As parts of our planet continue to experience extreme heat waves, it is more urgent than ever for human-food interaction research to examine climate-resilient and sustainable food practices. Our work, conducted in the hottest city in the USA, focuses on solar cooking as a set of creative DIY activities that use extreme heat and mitigate human impact on the environment. We report on a summer-long study whereby 7 enthusiasts built solar ovens from scratch and experimented with solar recipes ranging from slow-cooked pork and chicken to bread, kale chips, brownies, jerky, and fruit rollups. Our findings depict solar cooking as a form of iterative DIY, which, through its challenges and creative workarounds, serves as a point of engagement with both food and extreme heat. We reflect on solar cooking as a climate-resilient food practice and conclude with design considerations for HCI to support solar cooking as a habitual community practice.

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.

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.

The Urban Heat Island Effect (UHI) is a phenomenon whereby cities tend to be hotter than suburbs. We frame the UHI as a "wicked problem" that poses a range of economic, healthcare, and social challenges. Our paper examines how different stakeholders negotiate complex value systems, collect data, and rely on collaborative platforms to address the problem of urban heat. Using documentary filmmaking as a research method, we conducted ethnographically-oriented interviews with participants including vulnerable communities, urban architects, microclimate researchers, and grassroots activists. Our findings reveal that unlike problems that can be solved using traditional HCI paradigms of distributed work, the UHI presents an entanglement of challenges that do not necessarily converge on a single solution. We conclude by discussing two opportunities for addressing wicked problems through social computing: knowledge systems for sharing hybrid data across domains and interactive forums for discourse among diverse actors.

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.

Focusing on food as a platform for everyday science, this paper details our fieldwork with practitioners who routinely experiment with preserving, fermenting, brewing, pickling, foraging for, and healing with food. We engage with these at-home science initiatives as community-driven efforts to construct knowledge and envision alternatives to top-down modes of production. Our findings detail the motivations, challenges, and workarounds behind these practices, as well as participants' hybrid lay-professional knowledge, and the iterative mechanisms by which their expertise is scaffolded. Our paper contributes to CHI's amateur/citizen science research by examining how social, digital, and physical materials shape scientific literacy; and to sustainable HCI by presenting habitual practice as an alternative (bottom-up) form of food production and preservation.

Low-cost genetic sequencing, coupled with novel social media platforms and visualization techniques, present a new frontier for scientific participation, whereby people can learn, share, and act on data embedded within their own bodies. Our study of 23andMe, a popular genetic testing service, reveals how users make sense of and contextualize their genetic results, critique and evaluate the underlying research, and reflect on the broader implications of genetic testing. We frame user groups as citizen science publicsgroups that coalesce around scientific issues and work towards resolving shared concerns. Our findings show that personal genetics serves as a site for public engagement with science, whereby communities of biological citizens creatively interpret, debate, and act on professional research. We conclude with design trajectories at the intersection of genetics and creativity support tools: platforms for aggregating hybrid knowledge; tools for creative reflection on professional science; and strategies for supporting collaborations across communities.

DIYbio (Do It Yourself Biology) is a growing movement of scientists, hobbyists, artists, and tinkerers who practice biology outside of professional settings. In this paper, we present our work with several open source DIYbio tools, including OpenPCR and Pearl Blue Transilluminator, which can be used to test DNA samples for specific sequences. We frame these platforms as things that gather heterogeneous materials and concerns, and enable new forms of knowledge transfer. Working with these hybrid systems in professional and DIY settings, we conducted a workshop where non-biologists tested food products for genetic modifications. Our findings suggest new design directions at the intersection of biology, technology, and DIY: i) DIYbio platforms as rich tools for hybrid knowledge production; and ii) open source biology as a site for public engagement with science.

We present an ultra low-cost sensing system, which enables participants to see and reflect on the particulates in their air. Drawing on prior work in paper computing, we introduce small sensors for particulate pollution that can be easily assembled from common paper materials for less than $1 USD, and mailed by regular postal service to residents of entire neighborhoods, cities, or geographic regions. Recipients collect particulate samples using these sensors and mail them back to a central location, where the particles are viewed and analyzed via a microscope. The data, which includes rich images of actual air pollution particles, can then be broadcast to larger audiences. This paper details the design of our system and its deployment with a local air quality activist community. We conclude by highlighting the tradeoffs between high-tech and low-tech sensing, and suggest opportunities for tangible interaction to support rich, new ways of seeing our environment.

We present the design and deployment of a bio-electronic sensing system. This system visualizes bacterial activity inside Winogradsky columns, which incubate soil samples to culture the naturally occurring microorganisms as they process metals and nutrients in the soil. Our month-long deployments with two urban communities offer insights into individual and collective appropriations of living sensing systems. These findings reveal future design trajectories that build on emergent themes in HumanComputer Interaction (HCI), including: new perspectives on materiality, which arise from integrating organic materials with the digital; a reframing of time, as systems shift from providing instant feedback to supporting prolonged engagement; and an emphasis on collective modes of participation beyond individual behavior change.

Over the past decade, a diverse community of biologists, artists, engineers and hobbyists has emerged to pursue biology projects outside of traditional laboratories. Though still in its nascent form, this DIYbio (Do It Yourself Biology) movement has given rise to a host of technical innovations and sharing mechanisms that enable hobbyists to experiment with organic materials. As these developments continue to expand science practice beyond professional settings and into hackspaces, art studios and private homes, HCI research is presented with a range of new opportunities and concerns.

DIYbio (Do It Yourself Biology) aims to 'open source', tinker and experiment with biology outside of professional settings. In this paper, we present the origins, practices, and challenges of DIYbio initiatives around the world. Our findings depict DIYbio as operating across intersections ('seams') between a range of stakeholders, materials and concerns. To map out the role of Human Computer Interaction (HCI) across these seams, we present design exercises (functional prototypes) that explore three areas for future work: internal collaboration tools within the DIYbio and professional community; mechanisms for external communication with stakeholders from the general public; and bio-electronic assemblies of organic and digital materials. In doing so, we hope to critically re-envision the role of HCI at the emerging intersection of biology, computation and DIY.

Our work explores the convergence between participatory sensing, political activism and public expressions. Unlike prior research, which focuses on personal sensing, we present low-cost, networked air quality sensors, designed to be repositioned across public landscapes by communities of citizen stakeholders. Our GPS-enabled sensors report dust, exhaust, or VOC's (volatile organic compounds), along with temperature, humidity and light levels to a website that visualizes this data in real time. The sensors can be attached to a variety of surfaces serving as research probes to demarcate ('tag') public spaces with environmental concerns. We deploy our fully functional system with four urban communities - parents, bicyclists, homeless and activists, positioning our system as a tool for studying and supporting community togetherness and public activism. Our findings highlight community sharing of the physical sensors and dialogues surrounding the collected data.

With over 13.3 million children living below poverty line in the United States, there is a pressing need for engaging HCI research with children at the socio-economic margins. Drawing from design studio culture and art therapy literature, we explore wearable computing as a creative and tangible medium (similar to markers, paints, clays, etc.) for motivating 'at-risk' children in hands-on making and expressive instantiation of ideas. Working with a local outreach organization for 'at-risk' middle school girls, we conducted five weekly workshops during which participants ideated, designed and implemented personal wearable computing projects. These sessions inspired participants (age 10-12) who tend to be uninterested and uncooperative in educational activities to complete interactive projects and engage with workshop volunteers as mentors and peers. We present the challenges, merits and outcomes of our approach, proposing wearable computing as a healing outlet and a mentoring strategy for at-risk children.

Spectacle computing is a novel strategy for vibrantly projecting information into the public sphere using expressive and tangible media. We demonstrate an example of this computing meme with large, glowing balloons that change color based on input from attached air quality sensors (exhaust, diesel, or volatile organic compounds). In two public installations (city street and public park) and a deployment with six everyday citizens, we invited stakeholders to playfully explore and actively participate in visualizing surrounding air quality. We also created a do-it-yourself (DIY) kit that includes a printed circuit board, electronic parts and instructions for building the air quality balloons. In a workshop, six non-expert users successfully assembled functional balloons, validating our technology as a DIY tool for public air quality visualization. Our deployments and workshop highlight play and spectacle as essential elements for public participation and activism. We outline design guidelines for future spectacle computing projects that engage stakeholders with environmental data and empower them to transform urban landscapes.

Sensing has played a significant role in the evolution of ubiquitous computing systems, enabling many of today's compelling interactive and ubiquitous experiences. In this paper, we argue for expanding the current landscape of sensing to include living organisms such as plants and animals, along with traditional tools and digital devices. We present a field study of ten individuals who routinely work with living organisms such as plants, fish, reptiles and bees, and rely on these organisms as well as analog instruments and digital sensors to infer environmental conditions and inform future actions. Our findings offer a new perspective on everyday biomarkers, and we use the lens of organic and non-digital sensing to reflect on current sensing paradigms in ubiquitous computing. We conclude with three opportunity areas to help frame future work in ubiquitous sensing: (1) incorporating traditional technologies and living systems into ubiquitous sensing applications, (2) developing information technologies that teach new ways of 'seeing', and (3) supporting richer forms of metadata to unite stakeholders through their actions, interests and concerns.

Recent convergence between low-cost technology, artform and political discourse presents a new design space for enabling public participation and expression. We explore non-experts' use of place-based, modular sensors to activate, author and provoke urban landscapes. Our work with communities of bicyclists, students, parents, and homeless people suggests design opportunities for merging grassroots data collection with public expressions and activism. Members of each community were given probes that represent the measurement of exhaust, smog, pathogens, chemicals, noise or dust, and asked to engage with them as fully functional sensors over the course of one week. Our findings offer insights into participation, environmental sensing, and data sharing within and across four different communities, revealing design implications for future sensing systems as instruments of social currency and political change.

Street art and political activism have a rich history of shaping urban landscapes. Our work explores the processes by which public artists and political activists contribute to public spaces, introducing opportunities for HCI researchers to engage with the people who shape the aesthetic feel of our cities. We present WallBots-autonomous, wall-crawling robots as a research probe for public expression across a wide range of surfaces and hard-to-reach places, including bus stops, whiteboards, streetpoles, trashcans, moving vehicles and building walls. We evaluate WallBots as a low-cost DIY authoring tool for public artists and activists. Our study of six individuals who extensively contribute to public spaces offers insights into the materials and practices behind grassroots public expression. We then leverage feedback from participants, among them a graffiti artist, light painter, political activists, and street musician, to evaluate interaction techniques for manipulating WallBots as a medium for public expression across a range of surfaces. Our findings expose a research space for technological interventions in the context of street art, and we conclude with design insights for magnetic kinetic systems as an approach for supporting engagement, expression and creativity in public spaces.

Water is our most precious and most rapidly declining natural resource. We explore pervasive technology as an approach for promoting water conservation in public and private spaces. We hope to motivate immediate reduction in water use as well as higher-order behaviors (seeking new information, etc) through unobtrusive low-cost water flow sensing and several persuasive displays. Early prototypes were installed at public faucets and a private (shared) shower, logging water usage first without and then with ambient displays. This pilot study led to design iterations, culminating in long-term deployment of sensors in four private showers over the course of three weeks. Sensors first logged baseline water usage without visualization. Then, two display styles, ambient and numeric, were deployed in random order, each showing individual and average water consumption. Quantitative data along with participants' feedback contrast the effectiveness of numeric displays against abstract visualization in this very important domain of water conservation and public health.

Progress bars are prevalent in modern user interfaces. Typically, a linear function is employed such that the progress of the bar is directly proportional to how much work has been completed. However, numerous factors cause progress bars to proceed at non-linear rates. Additionally, humans perceive time in a non-linear way. This paper explores the impact of various progress bar behaviors on user perception of process duration. The results are used to suggest several design considerations that can make progress bars appear faster and ultimately improve users' computing experience.