Vibe Coding is conceptualised as a co-constituted form of programming through which humans and AI tools engage in the mutual shaping of a piece of code. Using design provocations in the form of three different programming assistants, we examine how intentions, control, and outcomes emerge through mutual shaping between programmers, AI-tools, code, and visual sketches. The analysis reveals a set of interrelated themes that foreground the tensions that emerge in participants’ interactions with the programming assistants. A set of design configurations is identified in relation to how these programming processes unfold. We use this to outline how vibe coding can be understood as a decentered form of programming that emphasises the mutual co-constitution and shifting boundaries among humans and AI. We argue that this suggests a reconfiguration of how AI-based programming is understood - emphasising the evolving, co-creative interactions in which intention and control are mutually shaped.

This paper examines the collaborative work of residents, housing associations, and property owners to manage household waste in the context of a multi-apartment housing complex. Framed within the feminist ecological perspective of digital environmental stewardship - that is, how diverse actors, motivations, and capacities producing care for the environment that can be digitally mediated - we unpack how the many involved actors work together to keep waste in place, maintain the local waste system, and call on 'responsibility' as a means to produce sustainable actions and accountability. We frame these practices of waste management within the mundane work of sociotechnical innovation. Borrowing from Jackson's notion of repair work, we weave together an argument for the novel and valuable contribution to CSCW sustainability research grounded in the everyday contingent emergencies of environmental care. We argue for approaches to sustainability that reflect both the work to maintain sustainability -not just to produce it- and aspects of the 'good enough', a locally and reflexively produced equilibrium between maintenance and repair. We conclude by discussing their relevance for the design of sociotechnical interventions that mediate practices of care in waste management.

Waste management in urban areas is a complex process, encompassing a variety of activities (e.g., acquiring, sorting, disposing), actors (e.g., single individuals, waste collectors, condominium associations), and capacities (e.g., from household recycling stations to physical infrastructures such as recycling and sorting facilities). Whereas previous HCI design research has tackled problems with waste management from an individual, behavioral change perspective, we approach this design space through a feminist ecological design perspective of Digital Environmental Stewardship. Through a combination of qualitative empirical data and materials generated at design workshops, we outline challenges related to waste management in a complex of five multi-apartment buildings. We propose a number of design explorations addressing such challenges, and reflect on the generative role of the DES framework in framing design from a collective and ecological perspective.

Generative machine learning models provide opportunities to support design work in various parts of the design process. This study investigates how generative machine learning and large language models may play a part in creative design processes of ideation, early prototyping and sketching. A workshop was conducted in which design practitioners and design researchers developed design concepts for a provided design case, with the help of GPT-3. The findings point to three main themes, including i) the practical usefulness and limitations of the system in design ideation processes, ii) how the form of user interaction shapes users’ expectations of the system’s capabilities and potentials, and iii), how the broader discourse around AI both limits and enables how co-creative processes involving human and AI unfolds. The discussion outlines design implications and alternative framings of this kind of co-creative design practices based on post-human perspectives on design and technology use.

Abstract This paper illustrates the work of creating, infrastructuring, and organising a food-sharing community from the ground up. Drawing on Participatory Action Research (PAR) and a three-year engagement with FoodSharing Stockholm, the paper shows how the processes of starting up a grassroots initiative are shaped by participants’ direct experience and knowledge of similar initiatives. The analysis draws attention to: (1) how central activities such as recruiting volunteers, choosing digital tools, and establishing partnerships with food donors are conceived and organised, (2) the concrete challenges of sharing surplus food, such as adopting a distribution model, and negotiating fairness, and (3) how governance and decision-making models are adopted and (re)negotiated over time. The paper introduces the term Collective histories of organising to capture the impact that learning from previous experiences can have on communities’ efforts to set up and run; and re-orient design visions towards the consideration and adoption of existing sociotechnical practices, rather than always aiming at novel digital explorations. We outline three emerging dimensions that can characterise “Collective histories of organising” as a concept, (1) configuring capacities, (2) configuring sociotechnical practices, and (3) configuring participation. The paper contributes practical sensitivities to build, sustain, and infrastructure surplus food-sharing initiatives, where these three dimensions are discussed as central concerns designers and other food-sharing communities could learn from.

This paper presents a study of a group of university students using generative machine learning to translate from natural language to computer code. The study explores how the use of the AI tool can be understood in terms of co-creation, focusing on the one hand on how the tool may serve as a resource for understanding and learning, and on the other hand how the tool affects the creative processes. Findings show how the participants search for a ’correct’ syntax in their instructions to the machine learning tool, and how the inconsistent and erroneous behavior can work as a way to generate clues and inspiration for generating creative expressions. The notion of friction is used to describe how systems like this can serve to both lower thresholds for programming, and also interfere with the creative processes, encouraging reflection and exploration of alternative solutions.

As digital fabrication machines have become more accessible and widely available, practitioners in maker communities have become increasingly responsive to the opportunities to achieve bespoke modifications, known colloquially as ‘modding’. Drawing on interviews with five experienced makers who engage in modding a laser cutter, along with ethnographic observations of maker-machine interactions, we analyse makers’ experiences and ‘war stories’ to frame modding as a prevalent but less explored maker activity. We highlight how makers care for machines, how they cope with risks when engaging in modding, and how mods are essentially creative projects. Based on our findings, we present the conceptualisation of the ‘pliable machine’ – a socio-technical system constituted by, (1) an accessible machine that can be altered, (2) maker skills that go beyond intended use, and (3) a surrounding ‘maker culture’ of caring, sharing and experimentation. Treating the machine as a material offers an alternative perspective on our interactions with technology; we show how the laser cutter becomes pliable in the hands of those who mod.

This paper discusses Digital Environmental Stewardship as an analytical framework that can help HCI scholarship to understand, design, and assess sociotechnical interventions concerned with sustainable waste management practices. Drawing on environmental studies, we outline key concepts of environmental stewardship – namely actors, capacity, and motivations – to unpack how different initiatives for handling waste are organised, both through grassroots and top-down interventions, and through varying sociotechnical configurations. We use these dimensions to analyse three different cases of waste management that illustrate how actions of care for the environment are ecologically organised, and what challenges might hinder them beyond –or besides– behavioural motivations. We conclude with a discussion on the orientation to action that the suggested framework provides, and its role in understanding, designing and assessing digital technologies in this domain. We argue that examining how stewardship actions fold into each other helps design sociotechnical interventions for managing waste from within a relational perspective.

This paper investigates the practices of organising face-to-face events of a volunteer-run food-sharing community in Denmark. The ethnographic fieldwork draws attention to the core values underlying the ways sharing events are organised, and how - through the work of volunteers - surplus food is transformed from a commodity to a gift. The findings illustrate the community’s activist agenda of food waste reduction, along with the volunteers’ concerns and practical labour of running events and organising the flow of attendees through various queuing mechanisms. The paper contributes to the area of Food and HCI by: i) outlining the role of queuing in organising activism and ii) reflecting on the role that values, such as collective care and commons, can play in structuring queuing at face-to-face events.

This paper illustrates design work carried out to develop an interactive theater performance. HCI has started to address the challenges of designing interactive performances, as both audience and performers’ experiences are considered and a variety of professional expertise involved. Nevertheless, research has overlooked how such design unfolds in practice, and what role artists play in exploring both the creative opportunities and the challenges associated with interweaving digital technologies. A two-day workshop was conducted to tailor the use of the ChameleonMask, a telepresence technology, within a performance. The analysis highlights the artists’ work to make the mask work while framing, exploring and conceptualizing its use. The discussion outlines the artists’ skills and design expertise, and how they redefine the role of HCI in performance-led research.

Bullet journals are hand-written and self-created combinations of calendar, journal and planner. Central to this practice is how personal information is managed through a craft-based process. Based on a qualitative study, we discuss a set of themes that emerged in our analysis of this practice. We discuss how open-ended use of various materials for crafting of personal information engages in: 1) deliberate and strategic boundary work of what information to include and how combinations of data provide holistic and novel views of practitioner's life situations; 2) processes of self-creation and reflection on personal life trajectories; 3) appreciation of ourselves and the world around us as imperfect; and 4) ways of resisting the "business-like efficiency" that come with the large quantities of information that permeate contemporary life. We propose that this opens up new directions for thinking about how technologies of personal information may come into play in people's lives.

We articulate and reflect on the use of nature as a sketching material. We have closely documented explorations of various organic and non-organic materials found during excursions in a local forest and how we used them as resources in sketching. This serves as an exemplar case of how sketching in interaction design can be grounded in empirical explorations of nature. We discuss three examples of sketching based on explorations and experiences with elements and objects from a forest. Processes and characteristics of phenomena in nature such falling leaves, melting and freezing of snow, and perennial growth allowed us to expand our design repertoire and sketching skills, especially as new forms of representations and interactions. Based on this we outline three aspects of how nature can be included in sketching processes: being in nature, bringing nature to the lab, and bridging nature and interaction design.

This paper analyses a series of events in which a discarded box found in a garbage room is examined and taken apart in the context of a makerspace. The participants' inquiry provided a rich and multifaceted experience in various settings, including puzzle-solving, exploring physical and digital materials, engaging people with different skills. The social engagements with and around the artifacts brought certain interpretative aspects to the fore. Situated acts of interpretation worked as ways of building a coherent narrative and a meaningful experience. In the paper, we highlight the relationship between on the one hand the subjects' skills and motivations to understand and make sense of the technology at hand which we call material literacy, and on the other hand the specific material qualities that encourage or trigger certain interpretations and experiences. The qualities we discuss are: opacity, risk, authenticity, uniqueness, age, and hybridity. This study allows us to reposition the contemporary understanding of makerspaces beyond that of being places for innovation and learning.

We have built Drift, an application that measures and provides feedback on how far from the ideal path an orienteer has deviated, to study how sports apps can draw on real-time data to enrich sports activities. Orienteering is an outdoor navigation sport requiring mental skills and fast running through the terrain. Participants appropriated deviation into their practice and found new ways it could integrate with common orienteering practice. Interaction around deviation provided possibilities for new forms of sporting practice and social interactions. Deviation as a measure allowed this because it was highly specific and well-grounded in a specific skill of the sport. We believe this use of data in real time has the possibility of supporting and renewing sports activity as well as offering new opportunities for design.

We have conducted interviews with ten elite and recreational athletes to understand their experiences and engagement with endurance sport and personal and wearable sports technology. The athletes emphasized the experiential aspects of doing sports and the notion of feeling was repeatedly used to talk about their activities. Technology played both an instrumental role in measuring performance and feeding bio-data back to them, and an experiential role in supporting and enhancing the sport experience. To guide further interaction design research in the sports domain, we suggest two interrelated ways of looking at sports performances and experiences, firstly through the notion of a measured sense of performance, and secondly as a lived-sense of performance.

From the analysis of how the Lega, a touch, motion, and location sensitive device that allows museum visitors to share their experiences, we identified kinaesthetic dialogue as an orienting concept for the understanding and the design of movement-based social interaction and experiences. It provides an analytical lens which captures critical aspects of kinaesthetic action in aesthetic experiences, as well as for better understanding of how users appropriate such artefacts in interaction. We believe that kinaesthetic dialog is a promising candidate for a meta-concept to capture interaction design knowledge in movement based technologies.

The EcoFriends application was developed as an attempt to support grocery shopping adjusted to vegetables? seasonality through a performative approach to interaction and interactive applications. The design aimed at critical reflection and inspiration among users, rather than achieving a certain kind of persuasion. This guided the practical design to be modelled around open-endedness and social voices to challenge ideas and points of view. We argue that research addressing design for interactions about value-laden concepts such as sustainable action need to find ways of supporting various knowledge discourses, by distinguishing between performative and representational technologies. The approach allowed us to identify a number of design challenges regarding interactive technology and interaction design in relation to aspects of knowledge and truth, trust, negotiation and responsibility.

In the recent developments of human computer interaction, one central challenge has been to find and to explore alternatives to the legacy of the desktop computer paradigm for interaction design. To investigate this issue further we have conducted an analysis on a fascinating piece of machinery often referred to as one of the predecessors of the modern day computer, the Jacquard loom. In analysing the Jacquard loom we look at qualities in design and interaction from some different perspectives: how historical tools, crafts, and practices can inform interaction design, the role of physicality, materiality, and full-body interaction in order to rethink some current conceptions of interaction and design of computational devices.

We draw on the concept of agency in order to understand the process of how design materials 'talk back' to designers. In so doing, we illustrate the various levels at which agency can emerge in the context of intensive short-time prototyping sessions. In HCI, it is often assumed that the designer is the agent that acts intentionally in the design process. Contrary to this, recent notions of agency provide a way of analysing the performative role of design materials as intra-actions between components within a given phenomenon, rather than as meanings merely ascribed by actions of designers. The notion of agency puts focus on the emerging properties of materials and how they actively contribute to the way that design activity unfolds. The analyses showed how interaction design is to a large extent driven by emergent characteristics of available materials. The results have implications for understanding material interactions and materiality in interaction design.

The Ecofriends application was designed to encourage people to reflect on their everyday grocery shopping from social and ecological perspectives. Ecofriends portrays the seasonality of various grocery products as being socially constructed, emphasizing subjective dimensions of what it means for a product to be in season, rather than attempting to communicate it as an established fact. It provides the user with unexpected information (news, weather, blog posts and tweets) about the place where the product was grown, and visualises how the product's popularity shifts throughout the year, among the user's friends, among chefs and other food experts, and the general public. Key findings from users' first encounters with the system are presented. In particular, we discuss aspects of trust, information fragments as catalysts, and how several of the participants were challenged by the system's portrayal of season.

In this paper we describe MoBoogie, an application that allows users to manipulate and arrange music through movement. MoBoogie is designed to foster experiences in creative expression for children and potentially adults. The application responds to users' movements by changing variables in a continuous stream of music loops. Results from this study suggest that the creative expressions arose in the joint space of movement and music, and did not primarily have to be in one form or the other. This allowed users with limited experience in dance and music making to be creative in such forms of expression.

In the search for novel and more expressive interaction techniques for mobile devices, bodily aspects such as movement, gesture, and touch based interfaces are prominent. For instance, touch-screen gestures have found widespread application in mobile device interfaces while bodily gestures involving device movement are successfully applied in gaming scenarios. Research systems increasingly explore other modalities, like pressure, free-hand and on body interaction in mobile settings. This has become possible through on-going developments that have made sensing and actuating technologies cheaper and more easily integrated in mobile and handheld devices. The turn towards experiential, embodied, and enacted perspectives on cognition and action has also contributed to a shift in what aspects of interaction to focus upon in interaction design. This has led HCIresearchers to explore not only how the whole human body can be taken into account in design, but also to explore new domains of application for instance in leisure, entertainment and public urban environments.

This paper describes experiences from development and deployment of the Lega, a hand held device for physical sharing of experiences during an art exhibition. Touching and moving the device in different ways creates a tactile trace that can be experienced by others through their own device. The system was successfully deployed at an art exhibition for two months where user studies were performed. Here we present some general observations regarding the systems performance and discuss issues that we encountered.

In the design of interactive systems, developers sometimes need to engage in various ways of physical performance in order to communicate ideas and to test out properties of the system to be realised. External resources such as sketches, as well as bodily action, often play important parts in such processes, and several methods and tools that explicitly address such aspects of interaction design have recently been developed. This combined with the growing range of pervasive, ubiquitous, and tangible technologies add up to a complex web of physicality within the practice of designing interactive systems. We illustrate this dimension of systems development through three cases which in different ways address the design of systems where embodied performance is important. The first case shows how building a physical sport simulator emphasises a shift in activity between programming and debugging. The second case shows a build-once run-once scenario, where the fine-tuning and control of the run-time activity gets turned into an act of in situ performance by the programmers. The third example illustrates the explorative and experiential nature of programming and debugging systems for specialised and autonomous interaction devices. This multitude in approaches in existing programming settings reveals an expanded perspective of what practices of interaction design consist of, emphasising the interlinking between design, programming, and performance with the system that is being developed.

Sketching and design sketches are often recognized as key elements of successful interaction design practice and a central skill in interaction design expertise. Interaction design is a relatively young field without well-developed conventions, tools, and formalisms. We analyze the practical work and the conduct of interaction designers in how they express interaction and dynamics through whiteboard drawings. We focus on how talk and action were used to shape the meaning of the drawings. The ways the designers imagined that users would interact with the system and how it would mediate communication between users became topical through a web of drawings, talk, and embodied action. Our analysis forefronts three aspects of interaction design: 1) the role of the design material 2) the role of embodied action in interaction design, and 3) talk and embodied action as central means of doing design. We argue that the qualities of a design material need to be understood in relation to the activity in which it is taken into use and through the kinds of actions that the participants engage in. This implies that design representations do not carry meaning in themselves but are made meaningful through design activity.

The practice-oriented turn in social sciences has implied a series of fundamental consequences and design challenges for HCI in general, and particularly in tangible interaction research. This could be interpreted as a move away from scientific ideals based on a modernist tradition, reflected in four contemporary themes in tangible interaction research. The first theme concerns a shift from an information centric to an action centric perspective on interaction. The second concerns a broadened focus from studying properties of the system, to instead aim at supporting qualities of the activity of using a system. The third concerns the general shift towards supporting sharable use, rather than primarily individual use settings. The last theme concerns the shift towards multiple and subjective interpretation of how to use new technological artefacts. We discuss how these themes are grounded in theoretical as well as more concrete technical developments in the area of tangible computing.

We reflect upon the process of developing a tangible space for children's collaborative construction of screen-based systems. As in all design work, the design process involved continual refinements of initial ideas and their practical realisation. We discuss how some widely held assumptions often put forward with tangible interfaces were given up in favour of reaching overall goals of interaction. In particular our design involved a shift from a focus on persistent representation and readability of tangible code structures, to instead focus on achieving reusability of programming resources. On a general level, our results illustrate a view on tangibles as resources for action instead of only as alternative forms of data representation. Importantly, this view includes action directed towards the computer as well as off-line socially oriented action conducted with the tangible artefacts.

Research on computer programming usually views the interactions as mostly cognitively based, with focus on concepts such as memory, perception and conceptual understanding. However, the current trend towards embodied and social perspectives on interaction provides an alternative way of looking at interactive processes, instead emphasising aspects such as social and physical performance with and around technology. We have explored a range of activities and tools that explicitly address these aspects in programming, with a specific focus on children’s making of own computer games and simulations. We exemplify this work through three different situations where tools and activities are used by children as recourses for building of interactive systems, while at the same time allowing for bodily action in negotiation of design ideas. We discuss how situations like these may provide directions for new technologies for programming as well as methodological developments in the area of interaction design.

No abstract available.