Computational tools for fabrication often treat materials as passive rather than active participants in design, abstracting away relationships between craftspeople and materials. For craft communities that value relational practices, abstractions limit the adoption and creative uptake of computational tools which might otherwise be beneficial. To understand how better tool design could support richer relations between individuals, tools, and materials, we interviewed expert woodworkers, fiber artists, and metalworkers. We identify three orders of convivial relations central to craft: immediate relations between individuals, tools, and materials; mid-range relations between communities, platforms, and shared materials; and extended relations between institutions, infrastructures, and ecologies. Our analysis shows how craftspeople engage and struggle with convivial relations across all three orders, creating workflows that learn from materials while supporting autonomy. We conclude with design principles for computational tools and infrastructures to better support material dialogue, collective knowledge, and accountability, along with richer and more convivial relations between craftspeople, tools, and the material worlds around them.

This paper examines craft's foundational relations to materials, techniques, and collaborative modes of teaching and learning, and these can be called upon to strengthen and extend computational craft as practiced in fields like CSCW and HCI. Drawing from literature in HCI, craft studies and Science and Technology Studies (STS), we explore craft's modern formation at the dawn of the Industrial Revolution across three formative sites: Scandinavian Slöyd, British Arts and Crafts, and Japanese Mingei. From this review we identify three key (and still evolving) features: craft's accountabilities to natural materials and local ecologies; craft's holistic ways of making with 'head, heart, and hand'; and craft's distinctly collaborative and embodied styles of teaching and learning. We then show how these lessons can be applied to contemporary practices and pedagogies of computational making. We argue that doing so can help to rebalance computation's ecological ties and relations, recenter its practice on a sensorially rich and 'whole-self' concept of making, and support more collaborative modes of teaching and learning that are inclusive, relational, and heterogeneous.

Drawing on ethnographic fieldwork in two different teaching hospitals that deployed the da Vinci surgical robot, this paper traces how the introduction of robotics reconfigures the sensory environment of surgery and how surgeons and their teams recalibrate their work in response. We explore the entangled and mutually supportive nature of sensing within and between individual actors and the broader world of people and things (with emphasis on vision and touch) and illustrate how such inter-sensory dependencies are challenged and sometimes extended under the conditions of robotic surgery. We illustrate how sensory (re)articulations and compensations allow the surgeon and surgical teams to adapt to a more-than-human sensorium and conclude by advocating new forms of sensory-aware design capable of enhancing and supporting embodied sensory conditions both individually and across teams.

This paper investigates how a teleoperated surgical robot reconfigures teamwork in the operating room by spatially redistributing team members. We report on findings from two years of fieldwork at two hospitals, including interviews and video data. We find that while in non-robotic cases team members huddle together, physically touching, introduction of a surgical robot increases physical and sensory distance between team members. This spatial rearrangement has implications for both cognitive and affective dimensions of collaborative surgical work. Cognitive distance is increased, necessitating new efforts to maintain situation awareness and common ground. Moreover, affective distance is introduced, decreasing sensitivity to shared and non-shared affective states and leading to new practices aimed at restoring affective connection within the team. We describe new forms of physical, cognitive, and affective distance associated with teleoperated robotic surgery, and the effects these have on power distribution, practice, and collaborative experience within the surgical team.

New multi-modal annotation tools hold the promise of bringing the benefits of face-to-face contact to remote, asynchronous interactions. One such system, RichReview++, incorporates new techniques to improve access to the embedded multimedia commentary and allows users to annotate with new modalities, like deictic gestures. We conducted a series of field deployments of RichReview++ to characterize how these features benefit students using them for activities in the university classroom. Our first deployment investigated the use of multi-modal annotations as a way for instructors to provide feedback on student term papers. Our second deployment used annotations to support peer discussion about assigned readings in a graduate-level course. We found that presenting voice comments as interactive waveforms seems to facilitate students' consumption of the instructor's voice comments. We also found that gestural annotations clarify voice and give annotators a quick and lightweight way to alter the scope of their voice comments. Based on these results, we suggest ways to best leverage multi-modal annotation tools in education environments.

This paper joins a growing body of CSCW and HCI work exploring questions of creativity and collaboration at the intersection of digital and material practices of craft. Drawing on studio visits and interviews with fine art furniture maker Wendell Castle and his team, we investigate one studio's experience with integrating digital fabrication tools into their studio practice, and its implications for the collective organization of work and creativity. We explore how the introduction of new computational and industrial machine objects (here, Computer Numerical Controllers) remediates traditional relations of craft and the forms of human-object value, care, and creativity built around them. We also chart new forms of creative practice and material flow that emerge from this encounter, and show how remediations of craft in the Castle studio may pose questions and opportunities for wider CSCW concerns around craft, creativity, and design.

The digitization of educational course content has proved to be problematic for math instructors due to the lack of quality feedback tools that can accommodate the commenter to efficiently express math formulae and convey descriptions about complex ideas contextualized in situ. This paper proposes that RichReview, a document annotation system which creates inking, voice and deictic gestures on top of the student's submitted work, is a possible formative math feedback solution, because it enables face-to-face like commentary within the contexts of the document at hand. A preliminary qualitative evaluation study conducted while having students receive RichReview feedback showed promise to our approach to enhance the quality of feedback, with the implication that incorporating multi-modal feedback into workflows can be an effective method to address elements of feedback submissions lacking in coursework that has moved online.