's social being and interpersonal relationships as sites where self is maintained and constructed. How clients, clients' family members and staff used the piece is reported and insights related to the notions of home, intimacy, possessions and self are presented. The art piece served as window on both dementia and the institution leading to a number of insights and implications for design.

We present an experience-based approach to designing a collaborative interactive performance, humanaquarium. Our research explores public interaction with digital technology through the practice-based inquiry of an inter-disciplinary team of interaction designers and musicians. We present a method of designing experience from within, literally situating ourselves within the performance/use space and assuming the roles both of performers and of designers as we develop and refine the humanaquarium project over the course of a year's worth of public performances.

The aesthetics of human-computer interaction and interaction design are conceptualized in terms of a pragmatic account of human experience. We elaborate this account through a framework for aesthetic experience built around three themes: (1) a holistic approach wherein the person with feelings, emotions, and thoughts is the focus of design; (2) a constructivist stance in which self is seen as continuously engaged and constituted in making sense of experience; and (3) a dialogical ontology in which self, others, and technology are constructed as multiple centers of value. We use this framework to critically reflect on research into the aesthetics of interaction and to suggest sensibilities for designing aesthetic interaction. Finally, a digital jewelery case study is described to demonstrate a design approach that is open to the perspectives presented in the framework and to consider how the framework and sensibilities are reflected in engagement with participants and approach to design.