Recent trends in gaming diversification have shown that women are both an increasingly significant pool of consumers and game producers, and regular victims of misogynistic harassment. Such observations stress the importance of investigating the complex relationships of women and gaming. In this paper, we draw upon perspectives from Feminist HCI to extend the current knowledge of issues in gaming that are specific to women. We present results from a mixed-methods study with 327 participants who are students and alumnae of a women's college. Our findings shed light on the complex relationships of women with games, with other gamers, and with gaming culture and industry. The results also indicate that in some cases gender-related negative experiences of gaming have lasting impact on the participation and self-confidence of young women. We conclude by discussing the implications of our findings for the design of games, game development education, and for the study of gaming.

The integration of electronics and paper is a burgeoning topic for tangible interaction. Here we show how to use the Korean technique of hand-felting paper known as joomchi to embed electronics in paper after the sheet forming process. This method requires the use of specialized papers that are amenable to joomchi. We present embedded LEDs, multi-layer circuit "sheets", and speakers. While labor-intensive, joomchi both enables one to completely integrate paper and electronics, while also making tangible connections between ancient and modern craft.

Sustainable HCI is now a recognized area of human-computer interaction drawing from a variety of disciplinary approaches, including the arts. How might HCI researchers working on sustainability productively understand the discourses and practices of ecologically engaged art as a means of enriching their own activities? We argue that an understanding of both the history of ecologically engaged art, and the art-historical and critical discourses surrounding it, provide a fruitful entry-point into a more critically aware sustainable HCI. We illustrate this through a consideration of frameworks from the arts, looking specifically at how these frameworks act more as generative devices than prescriptive recipes. Taking artistic influences seriously will require a concomitant rethinking of sustainable HCI standpoints - a potentially useful exercise for HCI research in general.

The division between subject and object, agent and non-agent, has consistently been dubious philosophically. Now we are increasingly faced with computational objects and relational artifacts that put into question cherished notions of human agency and intentionality. I describe one such object, syngva, a creature that develops through evolutionary processes idiosyncratic movements in response to non-speech vocalizations. syngva serves two parallel roles. For the user, syngva enables a form of non-linguistic expression, serving as a catalyst for novel vocal behaviors provoked by the motions of the object. For myself, syngva acts as a sociological probe, allowing me to study in-situ relationship formation, agency, and control in response to an "intelligent" creature. I describe an evaluation approach that draws heavily from actor-network theory (ANT), a methodology that in part places objects on the same ontological level as human agents. This re-centering of agency intimates a different way of looking at the person-object dyad that focuses on the interactions themselves without reference to pre-existing theories.

Beginning in the middle of the twentieth century, composers of experimental music developed a number of new notational representations, most often falling under the category of graphical scores. John Cage's Variations II is a prime example, utilizing only dots and lines as its basis. I describe an interactive version of Cage's piece, called here Variations 10b, where a performer can change the score and receive immediate auditory feedback as to the results of the manipulation. This stands in contrast to the process of working through the analog score, where the aural output was not coincident with movement of the dots or lines. I suggest that creating and using digital versions of these early experimental music works radically changes the process of interacting with the pieces.