Methods for understanding the felt and situated experience of controlling autonomous systems are crucial for designing systems that are adjusted to the complexity of human interaction. Prior work has tended to overlook the bodily and experiential dimensions of monitoring systems at a distance, particularly in moments of losing control. We combined two approaches, ethnomethodology and conversation analysis, and soma design, to explore a case where a semi-autonomous system crashed when controlled by an inexperienced operator, captured in video ethnographic fieldwork. We report on our methodological approach, combining sequential video analysis of the unfolding sequence and interviews inspired by microphenomenology to unpack the operator’s experience of losing control. We contribute methodological considerations for interaction designers seeking to explore the felt experience of having and losing control of autonomous systems and discuss how insights gained through this combination of methods, rooted in phenomenology, support a designerly appreciation of safety operators’ work.

While engaging with four different wearable systems, we unexpectedly encountered felt experiences that resisted articulation and defied conventional classification. They were neither pleasant nor unpleasant, and yet both; neither comforting nor frightening, and yet both; neither recognizably human-like nor machinic, and yet both. Such ambiguous experiences might have gone unnoticed had we not attended to their somatic, felt dimensions. Existing user experience frameworks offered little guidance in making sense of these phenomena. However, through the lens of monster theory, these paradoxical experiences began to reveal their structure and significance. Drawing on concepts such as fusion, fission, massification, and incompleteness, we analyze and interpret the unexpected monstrous experiences arising from interacting with wearable systems. We argue that such experiences deserve a place in interaction design: not only for the enduring fascination of the monster, but also for its power to disrupt simplistic schemas, enrich design possibilities, and illuminate cultural shifts.

Soma design research at KTH in Stockholm, Sweden, originated over 10 years ago as an interaction design research approach based on somaesthetic and feminist philosophy. Soma design is a first-person approach to designing full-body interaction with the aim of deepening somaesthetic appreciation. Here, we analyze its development as a design research program, drawing on practical design examples as well as conceptual developments. Key insights for readers interested in soma design research and similar approaches concern: learning and appropriation as individual and meliorative processes; design representations including somatic and sympoietic materials and tools; and the scope of soma design research from a first-person perspective towards the intersubjective and the systemic. A more general contribution, potentially relevant for all readers interested in programmatic design research, is an approach to assessing a program in terms of its generativity, transferability, and scope relative to an aesthetic worldview that the program both enacts and refines through intentional design work, tracing how both program and worldview drift over time.

How can we cultivate deeper attunement to one another, ourselves, and the environment that can, in turn, inform and enrich design? Over the course of four workshops conducted across 1.5 years - primarily outdoors - the authors engaged in prolonged periods of shared silence. This collective silence functioned as an estrangement method, revealing the porous and interdependent boundaries between people and things, mutually constituting one another. We unpack some of the experiential qualities emerging from these experiments and mobilize them for future design processes, including: cultivating multifaceted sensibilities, dynamic modes of noticing and interacting, such as coming together and dispersing, being alone together, and acting or playing in unison; the malleability of silence to specific, orchestrated design activities, such as cooking or designing; and reframing silence, not as an absence, but as a presence - rich with sounds, interactions, and possibilities for engagement. We discuss how to set up temporal and spatial boundaries, alongside boundaries within and between ourselves.

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.

How To Train Your Drone (HTTYD) is a novel, embodied human-drone interaction demonstration that enables an individual to shape the mapping between a drone and their own body. By demonstrating this system we aim to give conference attendees the opportunity to, not only shape their own interactions with a drone, but to experience being shaped by it. We hope this demonstration inspires researchers to build systems that allow for this kind of mutual shaping. We believe that supporting such interactions is vital to real world deployments of robots as they leverage embodied ways that people can understand robots, their environments, and the people around them.

We reappraise the idea of colliding with robots, moving from a position that tries to avoid or mitigate collisions to one that considers them an important facet of human interaction. We report on a soma design workshop that explored how our bodies could collide with telepresence robots, mobility aids and a quadruped robot. Based on our findings, we employed soma trajectories to analyse collisions as extended experiences that negotiate key transitions of consent, preparation, launch, contact, ripple, sting, untangle, debris and reflect. We then employed these ideas to analyse two collision experiences, an accidental collision between a person and a drone and the deliberate design of a robot to play with cats, revealing how real-world collisions involve the complex and ongoing entanglement of soma trajectories. We discuss how viewing collisions as entangled trajectories, or ‘tangles’, can be used analytically, as a design approach, and as a lens to broach ethical complexity.

Through a soma design process, we explored how to design a shape-changing car seat as a point of interaction between the car and the driver. We developed a low-fidelity prototyping tool to support this design work and describe our experiences of using this tool in a workshop with a car manufacturer. We share the co-designed patterns that we developed: re-engaging in driving; dis-engaging from driving; saying farewell; and being held while turning. Our analysis contributes design knowledge on how we should design for a car seat to ‘touch’ larger, potentially heavier parts of the body including the back, shoulders, hips, and bottom. The non-habitual experience of shape-changing elements in the driver seat helped pinpoint the link between somatic experience and intelligent rational behaviour in driving tasks. Relevant meaning-making processes arose when the two were aligned, improving on the holistic coming together of driver, car, and the road travelled.

How To Train Your Drone is a novel human-drone interaction that demonstrates the generative potential of a design metaphor: the umwelt. We describe the concept of the umwelt and detail how we applied it to inform our soma design process, creating an interactive space where somatic understandings between human and drone could emerge. The system was deployed for a month into a shared household. We describe how three people explored and shaped the umwelts of their drones, leading to unique and intimate human-drone couplings. We discuss the compatibility of the umwelt to soma design practice and identify future avenues for research inspired by artificial life and evolutionary robotics. As our contribution, we illustrate how the umwelt as a design metaphor, can open up a generative new design space for human-drone interaction.

We present mechanical sympathy as a generative design concept for cultivating somaesthetic relationships with machines and machine-like systems. We identify the qualities of mechanical sympathy using the design case of How to Train your Drone (HTTYD), a unique human-drone research product designed to explore the process by which people discover and co-create the somaesthetic potential of drones. We articulate the qualities – (i) machine-agency, (ii) oscillations, and (iii) aesthetic pursuits – by using descriptive and reflective accounts of our design strategies and of our co-creators engaging with the system. We also discuss how each quality can extend soma design research; conceptualizing of appreciative, temporal, and idiosyncratic relationships with machines that can complement technical learning and enrich human-machine interaction. Finally, we ground our concept in a similar selection of works from across the HCI community.

In a long-term commitment to designing for the aesthetics of human–drone interactions, we have been troubled by the lack of tools for shaping and interactively feeling drone behaviours. By observing participants in a three-day drone challenge, we isolated components of drones that, if made transparent, could have helped participants better explore their aesthetic potential. Through a bricolage approach to analysing interviews, field notes, video recordings, and inspection of each team’s code, we describe how teams 1) shifted their efforts from aiming for seamless human–drone interaction, to seeing drones as fragile, wilful, and prone to crashes; 2) engaged with intimate, bodily interactions to more precisely probe, understand and define their drone’s capabilities; 3) adopted different workaround strategies, emphasising either training the drone or the pilot. We contribute an empirical account of constraints in shaping the potential aesthetics of drone behaviour, and discuss how programming environments could better support somaesthetic perception–action loops for design and programming purposes.

Attending to emotion can shed light on why recognizing an ethical issue and taking responsibility for it can be so demanding. To examine emotions related to taking or not taking responsibility for ethical action, we conducted a semi-structured interview study with 23 individuals working in interaction design and developing AI systems in Scandinavian countries. Through a thematic analysis of how participants attribute ethical responsibility, we identify three ethical stances, that is, discursive approaches to answering the question 'who should act': an individualised I-stance ("the responsibility is mine"), a collective we-stance ("the responsibility is ours"), and a distanced they-stance ("the responsibility is someone else's"). Further, we introduce the concepts of distancing and vulnerability to analyze the emotion work that these three ethical stances place on technology practitioners in situations of low- and high-scale technology development, where they have more or less control over the outcomes of their work. We show how the we- and they-stances let technology practitioners distance themselves from the results of their activity, while the I-stance makes them more vulnerable to emotional and material risks. By illustrating the emotional dimensions involved in recognizing ethical issues and embracing responsibility, our study contributes to the field of Ethics in Practice. We argue that emotions play a pivotal role in technology practitioners' decision-making process, influencing their choices to either take action or refrain from doing so.

We present a novel intercorporeal experience – an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based ‘fourth voice’ to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that ‘intersubjective haptics’ can be a generative medium not only for singing performances, but other possible intersubjective experiences.

We theoretically develop the ethical positions implicit in somaesthetic interaction design and, using the case study of a water faucet, illustrate our conceptual understanding of ethical sensibilities in design. We apply four lenses – the felt self, intercorporeal self, socio-cultural and political self, and entangled self – to show how our selves and ethical sensibilities are fundamentally constituted by a socially, materially, and technologically entwined world. Further, we show how ethical sensibilities are cultivated in the practice of somaesthetic interaction design. We contribute felt ethics as an approach to cultivating ethical sensibilities in design practice. The felt ethics approach is comprised of (i) a processual cultivation of ethical sensibility through analytical, pragmatic, and practical engagement, (ii) an ongoing critical attentiveness to the limits of our own bodies and lived experiences, and (iii) the rendering visible of our ethical practices as a matter of care.

There is an increasing interest in the HCI community in designing for bodily practices. We report on a soma design process for martial arts and the resulting artifact – an interactive wooden dummy. Through a detailed account of the design process, we show how it enriched and revamped the bodily practice, but also how it changed the martial arts expert in the design team. Based on a phenomenological account of his experiences, we argue that the estrangement methods in soma design may allow practitioners engaging as soma designers, to cultivate and create new artistic habits fused with thought and feeling, changing themselves and their practice in directions they seek.

To support sketching in soma design processes, we built the Soma Bits. These simple technology pieces enable one bit actuation like vibration, heat or shape-changing behaviors. After using them for three years, we ask how well they support soma design processes and what designs they spur? Through analyzing nine soma design projects, we note how they contributes to forming subtle, intimate, body awareness designs, as well as fast, uncomfortable, sensory misaligned, somaesthetic designs or skill training. More importantly, experiencing actuation in the early sketching phases helps the design team to articulate joint somatic understanding and direction. During past design sessions, we noticed that the Soma Bits lack support for the overall orchestration: looping, tweaking, or arranging sequences of interactions, and coupling sensing to actuation. Hence, we present a novel Soma Bits toolkit concept for sketching, composing, documenting, and sharing somatic experience.

I will discuss soma design — a process that allows designers to examine and improve on connections between sensation, feeling, emotion, subjective understanding and values. Soma design builds on pragmatics and in particular on somaesthetics by Shusterman. It combines soma as in our first-person sensual experience of the world, with aesthetics as in deepening our knowledge of our sensory experiences to live a better life. In my talk, I will discuss how aesthetics and ethics are enacted in a soma design process. Our cultural practices and digitally-enabled objects enforce a form of sedimented, agreed-upon movements, enabling variation, but with certain prescribed ways to act, feel and think. This leaves designers with a great responsibility, as these become the movements that we invite our end-users to engage with, in turning shaping them, their movements, their bodies, their feelings and thoughts. I will argue that by engaging in a soma design process we can better probe which movements lead to deepened somatic awareness; social awareness of others in the environment and how they are affected by the human-technology assemblage; enactments of bodily freedoms rather than limitations; making norms explicit; engage with a pluralist feminist position on who we are designing for; and aesthetic experience and expression.

We articulate vulnerability as an ethical stance in soma design processes and discuss the conditions of its emergence. We argue that purposeful vulnerability – an act of taking risk, exposing oneself, and resigning part of one’s autonomy – is a necessary although often neglected part of design, and specifically soma design, which builds on felt experience and stimulates designers to engage with the non-habitual by challenging norms, habitual movements, and social interactions. With the help of ethnography, video analysis, and micro-phenomenological interviews, we document an early design exploration around drones, describing how vulnerability is accomplished in collaboration between members of the design team and the design materials. We (1) define vulnerability as an active ethical stance; (2) make vulnerability visible as a necessary but often neglected part of an exploratory design process; and (3) discuss the conditions of its emergence, demonstrating the importance of deliberating ethics within the design process.

Soma design is intended to increase our ability to appreciate through all our senses and lead to more meaningful interactions with the world. We contribute a longer-term study of soma design that shows evidence of this promise. Using storytelling approaches we draw on qualitative data from a three-month study of the soma mat and breathing light in four households. We tell stories of people’s becomings in the world as they learn of new possibilities for their somas; and as their somas transform. We show how people drew on their somaesthetic experiences with the prototypes to find their way through troubled times; and how through continued engagement some felt compelled to make transformations in how they live their lives. We discuss the implications for the overarching soma design program, focusing on what is required to design for ways of leading a better life.

Human connection is essential for our personal well-being and a building block for a well-functioning society. There is a prominent interest in the potential of technology for mediating social connection, with a wealth of systems designed to foster the feeling of connection between strangers, friends, and family. By surveying this design landscape we present a transitional definition of mediated genuine connection and nine design strategies embodied within 50 design artifacts: affective self-disclosure, reflection on unity, shared embodied experience, transcendent emotions, embodied metaphors, interpersonal distance, touch, provocations, and play. In addition to drawing on design practice-based knowledge we also identify underlying psychological theories that can inform these strategies. We discuss design considerations pertaining to sensory modalities, vulnerability–comfort trade-offs, consent, situatedness in context, supporting diverse relationships, reciprocity, attention directedness, pursuing generalized knowledge, and questions of ethics. We hope to inspire and enrich designers’ understanding of the possibilities of technology to better support a mediated genuine feeling of connection.

Explainable AI (XAI) seeks to disclose how an AI system arrives at its outcomes. But the nature of the disclosure depends in part on who needs to understand the AI and the available explanation modalities (e.g., verbal and visual). Users’ preferences regarding explanation modalities might differ, as some might prefer spoken explanations compared to visual ones. However, we argue for broadening the explanation modalities, to consider also tangible and physical forms. In traditional product design, physical forms have mediated people’s interactions with objects; more recently interacting with physical forms has become prominent with IoT and smart devices, such as smart lighting and robotic vacuum cleaners. But how tangible interaction can support AI explanations is not yet well understood.

We report on a soma design process, where we designed a novel shape-changing garment—the Soma Corset. The corset integrates sensing and actuation around the torso in tight interaction loops. The design process revealed how boundaries between the garment and the wearer can become blurred, leading to three flavours of cyborg relations. First, through the lens of the monster, we articulate how the wearer can adopt or reject the garment, resulting in either harmonious or disconcerting experiences of touch. Second, it can be experienced as an organic “other”-with its own agency-resulting in uncanny experiences of touch. Through mirroring the wearer’s breathing, the garment can also be experienced as a twisted version of one’s own body. We suggest that a gradual sensitisation of designers-through soma design and reflection on the emerging human-technology relations-may serve as a pathway for uncovering and articulating novel, machine-like, digital touch experiences.

Deep Pressure Therapy relies on exerting firm touch to help individuals with sensory sensitivity. We performed first-person explorations of deep pressure enabled by shape-changing actuation driven by breathing sensing. This revealed a novel design space with rich, evocative, aesthetically interesting interactions that can help increase breathing awareness and appreciation through: (1) applying symmetrical as well as asymmetrical pressure on the torso; (2) using pressure to direct attention to muscles or bone structure involved in different breathing patterns; (3) apply synchronous as well as asynchronous feedback following or opposing the user’s breathing rhythm through applying rhythmic pressure. Taken together these explorations led us to design (4) breathing correspondence interactions – a balance point right between leading and following users’ breathing patterns by first applying deep pressure – almost to the point of being unpleasant – and then releasing in rhythmic flow.

In this paper, we reflect on the applicability of the concept of trajectories to soma design. Soma design is a first-person design method which considers users’ subjective somatic or bodily experiences of a design. Due to bodily changes over time, soma experiences are inherently temporal. Current instruments for articulating soma experiences lack the power to express the effects of experiences on the body over time. To address this, we turn to trajectories, a well-known concept in the HCI community, as a way of mapping this aspect of soma experience. By showing trajectories through a range of dimensions, we can articulate individual experiences and differences in those experiences. Through analysis of a set of soma experience designs and a set of temporal dimensions within the experiences, this paper demonstrates how trajectories can provide a practical conceptual framing for articulating the temporal complexity of soma designs.

Since the advent of Artificial Intelligence (AI) and Machine Learning (ML), researchers have asked how intelligent computing systems could interact with and relate to their users and their surroundings, leading to debates around issues of biased AI systems, ML black-box, user trust, user’s perception of control over the system, and system’s transparency, to name a few. All of these issues are related to how humans interact with AI or ML systems, through an interface which uses different interaction modalities. Prior studies address these issues from a variety of perspectives, spanning from understanding and framing the problems through ethics and Science and Technology Studies (STS) perspectives to finding effective technical solutions to the problems. But what is shared among almost all those efforts is an assumption that if systems can explain the how and why of their predictions, people will have a better perception of control and therefore will trust such systems more, and even can correct their shortcomings. This research field has been called Explainable AI (XAI). In this studio, we take stock on prior efforts in this area; however, we focus on using Tangible and Embodied Interaction (TEI) as an interaction modality for understanding ML. We note that the affordances of physical forms and their behaviors potentially can not only contribute to the explainability of ML systems, but also can contribute to an open environment for criticism. This studio seeks to both critique explainable ML terminology and to map the opportunities that TEI can offer to the HCI for designing more sustainable, graspable and just intelligent systems.

Fiber – a primitive yet ubiquitous form of material – intertwines with our bodies and surroundings, from constructing our fibrous muscles that enable our movement, to forming fabrics that intimately interface with our skin. In soft robotics and advanced materials science research, actuated fibers are gaining interest as thin, flexible materials that can morph in response to external stimuli. In this paper, we build on fluidic artificial muscles research to develop OmniFiber - a soft, line-based material system for designing movement-based interactions. We devised actuated thin (øouter < 1.8 mm) fluidic fibers with integrated soft sensors that exhibit perceivably strong forces, up to 19 N at 0.5 MPa, and a high speed of linear actuation peaking at 150mm/s. These allow to flexibly weave them into everyday tangible interactions; including on-body haptic devices for embodied learning, synchronized tangible interfaces for remote communication, and robotic crafting for expressivity. The design of such interactive capabilities is supported by OmniFiber’s design space, accessible fabrication pipeline, and a fluidic I/O control system to bring omni-functional fluidic fibers to the HCI toolbox of interactive morphing materials.

The MRL Studio in Nottingham has a longstanding commitment to designing for the uncomfortable, the thrilling, the unexpected, the unusual and the artistic. In this article, they revisit three of th...

We report on a somaesthetic design workshop and the subsequent analytical work aiming to demystify what is entailed in a non-dualistic design stance on embodied interaction and why a first-person engagement is crucial to its unfoldings. However, as we will uncover through a detailed account of our process, these first-person engagements are deeply entangled with second- and third-person perspectives, sometimes even overlapping. The analysis furthermore reveals some strategies for bridging the body-mind divide by attending to our inner universe and dissolving or traversing dichotomies between inside and outside ; individual and social ; body and technology . By detailing the creative process, we show how soma design becomes a process of designing with and through kinesthetic experience, in turn letting us confront several dualisms that run like fault lines through HCI’s engagement with embodied interaction.

Biosensing technologies are increasingly available as off-the-shelf products, yet for many designers, artists and non-engineers, these technologies remain difficult to design with. Through a soma design stance, we devised a novel approach for exploring qualities in biodata. Our explorative process culminated in the design of three artefacts, coupling biosignals to tangible actuation formats. By making biodata perceivable as sound, in tangible form or directly on the skin, it became possible to link qualities of the measurements to our own somatics - our felt experience of our bodily bioprocesses - as they dynamically unfold, spurring somatically-grounded design discoveries of novel possible interactions. We show that making biodata attainable for a felt experience - or as we frame it: turning biodata into somadata - enables not only first-person encounters, but also supports collaborative design processes as the somadata can be shared and experienced dynamically, right at the moment when we explore design ideas.

How is ethics shaped by the particularities of a design? Through a detailed video analysis, we explore how ethicality is shaped in interaction between a choreographer, a performer and a choir of five drones, performing together on the opera stage. We pinpoint how movements enabled by the human-drone assemblage may limit or liberate artistic expressions vis-à-vis the norms of operatic performance. From a somaesthetics perspective on ethics, we show how the process of crafting rich experiences together with drones can deepen sensory appreciation skills, leading to an increased understanding of underlying somatic drivers and imposed norms. Somatic awareness thereby enables a richer repertoire of movements, expanding the ability to freely choose how to act, and cultivating empathy towards others. This shifts our understanding of ethics in HCI as solely about abstract rules or policies 'out there' to also concern the specifics of how technology informs or dictates movement and experience.

We report on a workshop bringing together researchers working in soma design and sensory misalignment. Creating experiences that make use of sensory misalignment has become increasingly common, often associated with virtual reality research. However, little attention has been paid to how to design such experiences. We argue that the practice of soma design is a relevant candidate method for designing misalignment experiences, since soma design brings with it concepts such as estrangement and disrupting the habitual as a path to design. We further argue that sensory misalignment may in turn extend soma design methods, adding methods for explicitly disrupting sensory perception using technology interventions. Finally, we draw on the findings of that workshop to discuss the ideas of: pluralism in experience; orchestration of overall experience; as well as the broader intersection of soma design and sensory misalignment approaches.

I will discuss soma design - a process that allows designers to examine and improve on connections between sensation, feeling, emotion, subjective understanding and values [1].

We devised a Soma Design curriculum with accompanying teaching approaches for a seven-week course at a technical university. In our analysis of students' design concepts and process accounts, we found that they had opened an unusually rich and aesthetically engaging design space. But we also noted how they sometimes struggled with processes such as: "staying in the undecided" long enough to engage deeply with somaesthetic design imaginings; finding, refining and repeatedly returning to an aesthetic quality through the different phases of their design work; liberating them-selves from pre-existing practices or objects in order to find entirely novel design possibilities; shifting from a more rationalistic design process, mainly based on argumenta-tion, into a felt engagement were imaginations are acted out - not talked about; and lacking a technical toolkit for somaesthetically experiencing interactive sociodigital materials. Based on these insights, we provide a set of recommendations for how to teach Soma Design, and we have created an accompanying Soma Design toolkit that will support exploration and design.

Experience Centered Design (ECD) implores us to develop empathic relationships and understanding of participants, to actively work with our senses and emotions within the design process. However, theories of experience-centered design do little to account for emotion work undertaken by design researchers when doing this. As a consequence, how a design researcher's emotions are experienced, navigated and used as part of an ECD process are rarely published. So, while emotion is clearly a tool that we use, we don't share with one another how, why and when it gets used. This has a limiting effect on how we understand design processes, and opportunities for training. Here, we share some of our experiences of working with ECD. We analyse these using Hochschild's framework of emotion work to show how and where this work occurs. We use our analysis to question current ECD practices and provoke debate.

Movement-based interactions are gaining traction, requiring a better understanding of how such expressions are shaped by designers. Through an analysis of an artistic process aimed to deliver a commissioned opera where custom-built drones are performing on stage alongside human performers, we observed the importance of achieving an intercorporeal understanding to shape body-based emotional expressivity. Our analysis reveals how the choreographer moves herself to: (1) imitate and feel the affordances and expressivity of the drones' 'otherness' through her own bodily experience; (2) communicate to the engineer of the team how she wants to alter the drones' behaviors to be more expressive; (3) enact and interactively alter her choreography. Through months of intense development and creative work, such an intercorporeal understanding was achieved by carefully crafting the drones' behaviors, but also by the choreographer adjusting her own somatics and expressions. The choreography arose as a result of the expressivity they enabled together.

In the last decade, the number of articles on HCI and health has increased dramatically. We extracted 139 papers on depression, anxiety and bipolar health issues from 10 years of SIGCHI conference proceedings. 72 of these were published in the last two years. A systematic analysis of this growing body of literature revealed that most innovation happens in automated diagnosis, and self-tracking, although there are innovative ideas in tangible interfaces. We noted an overemphasis on data production without consideration of how it leads to fruitful interventions. Moreover, we see a need to promote ethical practices for involvement of people living with affective disorders. Finally, although only 16 studies evaluate technologies in a clinical context, several forms of support and intervention illustrate how rich insights are gained from evaluations with real patients. Our findings highlight potential for growth in the design space of affective health technologies.

Skin conductance is an interesting measure of arousal level, largely unfamiliar to most end-users. We designed a mobile application mirroring end-users’ skin conductance in evocative visualizations, purposefully made ambiguous to invite rich interpretations. Twenty-three participants used the system for a month. Through the lens of a practice-based analysis of weekly interviews and the logged data, several quite different—sometimes even mutually exclusive—interpretations or proto-practices arose: as stress management; sports performance; emotion tracking; general life logging; personality representation; or behavior change practices. This suggests the value of a purposefully open initial design to allow for the emergence of broader proto-practices to be followed by a second step of tailored design for each identified goal to facilitate the transition from proto-practice to practice. We contribute to the HCI discourse on ambiguity in design, arguing for balancing openness and ambiguity with scaffolding to better support the emergence of practices around biodata.

We propose a strong concept we name Somaesthetic Appreciation based on three different enquiries. First, our own autobiographical design enquiry, using Feldenkrais as a resource in our design process, bringing out the Soma Carpet and Breathing Light applications. Second, through bringing in others to experience our systems, engaging with and qualitatively analysing their experiences of our applications. In our third enquiry, we try to pin down what characterises and sets Somaesthetic Appreciation designs apart through comparing with and analysing others' design inquiries as well as grounding them in the somaesthetic theories. We propose that the Somaesthetic Appreciation designs share a subtleness in how they encourage and spur bodily inquiry in their choice of interaction modalities, they require an intimate correspondence -- feedback and interactions that follow the rhythm of the body, they entail a distinct manner of making space shutting out the outside world -- metaphorically and literally -- to allow users to turn their attention inwards, and they rely on articulation of bodily experiences to encourage learning and increased somatic awareness.

Repurposing refers to a broad set of practices, such as recycling or upcycling, all aiming to make better use of or give new life to physical materials and artifacts. While these practices have an obvious interest regarding sustainability issues, they also bring about unique aesthetics and values that may inspire design beyond sustainability concerns. What if we can harness these qualities in digital materials? We introduce Delete by Haiku, an application that transforms old mobile text messages into haiku poems. We elaborate on how the principles of repurposing -- working on a low budget, introducing chance and combining the original values with the new ones -- can inform interaction design in evoking some of these aesthetic values. This approach changes our views on what constitutes "digital materials" and the opportunities they offer. We also connect recent debates concerning ownership of data with discussions in the arts on the "Death of the Author."

This paper is an introduction to the "Future IKEA Catalogue", enclosed here as an example of a design fiction produced from a long standing industrial-academic collaboration. We introduce the catalogue here by discussing some of our experiences using design fiction` with companies and public sector bodies, giving some background to the catalogue and the collaboration which produced it. We have found design fiction to be a useful tool to support collaboration with industrial partners in research projects - it provides a way of thinking and talking about present day concepts, and present day constraints, without being overly concerned with contemporary challenges, or the requirements of academic validation. In particular, there are two main aspects of this we will discuss here, aspects that are visible in the enclosed catalogue itself. The first is the potential of design fiction as a sort of 'boundary object' in industry and academic collaboration, and second the role of critique. After this introduction to the paper we enclose the output of our collaboration in the form of the catalogue itself.

In this paper we discuss the design process and results from a design exploration on the use of thermal stimuli in body awareness exercises. A user-study was performed on an interactive prototype in the form of an interactive heat mat. The paper brings forth an alternative understanding of heat as a design material that extends the common understanding of thermal stimuli in HCI as a communication modality to instead bring the aesthetic and experiential properties to the fore. Findings account for felt body experiences of thermal stimuli and a number of design qualities related to heat as a design material are formulated, pointing to experiential qualities concerning the felt body, subjectivity and subtleness as well as material qualities concerning materiality, inertia and heat transfer.

Through our art project, Metaphone, we explored a particular form of aesthetics referred to in the arts tradition as machine aesthetics. The Metaphone machine collects the participant's bio-data, Galvanic Skin Response (GSR) and Heart Rate (HR), creating a process of movement, painting and sound. The machine behaves in machine-like, aesthetically evocative ways: a shaft on two large wheels rotates on the floor, carrying paint that is dripped onto a large sheet of aquarelle paper on the floor according to bio-sensor data. A soundscape rhythmically follows the bio-sensor data, but also has its own machine-like sounds. Six commentators were invited to interact with the machine. They reported a strangely relaxing atmosphere induced by the machine. Based on these experiences we discuss how different art styles can help to describe aesthetics in interaction design generally, and how machine aesthetics in particular can be used to create interesting, sustained, stylistically coherent interactions.

With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodily-oriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.

There is a growing interest in designing systems for sharing experience through bodily interaction. To explore this design space, we built a probe system we named the Lega. In our 2-month-long research design process, we noted that the users’ attention was set on their own reflective experience, rather than attending to the person(s) with which they were sharing their experience. To explain these findings, we present an inductive analysis of the data through a phenomenological lens to pinpoint what causes such behavior. Our analysis extends our understanding of how to design for social embodied interaction, pointing to how we need to embrace the tension between self-reflection and shared experience, making inward listening and social expression visible acts, accessible to social construction and understanding. It entails experiencing our embodied self as others experience us in order to build a dialogue.

We set out to explore and understand the ways in which mobiles made their way into an environment--Rah Island in Vanuatu--for the first time. We were struck by their playful use, especially given the very limited infrastructure and inexpensive devices that were available. Based on our findings, we discuss tensions between playfulness and utility, in particular relating to socio-economic benefits, and conclude that playfulness in these settings needs to be taken as seriously as in any other setting. Additionally, we formulated three challenges when designing for play in similar settings: (1) engage intimately with the materials of inexpensive ICT; (2) revisit design recommendations for playfulness to ensure that they can travel/translate into other cultures; and (3) alleviate existing tensions.

Design-oriented research practices create opportunities for constructing knowledge that is more abstracted than particular instances, without aspiring to be at the scope of generalized theories. We propose an intermediate design knowledge form that we namestrong conceptsthat has the following properties: is generative and carries a core design idea, cutting across particular use situations and even application domains; concerned with interactive behavior, not static appearance; is a design element and a part of an artifact and, at the same time, speaks of a use practice and behavior over time; and finally, resides on an abstraction level above particular instances. We present two strong concepts—social navigation and seamfulness—and discuss how they fulfil criteria we might have on knowledge, such as being contestable, defensible, and substantive. Our aim is to foster an academic culture of discursive knowledge construction of intermediate-level knowledge and of how it can be produced and assessed in design-oriented HCI research.

Since we started carrying mobiles phones, they have altered the ways in which we orient our bodies in the world. Many of those changes are invisible to us - they have become habits, deeply engrained in our society. To make us more aware of our bodily ways of living with mobiles and open the design space for novel ways of designing mobiles and their interactions, we decided to study one of the last groups of users on earth who had not been exposed to mobiles: the people of Vanuatu. As they had so recently started using mobiles, their use was still in flux: the fragility of the mobile was unusual to them as was the need to move in order to find coverage. They were still getting used to carrying their mobiles and keeping them safe. Their encounters with mobile use exposed the need to consider somaesthetics practices when designing mobiles as they profoundly affect our bodily ways of being in the world.

This work describes the design process and installation of three speculative, rudimentary machines, or rudiments. Through careful iterations in their design, the rudiments are intended to provoke curiosity and discussion around the possibility of autonomy in interactive systems. The design of the rudiments is described in detail, alongside the design decisions that were made to suggest a machine autonomy and to provoke discussion. Some preliminary reflections from installing the rudiments in two separate households are also reported. Widely divergent opinions of the rudiments from the two households are used to discuss a number of themes for thinking about autonomy and interactive systems design. Overall, the presented work adopts a perspective strongly oriented towards guiding future research, but, importantly, aims to do so by opening up and exposing the design possibilities rather than constraining them.

We have designed a stress management biofeedback mobile service for everyday use, aiding users to reflect on both positive and negative patterns in their behavior. To do so, we embarked on a complex multidisciplinary design journey, learning that: detrimental stress results from complex processes related to e.g. the subjective experience of being able to cope (or not) and can therefore not be measured and diagnosed solely as a bodily state. We learnt that it is difficult, sometimes impossible, to make a robust analysis of stress symptoms based on biosensors worn outside the laboratory environment they were designed for. We learnt that rather than trying to diagnose stress, it is better to mirror short-term stress reactions back to them, inviting their own interpretations and reflections. Finally, we identified several experiential qualities that such an interface should entail: ambiguity and openness to interpretation, interactive history of prior states, fluency and aliveness.

Designing for a supple interaction, involving users bodily and emotionally into a 'dance' with a system is a challenging task. Any break-ups in interaction become fatal to the sensual, fluent, bodily and social experience sought. A user-centered, iterative design cycle is therefore required.

In this paper, we argue that HCI practitioners are facing new challenges in design and evaluation that can benefit from the establishment of commonly valued use qualities, with associated strategies for producing and rigorously evaluating work. We present a particular use quality 'suppleness' as an example. We describe ways that use qualities can help shape design and evaluation process, and propose tactics for the CHI community to use to encourage the evolution of bodies of knowledge around use qualities.

Designing for non-verbal communication using e.g. gestures and other bodily expressions is difficult. Hardware and software need to be co-designed and harmonize in order to not throw users out of their embodied experience. We aim to design for kinaesthetic expressions of emotion in communication between friends - in this case, colleagues at work. A probe was built using sensor node technology designed to let users express themselves and their emotional state to a public and shared display where the expressions together formed a collective art piece expressing the individuals but also the group as a whole. Two groups of colleagues used the probe during two weeks. It came to serve as a channel in which some conflicts and expressions of social relations were acted out which were not openly discussed in the office. It exposed different roles and balances in relationships in the group. Finally, the probe taught us the importance of balancing the design for joint group expression and individual, personal expressions. The study also allowed the participants to experience the sensor node-'material' - enabling a participatory design process.

We propose that an interactional perspective on how emotion is constructed, shared and experienced, may be a good basis for designing affective interactional systems that do not infringe on privacy or autonomy, but instead empowers users. An interactional design perspective may make use of design elements such as open-ended, ambiguous, yet familiar, interaction surfaces that users can use as a basis to make sense of their own emotions and their communication with one-another. We describe the interactional view on design for emotional communication, and provide a set of orienting design concepts and methods for design and evaluation that help translate the interactional view into viable applications. From an embodied interaction theory perspective, we argue for a non-dualistic, non-reductionist view on affective interaction design.

In this paper we describe the development and initial testing of a tool for self-assessment of affect while interacting with computer systems: the Sensual Evaluation Instrument. We discuss our research approach within the context of existing affective and HCI theory, and describe stages of evolution of the tool, and initial testing of its effectiveness.

The idea of social navigation is to aid users to navigate information spaces through making the collective, aggregated, or individual actions of others visible and useful as a basis for making decisions on where to go next and what to choose. These social markers should also help in turning the navigation experience into a social and pleasurable one rather than the tedious, boring, frustrating, and sometimes even scary experience of a lonely traveler. To evaluate whether it is possible to design for social navigation, we built the food recipe systemKalas. It includes several different forms of aggregated trails of user actions and means of communication between users: recommender system functionality (recommendations computed from others' choices), real-time broadcasting of concurrent user activity in the interface, possibilities to comment and vote on recipes, the number of downloads per recipe, and chatting facilities. Recipe author was also included in the recipe description.Kalas was tried with 302 users during six months, and 73 of the users answered a final questionnaire. The overall impression was that users liked and acted on aggregated trails and navigated differently because of them. 18% of the selected recipes came from the list of recommended recipes. About half of the 73 users understood that recommendations were computed from their own and others actions, while the rest had not reflected upon it or had erroneous beliefs. Interestingly, both groups selected a large proportion of their recipes from the recommendations.Unfortunately, there were not enough users to populate the space at every occasion, and thus both chatting and following other users moving in the space was for the most part not possible, but when possible, users move to the space where most other users could be found. Of the other social textures, users themselves claimed to be most influenced by other users' comments attached to the recipes and less by recipe author or number of downloads. Users are more positive to the possibility of expressing themselves in terms of comments and voting than seeing the comments and votes of others.It was noted that users did not pick more recommended recipes towards the end of the study period when the accuracy of recommendations should have been higher. More or less from the start, they picked recommended recipes and went on doing so throughout the whole period.

HCI evaluation methods are useful for improving the design of interactive systems, yet they may be rejected by nontraditional technology disciplines such as media art. We have developed a two-tiered evaluation model that responds to the concerns of interactive artists and have used it to improve the design of an interactive artwork, the Influencing Machine, exploring issues in affective computing. The method was interpretive, focusing on giving the artists a grounded feeling for how the machine was interpreted and their message was communicated. We describe the resulting design of the Influencing Machine and the reactions of users. The study itself is part of the art piece - together these activities achieve the goal of the artists: to provoke our cultural notions of whether a machine can "have emotions".

In this paper we describe a way of controlling the emotional states of a synthetic character in a game (FantasyA) through a tangible interface named SenToy. SenToy is a doll with sensors in the arms, legs and body, allowing the user to influence the emotions of her character in the game. The user performs gestures and movements with SenToy, which are picked up by the sensors and interpreted according to a scheme found through an initial Wizard of Oz study. Different gestures are used to express each of the following emotions: anger, fear, happiness, surprise, sadness and gloating. Depending upon the expressed emotion, the synthetic character in FantasyA will, in turn, perform different actions. The evaluation of SenToy acting as the interface to the computer game FantasyA has shown that users were able to express most of the desired emotions to influence the synthetic characters, and that overall, players, especially children, really liked the doll as an interface.

Game development is an emerging area of development for new types of interaction between computers and humans. New forms of communication are now being explored there, influenced not only by face to face communication but also by recent developments in multi-modal communication and tangible interfaces. This demo will feature a computer game, FantasyA, where users can play the game by interacting with a tangible interface, SenToy (see Figure 1). The main idea is to involve objects and artifacts from real life into ways to interact with systems, and in particular with games. So, SenToy is an interface for users to project some of their emotional gestures through moving the doll in certain ways. This device would establish a link between the users (holding the physical device) and a controlled avatar (embodied by that physical device) of the computer game, FantasyA.

The term Social Navigation captures every-day behaviour used to find information, people, and places - namely through watching, following, and talking to people. We discuss how to design information spaces to allow for social navigation. We applied our ideas in a recipe recommendation system. In a follow-up user study, subjects state that social navigation adds value to the service: it provides for social affordance, and it helps turning a space into a social place. The study also reveals some unresolved design issues, such as the snowball effect where more and more users follow each other down the wrong path, and privacy issues.

Recent research in the area of information retrieval hypothesizes that people benefit from social clues, so called social navigation, when they try to navigate information spaces [7]. We have designed an on-line grocery store building upon those ideas manifested in several different ways. The most central feature is that the system uses a combination of content-based and collaborative filtering as the basis for recipe recommendations. This filtering process can in turn be controlled by editors, whose role is to control the content of the “recipe clubs”. Other types of social clues are also present, such as displaying how many users that have chosen a recipe. Finally, the system shows information about other users currently present in the system, and allows users to get in direct contact through chat.

Intelligent user interfaces have been proposed as a means to overcome some of the problems that directmanipulation interfaces cannot handle, such as: information overflow problems; providing help on how to use complex systems; or real-time cognitive overload problems. Intelligent user interfaces are also being proposed as a means to make systems individualised or personalised, thereby increasing the systems flexibility and appeal.

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We have evaluated an adaptive hypermedia system, PUSH, and compared it to a non-adaptive variant of the same system.Based on an inferred information seeking task, PUSH chooses what to show and what to hide in a page using a stretchtext technique, thus attempting to avoid information overload.We studied how successful the subjects were in retrieving the most relevant information, and found that the subjects' solutions were influenced by the choice made by the adaptive system.We also studied how much the adaptivity reduced the amount of actions needed, and found that subjects made substantially fewer actions in the adaptive case.A third measurement was the subjects subjective preferences for the adaptive or the non-adaptive system, were we found that the subjects clearly preferred the adaptive system.It seems as if it requires less decisions on behalf of the subject, thereby reducing their cognitive load.