Beyond environmental conservation, the broader sustainable development of social robotics requires the efforts of diversified practices, in which the widest possible scope of cultures and perspectives contribute to HRI discourses. The field of Cultural Robotics has developed beyond recognising the deep cultural impact of social robotics, and practitioners must now look to platform the sharing and integration of culturally developed sustainable methodologies. Embedded within different cultures are a rich variety of collaborative practices of knowledge sharing, community leasing of resources, methods for reusing, repairing and customising technology, and contemporary recycling methods. These circular economy principles have an integral application to social robotics, in managing the long-term environmental impact of robotics, as well as ensuring this social technology is developed in the most inclusive way possible. In this workshop, participants engage with topics such as eco-friendly material selection, ethics for human-robot coevolution, lean and modular design methodologies, and strategies for ensuring robotics applications are adaptable across different cultural contexts. The workshop features expert presentations, interactive discussions, and hands-on activities that reflect emerging practices in sustainable and culturally informed robotics. Contributions are invited from diverse cultural perspectives to explore how social robotics development can effectively integrate circular economy principles to support environmentally responsible and socially inclusive innovation. Selected contributors will present during the workshop panel sessions, and all accepted papers will be compiled into a comprehensive publication, serving as a valuable resource for practitioners and researchers dedicated to advancing sustainability and cultural integration in robotics development.

In this paper, we present a synergy of technology and traditional craft made possible with AmbiKraf Byobu. AmbiKraf is a non-emissive, color-changing fabric technology that allows subtle animations on fabrics. Byobu is a traditional Japanese room-divider screen, usually painted by artisans and crafts people. We first discuss the organic qualities of AmbiKraf technology that particularly lend itself to traditional art and craft practice. These qualities include the animation of ambient, non-intrusive and calming motifs using non-emissive display characteristics. We then discuss in detail how AmbiKraf technology is implemented and paired with the art form of Byobu. Interaction with the system is also briefly touched upon, as well as discussion regarding the cultural implications and mutual benefit of combining technology with traditional craft. Through the use of AmbiKraf technology embodied by the Byobu, we hope to provide a convincing example that sensitively combines traditional textile crafts with new technology in order to help redefine the meaning and role of traditional textiles.

Paper, as a traditional material for art and communication, shows great potential as a medium for organic user interfaces, with its ubiquity and flexibility. However, controlling and powering the sensors and actuators that enable interactive paper-crafts has not been fully explored. We present a method of selective inductive power transmission (SIPT) to support interactive paper-crafts. The novelty of this method is that the power transmitter can be controlled to selectively activate one specific receiver at a time through inductive power transferring with multiple receivers. This was achieved by changing the output frequency of the power transmitter to match the impedance of the receivers. The receivers could be embedded or printed to drive paper-crafts. Based on inductor–capacitor oscillating circuit and a function generator with a power amplifier, we developed two different prototypes of SIPT. By comparing the performance of both prototypes, we discussed the advantages and disadvantages of the two systems, and their applications in different contexts of paper-crafts. In addition, we proposed the instructions for using SIPT in developing interactive paper-crafts. With this technology and instructions, we hope to facilitate users to easily design new types of paper-craft systems without being concerned about the arrangement of wire connections to power supply on a massive scale.

In this paper we outline a genealogy of Mixed Reality Lab (MXR) projects, their influencing factors both from the Asian region and also within the lab, the employment of "Blue-Sky Innovation" by the lab for ideation, collaboration and project generation, as well as discuss some major points of inspiration for MXR from various sources.

The pervasiveness of computing has extended into domestic realms, including the dining room. Beyond simply a place to consume food, the dining room is a social hub where family members meet and share experiences. Yet busy lifestyles can make it difficult to spend social time with your family. To provide a new solution for family bonding, this paper presents the CoDine system, a dining table embedded with interactive subsystems that augment and transport the experience of communal family dining to create a sense of coexistence among remote family members. CoDine connects people in different locations through shared dining activities: gesture-based screen interaction, mutual food serving, ambient pictures on an animated tablecloth, and the transportation of edible messages. Rather than focusing on functionality or efficiency, CoDine aims to provide people with an engaging interactive dining experience through enriched multi-sensory communication.