Design Fiction is a practice that explores and critiques possible futures through diegetic artifacts. Generative Design Fiction extends this practice by using generative AI models, such as LLMs, to produce such prototypes. These models are known to be biased by popular, often Western-centric notions, skewing the imagined futures they generate. This paper explores LLM fine-tuning as a design intervention for reconfiguring these biases. Focusing on futuristic news articles—a form of diegetic prototype that renders futures through familiar journalistic conventions—we fine-tuned an LLM using a corpus of online technology news from the Global South and generated paired articles using the base model and the fine-tuned variant. Our analysis reveals observable shifts in narrative salience—the implicit prioritization of what is treated as central and consequential within a narrative. We discuss these findings through the responsibilities and politics of shifting narrative salience, Generative Design Fiction as a contrastive practice, and LLMs as malleable design materials.

Open Science Hardware (OScH) refers to open-source alternatives for proprietary scientific equipment. While the OScH movement aims to reduce barriers for scientific experimentation both in and beyond professional labs, disseminating OScH for widespread adoption proves to be challenging in practice. To this end, we examined real-world practices related to the dissemination of OScH through a two-part study. First, we developed an open science hardware, a DIY incubator, and disseminated it through the Instructables website and maker workshops. In parallel, we interviewed eight open science hardware practitioners from different parts of the world. Insights from interviews together with our own self-reflections revealed how different OScH dissemination modalities serve unique purposes. Our findings also reveal several challenges for widespread adoption of OScH and the importance of collaborations between OScH developers. We conclude by discussing the opportunities for HCI to lower barriers for customization, support internationalization of OScH, and scaffold proactive distributed collaborations between developers and users.

The Open Science Hardware (OSH) movement has been gaining momentum to make scientific instruments widely accessible through open-source blueprints or DIY kits which can be built for a fraction of the cost of their commercial counterparts. Even though the designs of OSH are freely and openly available over the internet, in most cases, building or assembling science equipment from online designs require knowledge and skills in areas such as digital fabrication and basic electronics. Due to this, some open science practitioners face a multitude of challenges when replicating or customizing those designs to be used in their science experiments.To this end, through ethnographic field work and participatory design, my doctoral research explores such practical challenges faced by open science practitioners and tries to create new mediums and workflows to support efficient and inclusive dissemination of OSH.

Dynamic elements of the drawing process (e.g., order of compilation, speed, length, and pressure of strokes) are considered important because they can reveal the technique, process, and emotions of the artist. To explore how sensing, visualizing, and sharing these aspects of the creative process might shape art making and art viewing experiences, we designed a research probe which unobtrusively tracks and visualizes the movement and pressure of the artist's pencil on an easel. Using our probe, we conducted studies with artists and art viewers, which reveal digital and physical representations of creative process as a means of reflecting on a multitude of factors about the finished artwork, including technique, style, and the emotions of the artists. We conclude by discussing future directions for HCI systems that sense and visualize aspects of the creative process in digitally-mediated arts, as well as the social considerations of sharing and curating intimate process information.

The integration of new digital and physical fabrication tools with fine arts has the potential to provide new outlets for artistic expression, while at the same time raising questions about the role of material and process in artistic practice. In this work, we present Lithobox, a system that translates the traditional ceramic and lighting technique of lithophanes into a means of creating illuminated 3D models through a creative approach that utilizes both digital and tangible construction. Through work sessions with nine artists, we explored how the Lithobox fabrication process impacted the way artists manifest design ideas and engage in creative exploration in crafting. At the TEI arts track, we plan to show our system and the physical lithophanes from our work with artists. The attendees will likely discuss the design, material, and artistic aspects of our exhibit. From these discussions, our goal is to gain insight into beneficial directions for integrating digital technology into traditional fine arts practices.

Our work links hybrid practices from biology, fine arts, and design in a studio setting to support materially-oriented engagement with biotechnology. Using autoethnographic methods, we present our two-year process of converting an HCI studio into a BSL-1 (biosafety level 1) facility, our iterative development of low-cost tools, and our own self-reflexive experimentation with (DIY)bio protocols. Insights from this work led us to design a weeklong bioart course, whereby junior highschool students creatively "painted" with bacteria and antibiotic substances, digitally designed stencils from the resulting petri dish images, and screenprinted them onto physical artifacts. Our findings reveal the nuances of working with biological, analog, and digital materials in a design studio setting. We conclude by reflecting on DIYbio studio as a gathering of diverse actors who work with hybrid materials to give physical form to matters of concern.

Dynamic elements of traditional drawing processes such as the order of compilation, and speed, length, and pressure of strokes can be as important as the final art piece because they can reveal the technique, process, and emotions of the artist. In this paper, we present an interactive system that unobtrusively tracks the freehand drawing process (movement and pressure of artist»s pencil) on a regular easel. The system outputs captured information using 2D video renderings and 3D-printed sculptures. We also present a summery of findings from a user study with 6 experienced artists who created multiple pencil drawings using our system. The resulting digital and physical outputs from our system revealed vast differences in drawing speeds, styles, and techniques. At TEI art track, the attendees will likely engage in lively discussion around the analog, digital, and tangible aspects of our exhibit. We believe that such a discussion will be critical not only in shaping the future of our work, but also in understanding novel research directions at the intersection of art and computation.

This paper focuses on manual screenprinting as a DIY fabrication technique for embedding interactive behavior onto a rage of substrates such as paper, fabric, plastic, wood, or vinyl. We frame screenprinting as a process that operates at the intersection of art, technology, and material science and iteratively examine its potential in two STEAM contexts. We conducted youth and adult workshops whereby participants worked with our low-cost thermochromic, UV-sensitive, and conductive screenprinting inks to develop a range of concepts and final projects. Our findings highlight several unique features of screenprinting: it affords a low barrier to entry for smart material fabrication, supports a collaborative maker practice, and scaffolds creative engagement with STEAM concepts. By being widely-accessible and substrate-agnostic, screenprinting presents exciting opportunities for TEI: DIY fabrication of smart materials in domains such as fine arts, information visualization, and slow technology; and bridging diverse disciplines through STEAM screenprinting initiatives at youth and adult levels.