{"id":7987,"date":"2026-07-13T15:59:02","date_gmt":"2026-07-13T15:59:02","guid":{"rendered":"https:\/\/cc.acm.org\/2026\/?page_id=7987"},"modified":"2026-07-13T18:34:57","modified_gmt":"2026-07-13T18:34:57","slug":"proceedings","status":"publish","type":"page","link":"https:\/\/cc.acm.org\/2026\/proceedings\/","title":{"rendered":"Proceedings"},"content":{"rendered":"\n<style>\ncode{\n background: #0000008a;\ncolor: #f48b5a;\nborder-radius: 4px;\npadding: 4px;\n}\n.wp-site-blocks{\n    padding-left: 0px;\n    padding-right: 0px;\n    position: relative;\n    overflow: hidden;\n}\n\n.wp-container-6 > *{\n    display: none;\n}\n\n.wp-container-7 > :where(:not(.alignleft):not(.alignright)){\n    max-width: 100vw !important;\n}\n\n.wp-container-7{\n    display: flex !important;\n    align-items: center !important;\n    flex-direction: column;\n    max-width: 100% !important;\n    margin-block-start:0px;\n}\n.wp-container-9{\n    width: 100%;\n}\n.wp-container-4{\npadding-bottom: 0px !important;\n}\n.wp-block-spacer{\ndisplay:none;\n}\n.wp-site-blocks > * + *, .wp-container-7 > * + *{\nmargin-top:0px;\n}\n.wp-block-image{\npadding: 0 20px !important;\n}\n\n.wp-container-12{\ndisplay:none;\n}\n\n\n\n.content{\n    background: #000000b8; \n    margin-left: 0px !important; \n    margin-right: 0px !important;\n    padding: 50px 0 50px 0;\nwidth: 100%;\nmin-width:350px;\ndisplay: flex;\njustify-content: center;\n\n}\n\n.text{\n    max-width: 650px;\n    margin: auto 20px auto 20px !important;\nwidth:100%;\n}\n\n\n.wp-site-blocks::before{\n    content: '';\n    position: fixed;\nbackground:#000;\n    z-index: -1;\nwidth:100%;\nheight:300%;\n}\n\n\n.vi {\n    position: fixed;\n    width: auto;\n    height:100vh;\n    object-fit: cover;\nz-index:-1;\ntop:0px;\n}\n\n\n\nbody{\n    color: #fff;\n    font-family: Helvetica;\nfont-size: 18px;\n}\n\na{\n    color: #fff;\nword-wrap: break-word !important;\n    word-break: normal !important;\n}\n\nh4,h3{\n    font-family: Helvetica;\n}\n\nh1{\ncolor:#F0FEFF;\ntext-shadow: 0px 0px 8px #F0FEFF;\nfont-family: Helvetica;\nfont-weight: 400;\nfont-size: 8em !imprtant;\npadding: 20px 0 120px 0 !important;\n}\n\n.h3-title{\ncolor:#F0FEFF;\ntext-shadow: 0px 0px 9px #F0FEFF7d;\nfont-family: Helvetica;\nfont-weight: 400;\nfont-size: 72px;\nbackground: \n    url('https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2024\/12\/Dots.png') no-repeat left center \/ auto 100%, \n    url('https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2024\/12\/Dots.png') no-repeat right center \/ auto 100%;\npadding: 0 15px;\nmargin: 1em 0;\n}\n\n.highlight{\n    color:#DFFF03;\n}\n\n\n@media screen and (max-width: 480px) {\n    \n    body {\n        font-size: 16px; \n    }\n    .h3-title{\n        font-size: 36px;\n    }\n    h1{\n        padding: 20px 0 40px 0 !important;\n    }\n    .content{\n        padding:30px 0 30px 0;\n    }\n.vi {\n \n    height: 120vh;\n   \n}\n}\n<\/style>\n\n<meta name=\"google-site-verification\" content=\"4GZxygJTkg1O_92UfoWX1LhmiKo6U8Cx0bbWhbwHx6M\">\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"576\" src=\"https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2-1024x576.png\" alt=\"\" class=\"wp-image-7160\" srcset=\"https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2-1024x576.png 1024w, https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2-300x169.png 300w, https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2-768x432.png 768w, https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2-1536x864.png 1536w, https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/06\/Top-graphics-2.png 1920w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<!-- <video id=\"cloud\" class=\"vi\" autoplay=\"\" loop=\"\" muted=\"\" playsinline=\"\">\n    <source src=\"https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/11\/FOREST.mp4\" type=\"video\/mp4\" poster=\"https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/01\/cloud.jpg\">\n<\/video>-->\n<img id=\"cloud\" class=\"vi\" src=\"https:\/\/cc.acm.org\/2026\/wp-content\/uploads\/2025\/01\/forest.jpg\" alt=\"Forest\">\n\n\n\n<h1>PROCEEDINGS<\/h1>\n\n\n\n<div class=\"content\">\n    <div class=\"text\">\n\n<div id=\"DLtoc\">\n         <div id=\"DLheader\">\n<a class=\"DLcitLink\" title=\"Go to the ACM Digital Library for additional information about this proceeding\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/proceedings\/10.1145\/3803784\"><img class=\"DLlogo\" alt=\"Digital Library logo\" height=\"30\" src=\"https:\/\/dl.acm.org\/specs\/products\/acm\/releasedAssets\/images\/footer-logo1.png\">\n               Full Citation in the ACM Digital Library\n               <\/a><\/div>\n         <div id=\"DLcontent\">\n\n<!--\n            <h3>SESSION: Workshops<\/h3>\n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3804470\">Mapping the Landscape of AI in Design and Creative Education<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Samangi Wadinambiarachchi<\/li>\n               <li class=\"nameList\">Heekyoung Jung<\/li>\n               <li class=\"nameList\">Maria Luce Lupetti<\/li>\n               <li class=\"nameList\">Tilman Dingler<\/li>\n               <li class=\"nameList\">Dave Murray-Rust<\/li>\n               <li class=\"nameList\">Graham Dove<\/li>\n               <li class=\"nameList Last\">Abdallah El Ali<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Artificial intelligence is increasingly diffusing into design and creative education,\n                     reshaping how students ideate, iterate, and produce work. While these tools offer\n                     clear benefits in terms of speed and experimentation, they also challenge long-standing\n                     pedagogical assumptions regarding the importance of process, authorship, and studio-based\n                     learning. Educators are therefore faced with a dual task: mitigating the risks AI\n                     poses to reflective, process-oriented design while simultaneously exploring ways to\n                     meaningfully integrate these technologies into curricula. Through working group activities,\n                     this workshop examines these tensions to identify emerging strategies for the critical\n                     and transparent use of AI. Ultimately, we aim to address current knowledge gaps, establish\n                     a collaborative research agenda, and build a network to support AI collaboration in\n                     design and creative education.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n -->           \n            \n            \n            <h3>SESSION: Graduate Student Symposium<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3804471\">Designing Creativity Supportive Ecosystems<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Shm Garanganao Almeda<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Creativity Support Tool (CST) research in HCI spans an increasingly vast space of\n                     tools for supporting creative activity. But creative communities are facing issues\n                     that emerging technologies tend to neglect, or even exacerbate\u2014from plagiarism to\n                     algorithmic \u201ccrowding effects\u201d on social media platforms. Rapid advances in Generative\n                     AI have amplified many such socioculturally-entangled creativity support issues. My\n                     thesis formalizes Creativity Supportive Ecosystems: a framework for approaching CST\n                     research as an intervention into artistic worlds. I present three systems that apply\n                     and codify this theory through practice. We instrument each as a probe in discovery-oriented\n                     evaluation studies, exploring how creative activity research in HCI can extend beyond\n                     a single user\u2019s isolated processes, towards understanding the broader effects our\n                     interventions can have on networks of creative activity. This approach reframes the\n                     role of the technology designer as a contributor to the collective shaping of spaces\n                     where ecosystems of creative activity can sustainably thrive.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3804474\">From Spectators to Co-Creators: Designing Social XR Frameworks Incorporating Nonverbal\n                  GenAI and Real-Time Data in Co-Located XR Experiences<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Timothi Lim<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Co-located Extended Reality (XR) installations increasingly seek to support social\n                     and cooperative play. However groups can struggle to coordinate and interpret cues\n                     to act, which inhibits their participation in the experience of the installation.\n                     My practice-based PhD thus investigates how nonverbal sensorial feedback, driven by\n                     real-time data and mediated by generative artificial intelligence (GenAI) facilitators,\n                     might support pro-social and co-creative group play in room-scale co-located social\n                     XR installations. Developed in Unreal Engine 5, my extended reality (XR) installation\n                     integrates Azure Kinect Sensors to TouchDesigner and streams real-time data via Open\n                     Sound Control (OSC), which feeds into the GenAI facilitation layer. The GenAI facilitation\n                     layer parses the data and returns cue actions that Unreal enacts as a world-anchored\n                     audiovisual intervention that the groups can then coordinate and interpret. Through\n                     convergent mixed-methods analysis, I examine how groups interpret cues, how norms\n                     emerge during play, and which design configurations help scaffold cooperative pro-social\n                     play. The outcome of my PhD is an emerging evidence-led Social XR Framework that offers\n                     reusable design patterns for nonverbal GenAI Facilitation and my installation projects\n                     as research artefacts that can be reproduced in different contexts by other researchers.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h3>SESSION: Papers and Pictorials: AI Feedback, Refinement, and Refusal<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807536\">What Makes an AI Writing Companion a Good Fit? A Personality-Informed Co-Design Study<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Mengke Wu<\/li>\n               <li class=\"nameList\">Kexin Quan<\/li>\n               <li class=\"nameList\">Weizi Liu<\/li>\n               <li class=\"nameList\">Mike Yao<\/li>\n               <li class=\"nameList Last\">Jessie Chin<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The growing popularity of AI writing assistants creates exciting opportunities to\n                     support diverse writers. This study examines how personality shapes expectations for\n                     AI writing companions and how personality-informed design can enhance human\u2013AI teaming\n                     in writing. Through exploratory co-design workshops with 24 writers representing different\n                     personality profiles, we elicited values and design ideas for AI writing companions\n                     spanning functionality, interaction dynamics, and visual representation. These insights\n                     informed two contrasting prototypes reflecting distinct writing orientations, used\n                     as design provocations in review-and-refinement workshops with eight participants\n                     to prompt reflection on fit, priorities, and writing practices. Our findings reveal\n                     both shared foundational needs across writers and meaningful personality-driven preferences\n                     that influence how writers engage with AI. This work underscores the importance of\n                     team matching in human-AI collaboration and demonstrates how aligning AI companions\n                     with individual cognitive and interpersonal needs can improve engagement and perceived\n                     collaboration effectiveness.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807569\">Co-Designing an AI Feedback Tool for Visual Artists<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Hannah Johnston<\/li>\n               <li class=\"nameList\">Naomi Pappin<\/li>\n               <li class=\"nameList Last\">David Thue<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Visual artists often use critique to improve their work, but traditional feedback\n                     methods are limited by scheduling constraints, emotional difficulties, and one-size-fits-all\n                     approaches. While Artificial Intelligence (AI) systems like Multimodal Large Language\n                     Models could provide tailored and convenient feedback, existing conversational interfaces\n                     have not been optimized for this purpose. We conducted a co-design study to understand\n                     artists\u2019 requirements and preferences for an AI feedback tool. Participants valued\n                     the objectivity and availability of an AI tool, but wanted non-intrusive guidance\n                     that preserved their sense of ownership. Such a tool must adapt to project life-cycles,\n                     maintain contextual memory, and support free-form input with spatially grounded multimodal\n                     output. Differences in AI persona preferences necessitate configurable, but \u201csticky\u201d,\n                     controls. From these findings, we developed a prototype, which our participants assessed,\n                     leading to design insights and interface refinements. Our work helps inform the design\n                     process of future AI-based creativity support tools.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            <h3>SESSION: Archives, Heritage, and Historical Sensemaking<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807554\">TimeCapsule: Generative Hallucination as a Method for Historical Sensemaking<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Hayk Grigorian<\/li>\n               <li class=\"nameList Last\">Hamed Yaghoobian<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Large Language Models (LLMs) are temporally overexposed: trained on vast contemporary\n                     corpora, they encode present-day concepts that make them unreliable narrators of the\n                     past. We present TimeCapsule, a 1.2B-parameter LLaMA-style causal model trained exclusively on Victorian texts\n                     (1800\u20131875) as an epistemologically isolated generative archive. Quantitative evaluation\n                     shows a 45.4% perplexity reduction over a GPT-2 baseline on held-out Victorian prose,\n                     while larger contemporary causal models achieve lower raw perplexity through broader\n                     pretraining but lack temporal isolation. TimeCapsule exhibits computational sensemaking, generating historically plausible analogical\n                     explanations for unfamiliar modern concepts (<em>e.g.<\/em>, describing a computer as a \u201chypertrophied lung\u201d). A qualitative hermeneutic probe\n                     with two humanities scholars revealed a crisis of authenticity, as both misclassified\n                     approximately 40% of genuine Victorian excerpts as machine-produced. We argue that\n                     structural ignorance of the future transforms hallucinations into interpretive probes\n                     of nineteenth-century ontologies.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807556\">Playable Archives: Balancing Historical Accuracy and Player Freedom via RAG-Enhanced\n                  AI Game Mechanics<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yang Chen<\/li>\n               <li class=\"nameList\">Zhuonan Xu<\/li>\n               <li class=\"nameList\">Hao Yang<\/li>\n               <li class=\"nameList Last\">Kairan Liu<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>A fundamental tension exists in digital heritage: strict adherence to historical authenticity\n                     often results in passive experiences, while unconstrained interactivity risks distortion\n                     and hallucination. We present Playable Archives, a system where players experience\n                     Grounded Imagination, exploring counterfactual history while staying anchored to authentic\n                     constraints. Our RAG-enhanced architecture employs a knowledge graph derived from\n                     classical texts to constrain AI generation within historical boundaries. Central to\n                     our approach is AI Game Mechanics, where AI drives core game mechanisms, including\n                     generating skill cards, synthesizing narratives, and adjudicating outcomes, so that\n                     storytelling directly determines gameplay results. Evaluation of an AI-powered Three\n                     Kingdoms card game suggests this approach can encourage critical historical speculation;\n                     participants reported that constraints \u201cactually stimulated imagination.\u201d We contribute\n                     Playable Archives as an approach for cultural heritage games that shifts engagement\n                     from passive memorization to active, speculative inquiry, demonstrated through the\n                     Three Kingdoms card game.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809283\">In Search of Lost Times: Reimagining Mixed Reality for an Ancient Site<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Bob Rimington<\/li>\n               <li class=\"nameList\">Tom Blount<\/li>\n               <li class=\"nameList\">Joey Jones<\/li>\n               <li class=\"nameList\">Emily-Rose Baker<\/li>\n               <li class=\"nameList\">James Jordan<\/li>\n               <li class=\"nameList\">Yoan-Daniel Malinov<\/li>\n               <li class=\"nameList Last\">David Millard<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Mixed Reality games offer new ways to experience cultural heritage spaces, yet their\n                     contemporary aesthetics can conflict with the spirit of place of ancient sites. These\n                     tensions often limit their deployment in places that might most benefit from the creative\n                     reimagining and engagement they afford. Working with the National Trust, we have designed\n                     and deployed a mixed reality smartphone game at the Avebury World Heritage Site in\n                     Wiltshire, UK; a Neolithic landscape that contains the world&#8217;s largest prehistoric\n                     stone circle. Drawing on an approach we call <em>Polyholomorphism<\/em> (many whole forms), we bring the player and their device into the experience as creative\n                     agents, transforming through different eras of time during the journey. This design\n                     invites reflection on technology&#8217;s changing relationship with place, fostering a sense\n                     of belonging to a continuing history. In doing so, it demonstrates how creative design\n                     can bridge temporal divides and contribute to more empathetic and transformative encounters\n                     with cultural heritage.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Accessible and Inclusive Creative Practice<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807538\">\u201cWho are you, the feelings machine?!\u201d: Using digital technology to support self-directed creative emotional expression among\n                  individuals with intellectual and developmental disabilities.<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Ila Krishna Kumar<\/li>\n               <li class=\"nameList\">Sara In\u00e1cio<\/li>\n               <li class=\"nameList Last\">Carrie Hyde-Riley<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We explore how creative, digital technologies can be leveraged to support the self-directed\n                     emotional expression of adults with intellectual and developmental disabilities (IDD).\n                     Many individuals with IDD face significant mental health challenges and are not having\n                     their needs met by existing care systems, leaving them to navigate difficult emotional\n                     experiences without support. Following the guidance of disability advocates, we focus\n                     on how services can be designed to support people in coping with emotions in ways\n                     that honor their fundamental right to make decisions about their actions and lives.\n                     We utilize non-verbal, creative mediums to support individuals in processing and expressing\n                     complex emotions that may be difficult to verbalize, as well as integrate digital\n                     technologies to facilitate independent reflection and creation. Specifically, we design\n                     a series of technology-based activities to encourage arts-based emotional reflection\n                     and expression, and introduce them to individuals with IDD in an environment that\n                     encourages them to make their own decisions about how and when to engage. In this\n                     paper, we analyze program artifacts to understand how individuals with IDD naturally\n                     use creative technologies for emotional processing and expression, in order to surface\n                     recommendations for how technology-based programs and tools can be designed to support\n                     these goals and honor individual needs, desires, and autonomy.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807547\">Art Card Game (ACG): Embedding Illustration in Gameplay to Mitigate Artist Self-Criticism<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Catherine Mullings<\/li>\n               <li class=\"nameList Last\">Michael Bernstein<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Persistent self-criticism\u2014harsh evaluative self-talk\u2014can undermine illustrators\u2019 performance\n                        and well-being. Traditional interventions draw on psychotherapeutic approaches (e.g.,\n                        compassion training) but sit outside the illustration workflow, requiring time, facilitation,\n                        and skill transfer. We propose an in-workflow alternative:\n                     <em>\n                        evaluative off-centering\n                        <\/em>\n                     , a mechanism redirecting self-critical evaluation away from an inherently self-evaluative\n                        task (like illustration) by embedding it in an alternative activity. We instantiate\n                        evaluative off-centering in Art Card Game (ACG) that integrates illustration into\n                        a card customization game: players illustrate cards that become playable assets in\n                        a head-to-head battle. In a four-day randomized controlled study with hobbyist and\n                        professional illustrators (<em>N<\/em> = 38), ACG outperformed a control condition with identical illustration constraints\n                        but no evaluative off-centering mechanisms (e.g. multiplayer, gameplay), yielding\n                        significantly higher pride in produced artwork and activity enjoyment. Pride and enjoyment\u2014positive\n                        affect states linked to lower self-criticism\u2014help explain how ACG reduces self-criticism.\n                        We discuss design implications for creativity support tools that apply evaluative\n                        off-centering across creative domains.\n                     <\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Creative Systems at Scale and Over Time<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807549\">Creativity in the BioFoundry: Supporting scientific creativity in the age of automation<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Mingyan Tian<\/li>\n               <li class=\"nameList Last\">Sarah Sterman<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Biofoundries automate biological experimentation at unprecedented scale, promising\n                     speed, reproducibility, and access. Yet automation also reshapes how scientists experience\n                     experimentation and creativity. Through in-depth interviews with nine scientists and\n                     experts across academia and industry (including biofoundry developers, automation\n                     engineers, and end-users), we examine how scientific creativity is enacted under automation.\n                     Biofoundries displace sensory cues, redistribute responsibility between humans and\n                     machines, and transform troubleshooting from an embodied, local practice into a predictive,\n                     social, and interpretive one. Rather than framing biofoundries as automation factories,\n                     we argue that they should be understood as Creativity Support Tools, whose design\n                     directly shapes how researchers notice breakdowns, exercise judgment, learn from failure,\n                     and progress through success. By connecting biofoundry practice with prior HCI work\n                     on automation, debugging, and distributed creativity, this paper demonstrates biofoundries\n                     as a distinctive and timely site for creativity research in science.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807566\">Supporting the Long Now: Building Technology for Tangible Interaction in a Decade-Long\n                  Exhibition<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Andy Sheen<\/li>\n               <li class=\"nameList Last\">Michail Vanis<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Designing interactive systems for long-term deployment in public museums introduces\n                     unique challenges that are not often addressed in research-through-design or domestic\n                     HCI contexts. In this paper, we document the technical development of three bespoke\n                     interactive devices embedded within a decade-long exhibition at a museum. Our work\n                     builds on the concept of research products, adapting their core principles to a fixed,\n                     high-traffic museum context. We describe the hardware and software strategies used\n                     to build robust, maintainable systems capable of evolving over time without reliance\n                     on external services. A year into the decade-long exhibition, we reflect on the role\n                     of maintenance, repair, and care in sustaining these systems throughout the lifetime\n                     of the exhibition, and contribute practical strategies for supporting longevity in\n                     tangible systems intended to live in the &#8220;long now&#8221;.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809276\">Making Exhibitions as We Research Through Art: The Exhibition Operations Kit<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">shuang cai<\/li>\n               <li class=\"nameList\">Yuanning Han<\/li>\n               <li class=\"nameList\">Avery Ko<\/li>\n               <li class=\"nameList\">Aiden Hwang<\/li>\n               <li class=\"nameList\">Erin Park<\/li>\n               <li class=\"nameList Last\">Sang-won Leigh<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Research Through Art is establishing artistic practice as a legitimate mode of inquiry,\n                     yet the operational work of exhibition-making remains under-articulated. While exhibitions\n                     are frequently used to present research-based artworks, they are often treated as\n                     outcomes rather than as structured research environments shaped by curatorial decisions.\n                     Building on the Research Through Art method, we combine first-person reflection and\n                     annotated portfolio to articulate a set of modular components that structure how such\n                     exhibitions are designed, staged, and encountered. Illustrated through a case study,\n                     <em>Perversion of Interfaces<\/em>\u2014an exhibition of research based critical objects\u2014we present basic operational modules\n                     for exhibition-based research output. These modules include shared curatorial prompts,\n                     interpretation layers, spatial and experiential planning, peripheral exhibition artifacts,\n                     public programming, and post-exhibition reflection. We hope this transferable framework\n                     can support educators and curators to present work as exhibitions and to develop modular\n                     toolkits for organizing art shows.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Generative AI as Creative Probe<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807532\">Artographer: a Curatorial Interface for Art Space Exploration<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Shm Garanganao Almeda<\/li>\n               <li class=\"nameList\">John Joon Young Chung<\/li>\n               <li class=\"nameList\">Sophia Liu<\/li>\n               <li class=\"nameList\">Yuwen Lu<\/li>\n               <li class=\"nameList\">Brett Halperin<\/li>\n               <li class=\"nameList\">Bjoern Hartmann<\/li>\n               <li class=\"nameList Last\">Max Kreminski<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Relating a piece to previously established works is crucial in creating and engaging\n                     with art, but AI interfaces tend to obscure such relationships, rather than helping\n                     users explore them. Embedding models present new opportunities to support spatially\n                     exploring and relating artwork. We built Artographer, an art-exploration system featuring\n                     a zoomable 2-D map, constructed from similarity-clustered embeddings of ~16,000 historical\n                     artworks. We used Artographer as a design probe to explore how alternative artwork\n                     distribution interface design can shape media engagement: we invited 20 participants,\n                     including 9 art history scholars, to traverse the map, collecting artworks for a goal-driven\n                     task and while freely exploring. We identify values enacted in spatial art discovery\n                     (Visibility, Agency, Serendipity, Friction) and consider how these values challenge\n                     dominant design paradigms\u2014in particular, the recommendation systems governing contemporary\n                     media distribution platforms. We reimagine a <em>curatorial<\/em> approach to media distribution, within digital ecosystems where history and culture\n                     can thrive.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807551\">Wow, Now I See It! &#8211; Leveraging the Physiology of Surprise to Help Designers Uncover\n                  Desirable Generative Designs<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Larry Zhang<\/li>\n               <li class=\"nameList\">Leah Chong<\/li>\n               <li class=\"nameList\">Matthew Hong<\/li>\n               <li class=\"nameList\">Shabnam Hakimi<\/li>\n               <li class=\"nameList\">Alexandre Filipowicz<\/li>\n               <li class=\"nameList\">Matthew Klenk<\/li>\n               <li class=\"nameList Last\">Pablo Paredes<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Generative AI enables designers to more broadly and rapidly explore design spaces.\n                     However, the sheer scale at which designs can be generated makes it difficult to identify\n                     which generated concepts deserve further attention. To support this identification\n                     process, we explore pupillometry\u2014specifically pupil dilation\u2014as a support signal for\n                     design evaluation. We conducted a study with 40 participants who viewed AI-generated\n                     bicycle designs while wearing eye tracking glasses to measure pupil dilation and rated\n                     designs on perceived surprise, valence, and feasibility.<\/p>\n                  <p>Using a linear mixed-effects model, we showed that highly surprising designs elicited\n                     stronger pupillary responses, modulated by valence. Our findings provide preliminary\n                     evidence that pupillometry can capture physiological surprise as a tacit triage mechanism\n                     \u2014 flagging candidate designs that elicit heightened physiological responses for closer\n                     inspection. We also discuss implications for integrating pupillometry into GenAI-augmented\n                     design processes.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807565\">AttentionBender: Manipulating Cross-Attention in Video Diffusion Transformers as a\n                  Creative Probe<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Adam Cole<\/li>\n               <li class=\"nameList Last\">Mick Grierson<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We present <em>AttentionBender<\/em>, a tool that manipulates cross-attention in Video Diffusion Transformers to help\n                     artists probe the internal mechanics of black-box video generation. While generative\n                     outputs are increasingly realistic, prompt-only control limits artists\u2019 ability to\n                     build intuition for the model\u2019s material process or to work beyond its default tendencies.\n                     Using an autobiographical research-through-design approach, we build on Network Bending\n                     to design <em>AttentionBender<\/em>, which applies 2D transforms (rotation, scaling, translation, etc.) to cross-attention\n                     maps to modulate generation. We assess <em>AttentionBender<\/em> by visualizing 4,500+ video generations across prompts, operations, and layer targets.\n                     Our results suggest that cross-attention is highly entangled: targeted manipulations\n                     often resist clean, localized control, producing distributed distortions and glitch\n                     aesthetics in place of linear edits. <em>AttentionBender<\/em> contributes a tool that functions both as an <em>Explainable AI<\/em>-style probe of transformer attention mechanisms, and as a creative technique for\n                     producing novel aesthetics beyond the model\u2019s learned representational space.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809282\">Synthetic Gestures: An Evolutionary Sketching Machine<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Matt DesLauriers<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>There is growing interest in using pretrained machine learning models for non-photorealistic\n                     rendering and sketch synthesis. However, existing approaches typically rely on differentiable\n                     rendering, which can be constraining for artists working with algorithmic processes\n                     and mechanical plotters. This pictorial introduces a gradient-free, artist-centred\n                     method for synthesising sketches from text prompts, designed for use with a plotter.\n                     Drawing gestures are parameterised as implicit neural representations and optimised\n                     using an evolution strategy, with semantic guidance from CLIP, a vision-language model.\n                     The system runs locally on laptops and provides real-time visual feedback for artistic\n                     iteration. Its gradient-free design enables flexible, non-differentiable rendering\n                     pipelines implemented in the browser using familiar JavaScript graphics toolkits.\n                     An early version was exhibited in 2025 during a group exhibition in Tokyo,<\/p>\n                  \n                  <p>functioning both as an artwork and a research-through-art investigation into how machine\n                     learning systems might better align with artists\u2019 practices.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Tangible and Material Interaction<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807542\">Beadle: Exploring, Perceiving, and Redesigning Thermoplastic Materiads using Fuse\n                  Beads<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Mariah J Gardner<\/li>\n               <li class=\"nameList\">Mohammad Abu Nasir Rakib<\/li>\n               <li class=\"nameList Last\">Cesar Torres<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Digital modeling tools often abstract away material behavior, making it difficult\n                     for designers to reason about how artifacts will feel, flex, or fail in the real world.\n                     In this paper, we present Beadle, a design tool that supports tangible, hands-on exploration\n                     of thermoplastic behavior through a craft-based workflow built on fuse beads. Rather\n                     than relying on simulation-based modeling systems, Beadle allows users to design structures\n                     and cells using 3D printed fuse beads with diverse functional properties. The familiar\n                     geometry of fuse beads supports rapid generation of materiads \u2013 collections of intentionally\n                     partial material probes designed to be interpreted relationally through contrast and\n                     comparison. A workshop user study with 11 participants demonstrated how Beadle supports\n                     reasoning about material properties, catalyze creative directions, serve as creative\n                     rivals, and act as a material debugging strategy. We discuss how hands-on workflows\n                     can complement digital CAD tools by offering alternative pathways to develop material\n                     intuition.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809284\">Rough Edges: An Autoethnography of an Emerging and Situated Textile Art Practice<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Simone Ashby<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This pictorial advocates for integrating autoethnography into artistic practice as\n                     a generative methodology for uncovering the often unseen forces shaping creative work.\n                     Drawing from an emerging textile art practice, it demonstrates how self-reflective\n                     inquiry illuminates the artist&#8217;s situatedness within material, cultural, and embodied\n                     contexts. Themes that surfaced through this process (e.g., Vulnerability Frictions,\n                     Fusion vs. Flattening, Marking Time, Heritage Lineages, Forest Making as Inquiry,\n                     Visibility &amp; Insta Labor, and Design Drift &amp; Reflexive Imagination) reveal creativity\n                     as an entangled, iterative, and relational activity. By attending to these \u2018rough\n                     edges\u2019, autoethnography supports a deeper understanding of how ideas form, transform,\n                     and sediment through practice. The paper argues that such reflexive methods not only\n                     enrich artistic processes but also offer transferable insights for wider creative\n                     research. Ultimately, complementing practice with autoethnography provides a nuanced\n                     lens for making visible the subtle textures of how artworks and artists come into\n                     being.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807543\">Hybrid-Love: The Somatic Clipboard of Domestic Micrografting Negative-Pressure Interfaces,\n                  Cross-Species Intimacy, and Post-Clinical Bioart<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Wenjia Sun<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Hybrid-Love treats skin grafting not as a domestic medical proposal but as a speculative\n                     bioart interface through which intimacy, consent, provenance, and kinship are recast\n                     as procedural problems. At its centre is a suction-coupled micrografting head with\n                     a perforated microblade disc that yields patterned micro-patches, a somatic \u2018clipboard\u2019\n                     that can be held, logged, and contested rather than clinically deployed. The paper\n                     asks what follows when computational habits such as copy, paste, versioning, and rollback\n                     are displaced into living tissue, and when post-clinical biotechnology is imagined\n                     as part of domestic and relational life. It makes three contributions. First, it introduces\n                     the somatic clipboard and cutaneous version control as interface concepts for bio-creative\n                     interaction. Second, it develops the plausibility dossier as both a documentation\n                     strategy and a methodological frame for speculative bioart, combining bounded technical\n                     legibility with non-executable description and weak evidence that foregrounds dependency,\n                     contamination, and refusal rather than proof of function. Third, it advances a governance\n                     argument for bioartistic criticism centred on revocable consent, provenance, and accountable\n                     dissemination. To make those claims legible, the paper positions Hybrid-Love within\n                     creative systems research, HCI, bioart, and bio-HCI; offers a worked use scenario;\n                     clarifies the relation between archive and dossier; and develops the argument through\n                     care, irreversibility, and friction. It argues that when creative media become living,\n                     intimate, and costly to reverse, creativity can no longer be framed primarily as fluency\n                     or open-ended exploration. It must also be understood as a practice of stewardship,\n                     negotiation, and constrained responsibility.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809294\">A Cabinet of Affective Touches: Building Design Repository Linking Somatic Experience\n                  with Soft Robotic Systems<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Henrique Sambi<\/li>\n               <li class=\"nameList\">Caroline Yan Zheng<\/li>\n               <li class=\"nameList\">Paul Tennent<\/li>\n               <li class=\"nameList\">Yoav Luft<\/li>\n               <li class=\"nameList\">Steve Benford<\/li>\n               <li class=\"nameList Last\">Madeline Balaam<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>A Cabinet of Affective Touches (ACAT) represents an approach to generate tacit design\n                     knowledge and build a repository for creating, experiencing and reflecting on designing\n                     affective touch with soft robotic technology. Despite being increasingly recognised\n                     as a somaesthetic material for affective touch interactions, knowledge on technical\n                     parameters and the experiential quality of touch with soft robotic technology is investigated\n                     fragmentally in separate disciplines. Sixty four haptics design students used the\n                     ACAT platform and created a repository of seventeen designs intended for all primary\n                     affective dimensions, covering both positive and negative affective experience. We\n                     illustrate how this process cultivated tacit design knowledge and fostered critical\n                     reflection on novel design space, in particular, on how to facilitate the creation\n                     and sharing the designs of uncomfortable touch.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809280\">The Blocks Conundrum<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">David Hunter<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Tangible User Interfaces (TUI) provide exciting means for visitors to engage with\n                     exhibits at institutions such as museums and science centers. However, TUIs are resource-demanding\n                     making them difficult to implement and maintain, limiting their suitability for institutions\n                     with less staff and smaller budgets. We investigated the idea of \u201cBounded TUIs\u201d, where\n                     tokens are physically attached to constraints\/surfaces to prevent loss of artifacts\n                     and mess. We document how a parametric toolkit emerged from a drawing-led design process\n                     for a live design brief. By decoding drawings and encoding as parameters, this toolkit\n                     can be used as a common language for collaborative teams to support the design of\n                     Bounded TUIs, including methods for creating new TUIs and finding gaps between existing\n                     TUI designs through mapping and morphing parameters. We provide examples and insights\n                     from participant filled-in toolkits from two workshops in a professional and an education\n                     setting.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809286\">Make Your Own Game Controller! Engaging Youth with Computer Vision-driven Physical\n                  Computing<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Krithik Ranjan<\/li>\n               <li class=\"nameList\">Peter Gyory<\/li>\n               <li class=\"nameList\">Ellen Yi-Luen Do<\/li>\n               <li class=\"nameList Last\">Clement Zheng<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Physical computing engages learners in  computational thinking through building  interest-driven\n                     physical interactive projects.  However, traditional electronic approaches  require\n                     deep understanding of circuits and  embedded systems \u2014 a challenge for young  learners\n                     before meaningful engagement with  computational concepts. This pictorial demo- nstrates\n                     an alternative, computer vision (CV)  approach using fiducial markers and craft  materials,\n                     through a workshop model where  learners design custom controllers for video  games.\n                     With learner stories from workshops  with learners aged 10-15, and emerging themes\n                     of computational, material, and social  moments, we illustrate how CV-driven physical\n                     comp-uting can be an effective, low-barrier,  introduction to computing that preserves\n                     the  creative learning benefits of physical  computing.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Counter-Narratives and Activist Design<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807535\">Resonant Data, Embodied Memory: Reimagining Learning through Counter-Narratives and\n                  Affective Data Practices<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Tania Villalobos Lujan<\/li>\n               <li class=\"nameList\">Maham Fatima<\/li>\n               <li class=\"nameList\">Pratim Sengupta<\/li>\n               <li class=\"nameList Last\">Lora Oehlberg<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We explore how centering counter-narratives and counter-memories as data practices\n                     through the creation of data portraits offers a framework for ethical engagement with\n                     data in the context of understanding and representing feminicide in Mexico. We report\n                     findings from an interactive, co-design workshop on \u201cmissing\u201d feminicide data in Mexico,\n                     in which participants created physical data portraits \u2013 visual and material representations\n                     of individual lives lost \u2013 to challenge the invisibility of feminicide, reclaim presence,\n                     and process grief. Using a constructivist grounded theoretical approach as our analytic\n                     method, we identify the role of embodied and affective dimensions of data work involved\n                     in the creation of counter-memories and counter-narratives using data physicalization.\n                     Our work illustrates how data education can be oriented toward centering activist\n                     practices that foreground the embodied and affective work of creating counter-memories\n                     \u2013 a <em>resonant<\/em> perspective, in which data, as well as, learning with and about data, centers emotional,\n                     embodied, and culturally situated ways of knowing through centering transnational\n                     feminist solidarities.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809285\">Dialogical Participation for Social Change:  A Story of Street Art, Conflict and Activism<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Maria Murray<\/li>\n               <li class=\"nameList\">Richard Scriven<\/li>\n               <li class=\"nameList\">Helen O&#8217;Keeffe<\/li>\n               <li class=\"nameList\">Claire Coughlan<\/li>\n               <li class=\"nameList Last\">Molly Sterling<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This pictorial tells the story of a community-based, collaborative design project\n                     that was conducted both online and on walls in Cork, Ireland. It describes how this\n                     project, in support of the 16 Days of Activism against Gender Based Violence, evoked\n                     a dialogical participation through the collective creation of a mural, the defacing\n                     of that mural and its subsequent repair. These actions brought contrasting values\n                     and perspectives together, which led to the creation of common ground, mutual understanding\n                     and collaboration across local communities. In essence, the project evolved into an\n                     example of how creative dialogical participation can support more inclusive place-making\n                     and work towards social change. Central to this was a constructive conflict that broadened\n                     and nuanced participation. This pictorial is relevant to researchers and designers\n                     who are interested in facilitating participatory experiences to disrupt social norms,\n                     bring contrasting perspectives into dialogue and advance social justice issues.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807546\">Humour as Resistance: Visceralizing the Environmental and Social Impact of AI through\n                  Humour-based Creative Practices<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Han Qiao<\/li>\n               <li class=\"nameList\">Rowan O.A. Munson<\/li>\n               <li class=\"nameList\">Nadia Mariyan Smith<\/li>\n               <li class=\"nameList\">Eshta Bhardwaj<\/li>\n               <li class=\"nameList Last\">Christoph Becker<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The growth of AI does not come without cost. While we hear about the economic costs,\n                        the environmental and social costs are often obfuscated by mainstream narratives,\n                        and even when acknowledged, are accompanied by a sense of helplessness. To counter\n                        this, we, a group of designers and researchers, reflect on our experience leading\n                        a humour-based creative campaign surfacing the material impact of AI infrastructures.\n                        Through graphics design, physical installations, digital content creation and co-creation\n                        workshops, we leaned into humour as a creative practice to provoke collective reflection.\n                        Drawing on event ethnography, surveys and interviews with campaign engagers, we examine\n                        four roles of humour-based creative work in HCI: a connector to critical friends,\n                        a visceral and emotional harbour, social glue, and resistance to power. We argue for\n                        the importance of creative practices in bridging social and emotional gaps between\n                        people and concerns around technology, and in surfacing hidden perspectives for more\n                        inclusive conversations.\n                     <\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809290\">Between Streets and Screens \u201cAn Autoethnographic Narrative of Political Participation\n                  from Abroad\u201d: Between Streets and Screens<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Beste Soybilge<\/li>\n               <li class=\"nameList\">Sarah Fox<\/li>\n               <li class=\"nameList\">Nuno Jardim Nunes<\/li>\n               <li class=\"nameList Last\">Valentina Nisi<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This pictorial explores hybrid forms of political participation from a migrant perspective,\n                     focusing on diaspora protests in one European city following the March 2025 arrest\n                     of Istanbul Mayor Ekrem \u0130mamo\u011flu. Building on the first author&#8217;s (FA) autoethnographic\n                     recounts, it examines how distance, digital mediation, and everyday life shape engagement\n                     with homeland politics. In contrast to protests embedded in Istanbul&#8217;s political atmosphere,\n                     diaspora participation unfolded without spatial cues, generating affective tension,\n                     ethical dilemmas, selective forms of engagement, and the labor of the diasporic mind.\n                     Through activist-academic reflection, the work highlights hybrid experiences across\n                     space, emotion, and mediation, offering insights for HCI research on diaspora and\n                     transnational activism and social movements.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Model Internals as Design Material<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809289\">Finding the Unicorn within a Million Patches: A Material-Driven Journey into the Hidden\n                  Layers of a Diffusion Model<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Imke Grabe<\/li>\n               <li class=\"nameList\">Jaden Fiotto-Kaufman<\/li>\n               <li class=\"nameList\">Rohit Gandikota<\/li>\n               <li class=\"nameList\">David Bau<\/li>\n               <li class=\"nameList Last\">Tom Jenkins<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Today&#8217;s AI models learn rich internal representations, such as the visual features\n                     inside diffusion models that produce generated images, and offer a new kind of material\n                     for co-creation. However, interfaces for creating with generative AI typically operate\n                     on the level of inputs and outputs, obscuring the material formation that unfolds\n                     in between. To address this gap, this pictorial documents a material-driven journey\n                     of designing an interface for interacting with the hidden layers of diffusion models.<\/p>\n                  \n                  <p>Working in an interdisciplinary team of interpretability researchers and interaction\n                     designers, we explore how methods from mechanistic interpretability can inform alternative\n                     strategies that move beyond black-boxed interaction paradigms.<\/p>\n                  \n                  <p>Through visual exploration of technical material characteristics combining experimentation\n                     and drawing, we articulate AI&#8217;s internal representations as design material. Rather\n                     than hiding model properties behind conversational agents, we present a material-driven\n                     journey for building interfaces that exposes and engages with them. Finally, we discuss\n                     how this approach might enable different forms of co-creation with generative models.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807559\">CapSmith: Contextual Refinement of Additive Text Captions for Video Storytelling<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Saehui Hwang<\/li>\n               <li class=\"nameList\">Jean-Pe\u00efc Chou<\/li>\n               <li class=\"nameList Last\">Anh Truong<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Additive Text Captions (ATC) are powerful storytelling devices that extend video narratives\n                     by progressing story (\u201cmeanwhile&#8230;\u201d), focusing attention (\u201cHUGE!\u201d), and providing\n                     unspoken context (\u201ccrashing\u201d). ATC authoring is difficult because it requires balancing\n                     creative decisions (word choice, tone, etc.) against practical constraints (timing,\n                     readability, visual harmony). Current video-editing interfaces treat text as timeline-bound\n                     assets, prioritizing temporal manipulation over narrative function. While LLMs can\n                     support creative writing, our formative study (n=8) showed creators resisted LLMs\n                     that write ATCs from scratch, citing control and authenticity concerns, but wanted\n                     help refining drafts. We designed CapSmith, an ATC-authoring system that features\n                     (1) a script panel that externalizes narrative structure and (2) a variation-from-example\n                     workflow that proposes variants grounded in inferred intent and context. A comparative\n                     study (n=10) showed that the script panel contextualized ATCs against the narrative\n                     and that variation-from-example workflow supported refinement without requiring creators\n                     to articulate tacit intent while preserving authorship.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809278\">From LLM to LLH (Large Language models to Large Language Humans): Instruction as Medium\n                  in Human-AI Role Reversal<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Kelly Haisu Zheng<\/li>\n               <li class=\"nameList Last\">Sang-won Leigh<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\"><\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807567\">MoodPrism: Surfacing the Subjective Mood of Visual Content with MLLM-Generated Mood\n                  Profiles<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Shreyosi Endow<\/li>\n               <li class=\"nameList\">Eunyee Koh<\/li>\n               <li class=\"nameList\">Cesar Torres<\/li>\n               <li class=\"nameList Last\">Christine Dierk<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Mood is a central factor in visual design, shaping both the creative choices of creators\n                     and the ways viewers interpret content. Current design tools typically reduce mood\n                     to coarse tags supplied by creators or generated by systems. However, mood is inherently\n                     subjective, and coarse tags often fail to align with how creators, viewers, and systems\n                     experience and communicate mood. We introduce mood profiles, a granular representation\n                     of mood as multiple weighted tags grounded in explanations that tie back to visual\n                     attributes. We present the MoodPrism pipeline which leverages Multimodal Large Language\n                     Models (MLLMs) to generate mood profiles from graphic designs. We evaluate our approach\n                     through a crowd-based study to assess how mood profiles align with human perception\n                     and present design vignettes demonstrating how mood profiles enable novel interactions\n                     for mood-driven ideation, search, and design. Finally, we provide design implications\n                     for supporting creators and viewers of graphic designs in creativity support tools.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Best Paper\/Pictorial Session<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807548\">How Playwrights Use Software: Towards Writing Support Tools for Performance<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Ace S. Chen<\/li>\n               <li class=\"nameList\">Isabel Li<\/li>\n               <li class=\"nameList\">Phoebe Huq<\/li>\n               <li class=\"nameList\">Rye Donaldson<\/li>\n               <li class=\"nameList Last\">Kathryn E. Ringland<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Playwrights use writing support tools to craft scripts for the stage. However, these\n                     tools are not attuned to the challenges of creating live performance and navigating\n                     theater ecosystems, instead complicating and constraining playwrights\u2019 processes.\n                     Through thematic analysis of focus groups with 13 playwrights, we explored how playwrights\u2019\n                     creative needs and communities inform their tool use, and how playwrights adapt to\n                     tools that fail to meet their needs. We found three themes in playwriting processes:\n                     scaffolding communities of practice, incorporating voice and body into writing processes,\n                     and managing script elasticity across the theater lifecycle. We discuss lenses of\n                     embodied practice and non-normative time through which researchers can better understand\n                     creative writers\u2019 overlooked writing behaviors and processes. To guide the development\n                     of playwriting support tools, we offer design considerations around enabling speech,\n                     visualizing performers, and contextualizing version management. By spotlighting playwrights,\n                     we illuminate how performance can inform creative writing support research.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807531\">&#8220;Creating the World with Order!&#8217;: Designing Tangible Toolkit to Support Creative Expression\n                  and Wellbeing for Individuals with ASD<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yibo Meng<\/li>\n               <li class=\"nameList\">Lyumanshan Ye<\/li>\n               <li class=\"nameList\">Yifan Feng<\/li>\n               <li class=\"nameList\">Rong Fu<\/li>\n               <li class=\"nameList\">Bingyi Liu<\/li>\n               <li class=\"nameList\">Linghao Li<\/li>\n               <li class=\"nameList Last\">Nan Gao<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Autistic people often experience heightened emotional and sensory demands that affect\n                     wellbeing. Creative drawing supports expression and emotion regulation, yet an open-ended\n                     process can introduce uncertainty and overstimulation, particularly for autistic individuals\n                     who prefer structure. We present the Structured Creativity Toolkit (SCT), a set of\n                     tangible artifacts including custom laser-cut stencils, composition templates, and\n                     guided color palettes, designed to scaffold creative expression and self-regulation.\n                     We first conducted a qualitative study to identify design opportunities and user needs,\n                     then evaluated SCT through a mixed-methods approach combining a controlled study with\n                     post-study interviews to examine engagement, user experience, and self-reported wellbeing.\n                     Our findings indicate that SCT increased drawing engagement and perceived drawing\n                     quality while supporting self-reported psychological and emotional benefits. This\n                     paper contributes: (1) a creativity-support toolkit for structured drawing, and (2)\n                     evidence that order-affirming scaffolds can translate preferences for structure into\n                     design resources that support autistic individuals.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809292\">Zines as a movement point: Engaging with the margin for alternative dreaming<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Mimi Shalf<\/li>\n               <li class=\"nameList\">Celeste Moreno<\/li>\n               <li class=\"nameList\">Ronni Hayden<\/li>\n               <li class=\"nameList Last\">Ricarose Roque<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Zines, with their roots in critical feminist ideology, counter-culture identity expression,\n                     and movements of resistance, are showing promise as one way for HCI researchers to\n                     share their research in an accessible, engaging way. In this pictorial we leverage\n                     zines as a medium for collective discourse towards what bell hooks calls a marginal\n                     \u201cspace for radical openness\u201d. We describe insights from a series of workshops with\n                     informal educators using a zine we developed called \u201cWhat Equity Means to Me.\u201d We\n                     found three design principles of our zine and workshop \u2013 a DIY aesthetic, open-ended\n                     pages, and stories \u2013 scaffolded a movement point, or a marginal space where personal\n                     expression, varied knowledge, and collective reflection support educators to reflect,\n                     dream, and move past challenges in their equity work. From our findings, we see the\n                     potential for zines as an interactive format for scaffolding spaces where communities\n                     can dream of alternatives outside of existing systems.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807557\">Towards Praxis GenAI: Exploring Generative AI Tools for Huayao Embroidery Craft Practice<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Nick Bryan-Kinns<\/li>\n               <li class=\"nameList\">Duoduo Zhang<\/li>\n               <li class=\"nameList\">Hao Li<\/li>\n               <li class=\"nameList\">Mengzhi He<\/li>\n               <li class=\"nameList\">Xiaojing Yuan<\/li>\n               <li class=\"nameList\">Xin Zhao<\/li>\n               <li class=\"nameList\">Ilia Pavlov<\/li>\n               <li class=\"nameList\">Yijing Yang<\/li>\n               <li class=\"nameList Last\">Sanyi Wang<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Intangible Cultural Heritage (ICH) faces challenges to survival and growth from globalization\n                     and economic pressures. Research has explored how Generative AI (GenAI) can capture,\n                     represent, and convey cultural meaning to help address these challenges. This paper\n                     bridges current GenAI ICH strategies and explores the forms of creativity that emerge\n                     when artisans use their embodied craft skills to create with GenAI fine-tuned on their\n                     own ICH. Collaborating in-situ with Huayao embroiderers in rural China produced eight\n                     novel hand-embroidered pieces from our custom GenAI workflows trained on Huayao ICH.\n                     Embroiderers noted that GenAI tools could enhance creativity and had the potential\n                     to support innovation within tradition, yet human creativity and manual refinement\n                     remained necessary to ensure cultural authenticity. We suggest that our combination\n                     of rapid iterative GenAI and in-situ slow making by hand created a space in which\n                     discourses on the meaning and value of ICH could be explored.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Power, Rights, and Politics of Creative AI<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809277\">Watt Impact? Making the Environmental Impact of Generative AI Tangible Through Participatory\n                  Data Physicalizations<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Anniek Jansen<\/li>\n               <li class=\"nameList\">Supraja Sankaran<\/li>\n               <li class=\"nameList Last\">Emiel Krahmer<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The rapid adoption and use of generative AI tools, like ChatGPT, has led to an exponential\n                     increase in its environmental impact. However, most users are unaware of this impact.\n                     To investigate and raise public awareness of the impact, we designed ecoAIware, a\n                     set of five tangible participatory data physicalizations (PDPs) highlighting different\n                     environmental impacts of genAI. ecoAIware was deployed at a library and an academic\n                     conference, where visitors could interact with the PDPs by contributing tokens representing\n                     their awareness of the different impacts. In this pictorial, we present our findings\n                     on current awareness levels of visitors, their engagement with ecoAIware and how it\n                     contributed to raising their awareness. This pictorial contributes to (i) the discourse\n                     within HCI communities around the environmental impact of genAI and (ii) by showcasing\n                     how creative methods such as PDPs can be used to engage users with critical topics\n                     and collect data in the process.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807541\">\u201cWhat if England Actually Sucked at Colonizing?\u201d: Challenges, Opportunities, and Approaches\n                  to Engaging Race in Game Design<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Bethany Miatta Turay<\/li>\n               <li class=\"nameList\">Gianna Williams<\/li>\n               <li class=\"nameList\">Dylan Dinio<\/li>\n               <li class=\"nameList\">Natalie Chen<\/li>\n               <li class=\"nameList\">Triston Wong<\/li>\n               <li class=\"nameList Last\">Alexandra To<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The work of a game designer often encompasses the entire player experience, from determining\n                     game mechanics and writing narrative to addressing technical aspects such as level\n                     design and development. Game players and game designers have called for increased\n                     racial diversity in the games industry, both in-game and behind the scenes. However,\n                     little is known about how working game designers understand, engage with, and design\n                     for race. Through semi-structured interviews (n=15), this study explores the creative\n                     practices and expertise of Black, Indigenous, and People of Color (BIPOC) game designers\n                     and developers, primarily based in the United States. We focus on how they conceptualize,\n                     approach, and engage with race, both individually and in collaborative teams. We contribute\n                     insight into how race is translated into tangible digital and physical representations,\n                     and into broader creative and business approaches to race in the games industry.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809287\">Guardians, Assemble! Teens&#8217; Imagination to Counter Algorithmic Villains<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Irene Zanardi<\/li>\n               <li class=\"nameList\">Shana Ded\u00f2<\/li>\n               <li class=\"nameList\">Diletta Micol Tobia<\/li>\n               <li class=\"nameList Last\">Monica Landoni<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>While frameworks for designing safe AI systems for children exist, they are typically\n                     created by adults. In this pictorial, we explore how creativity can support teenagers\n                     in shaping the changes AI may bring, involving them in a design fiction activity to\n                     understand which values they believe GenAI should promote. This results in a complementary\n                     perspective that comes directly from teens themselves, highlighting the importance\n                     of designing for values such as positivity, clarity, self-expression, openness, and\n                     realness, with clarity and freedom of self-expression emerging most frequently. Building\n                     on these value proposals, we outline a set of youth-inspired probes representing the\n                     value profiles teens envision for GenAI, offering a possible tool to inform future\n                     directions in AI design.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Tools and Practices for the Performing Arts<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807540\">An Autoethnography of Choreographing the Dance Performance \u201cVintage\u201d<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Sarah Fdili Alaoui<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This paper is an autoethnography describing my process of choreographing a dance performance\n                     called Vintage, in which my collaborators and I explored the idea of reusing dances\n                     we shared. To support our learning of the dances, I used a web application that allowed\n                     me to record them as annotated audiovisual clips.<\/p>\n                  <p>I documented my design and choreographic processes through scoring and journaling,\n                     and performed an auto-explicitation interview. I wove these elements together to write\n                     an autoethnography that narrates my experience of choreographing Vintage and of using\n                     the web application that supported it. My autoethnography offers first-person insights\n                     into how choreography is intimate, relational, situated, and emergent. It also illustrates\n                     the value of designing technology in the background of the creative process. Overall,\n                     the paper illustrates how qualitative research can provide a rich, layered understanding\n                     of choreography and dance technology design.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807545\">Provoking Public Reflection on Robotics and AI through Cat Royale, an Artistic Installation<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Eike Schneiders<\/li>\n               <li class=\"nameList\">Steve Benford<\/li>\n               <li class=\"nameList\">Kate Devlin<\/li>\n               <li class=\"nameList\">Alan Chamberlain<\/li>\n               <li class=\"nameList Last\">Joel Fischer<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Current discussion on AI often presents binary for\/against stances, making it difficult\n                     to foster nuanced discourse. But how can we as designers, developers, researchers,\n                     and artists communicate the nuances of our work to non-experts? Art can be a powerful\n                     medium for public engagement prompting reflection on complex topics. We examine audience\n                     engagement with Cat Royale, an artwork that invited audiences to reflect on AI, robotics,\n                     and the trust we place in them. We show that constructing and presenting an art installation\n                     as a deliberately ambiguous interface can provoke and encourage critical reflection,\n                     and we argue for the importance of making abstract technologies, such as AI, tangible\n                     and relatable through concrete examples, including artworks. Finally, we examine forms\n                     of ambiguity that arise at the intersection of AI and public engagement, and propose\n                     two new kinds relevant to the future of beyond-human interaction in HCI: moral ambiguity\n                     and ambiguity of species.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807561\">\u201cEveryone notes it differently\u201d: The Challenge of Digitizing the Embodied Cognition\n                  of Stage Blocking Data<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Kevin Laibson<\/li>\n               <li class=\"nameList\">David Gochfeld<\/li>\n               <li class=\"nameList Last\">Lisa Lokshina<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This paper examines the challenge of translating the fluid, embodied practice of theatrical\n                     blocking into a digital form that supports remote and co-located rehearsal within\n                     a shared virtual environment. Through the design and evaluation of a virtual rehearsal\n                     tool, we investigate how blocking can be captured and visualized on a shared digital\n                     stage. We explore the role of the stage manager in maintaining an evolving record\n                     of spatial decisions in rehearsal, and the benefits of digitizing that data. Our findings\n                     highlight the unique demands of stage-management cognition: its interpretive specificity,\n                     temporal nuance, and reliance on embodied cues. They also reveal the challenges in\n                     moving from freehand notation to software. We examine digitizing blocking as a way\n                     of probing how spatial computing tools engage with the collaborative creative practice\n                     of the rehearsal room, and where these spatial notations succeed or fall short.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            <h3>SESSION: More-than-Human and Posthuman Design<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809275\">The Relational Entanglement Diary: A Novel Method for Evaluating Entangled Transmedia\n                  Engagement<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Marta Ferreira<\/li>\n               <li class=\"nameList\">Pedro Galv\u00e3o-Ferreira<\/li>\n               <li class=\"nameList\">Teresa Paulino<\/li>\n               <li class=\"nameList\">David Millard<\/li>\n               <li class=\"nameList Last\">Valentina Nisi<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Natureculture design involves complex, more-than-human relationships that challenge\n                     conventional forms of representation and evaluation. Transmedia experiences offer\n                     a way to engage with this complexity through interconnected media, spaces, narratives,\n                     and social interactions. Yet, design and HCI research lack methods to evaluate such\n                     experiences holistically. This pictorial introduces the Relational Entanglement Diary\n                     (RED), a situated mixed-method evaluation tool designed to assess engagement with\n                     transmedia journeys as interconnected trajectories rather than isolated interactions.\n                     We present the research-through-design process of developing RED, and its deployment\n                     across two natureculture sites, each tailored to local contexts and transmedia configurations.\n                     Drawing on participant diaries, observational data, and reflective analysis by the\n                     research team, we examine how RED captures the relational and transmedia values it\n                     aims to reveal. Our discussion suggests RED provides a flexible approach for evaluating\n                     complex transmedia experiences and contributes a methodological advancement for design\n                     and HCI research focused on relational and more-than-human engagement.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809291\">PlaSphere: An Immersive Hybrid Ecology of Plastiglomerates<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Sabina Hyoju Ahn<\/li>\n               <li class=\"nameList\">Ryan M Millett<\/li>\n               <li class=\"nameList Last\">Seyeon of Park<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Plastiglomerates are coastal formations where plastic, rock, and organic matter fuse\n                     into a new geological record of human activity. PlaSphere takes this fusion as both\n                     subject and compositional method. Field recordings and photographs collected on Haklim-do\n                     are processed through neural networks and a custom LoRA model to generate speculative\n                     lifeforms\u2014crabs, urchins, and snails whose bodies are composed of plastiglomerate\n                     material\u2014presented as holograms across a multichannel audiovisual installation. This\n                     pictorial makes two contributions: a compositional method whose technical operations\n                     parallel the geological processes producing plastiglomerates, and a set of speculative\n                     organisms presenting a future ecology in which biological form has absorbed human\n                     waste. It also addresses the tension between the work&#8217;s ecological subject and the\n                     machine learning infrastructure required to produce it.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809288\">BioFabulations: Embodied Sensemaking for Planetary Care<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Fernanda Soares da Costa<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>How can storytelling and tangible making support children&#8217;s creative expression while\n                     also acting as a pedagogical tool for planetary care? We present BioFabulations, a\n                     methodological assemblage comprising a toolkit-in-the-making and a framework, illustrated\n                     through a situated case study. The work unfolds in three stages: (1) Observe, (2)\n                     Create and Fabulate, (3) Animate and Tell. Through a series of activities, children\n                     are invited to notice and document coastal life and human presence, to sketch and\n                     model magical creatures and bring their stories to life through digital stop-motion\n                     animation. Shifting from abstract knowledge to embodied, relational engagement, this\n                     work illustrates how direct encounters with local ecologies cultivate awareness, curiosity,\n                     and care; and how intersecting HCI, materials-making, and storytelling support children\n                     in internalising ecological concepts through creative learning.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807552\">Accessing Posthuman Concepts: Epistemic Technologies for Public Engagement Beyond\n                  the Human<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Pedro Galv\u00e3o-Ferreira<\/li>\n               <li class=\"nameList\">Marta Ferreira<\/li>\n               <li class=\"nameList\">Nuno Jardim Nunes<\/li>\n               <li class=\"nameList Last\">Valentina Nini<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>As ecological crises intensify, posthuman perspectives challenge anthropocentric assumptions\n                     by foregrounding more-than-human (MtH) relations and agencies, yet often remain difficult\n                     to translate into effective public-facing science communication. This paper explores\n                     how interactive artifacts can support engagement beyond human-centered explanation.\n                     We present a study featuring three interventions: <em>RoPPi<\/em>, a storytelling game inviting nonhuman perspectives; <em>Critter Connect<\/em>, a haptic interface fostering embodied attunement to nonhuman presence; and <em>ChatSpecies<\/em>, an AI agent enabling conversations with museum specimens. Presented to science communication\n                     professionals at the SciComPt 2025 congress, reflections from twenty-three participants\n                     reveal how practitioners viewed the artifacts as invitations to rethink engagement\n                     practices, highlighting potentials for perspective-shifting, empathy, and experiential\n                     learning, while raising concerns about accessibility, credibility, and deployment.\n                     Framed within the C&amp;C\u201926 theme of <em>Creativity for Change<\/em>, this study positions interactive artifacts as epistemic technologies enabling experimentation\n                     with engagement beyond the human, and offers design insights for relational, MtH public\n                     experiences.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Sound and Music Creativity<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807533\">Collective Craft: How Artists Collaborate to Train AI-based Audio Synthesis Model\n                  for Music<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Th\u00e9o Jourdan<\/li>\n               <li class=\"nameList\">Jules Fran\u00e7oise<\/li>\n               <li class=\"nameList Last\">Fr\u00e9d\u00e9ric Bevilacqua<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Recent advances in generative AI have enabled new forms of audio synthesis for musical\n                     creation, yet model training remains underexplored as an artistic and collaborative\n                     practice. While prior work has focused on composition tools and live performance interfaces,\n                     how artists train their models have received less attention. This paper presents a\n                     qualitative study of collaborative training practices around audio synthesis models.\n                     We conducted semi-structured interviews with 13 artists across 8 musical projects\n                     relying on custom-trained models for musical performance or installations. Using thematic\n                     analysis, our findings show that artists approach training as a situated, craft-like\n                     practice rather than a purely technical task. Collectives develop shared languages\n                     and embodied practices to communicate and guide training, using iterative feedback\n                     and dataset sculpting to shape model behavior, with musical engagement as a primary\n                     method for steering models. We discuss implications to better support model training\n                     as key site of interaction and collaboration.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807560\">InteractiveChordScape: Democratizing Musical Understanding through Embodied Spatial\n                  Mixing in VR<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">YanXiang Zhang<\/li>\n               <li class=\"nameList Last\">YiWen Li<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Traditional presentations of Intangible Cultural Heritage (ICH) music often place\n                     audiences in a passive listening role, creating a cognitive barrier for &#8220;cultural\n                     outsiders&#8221; trying to decipher complex polyphonic textures. While current VR applications\n                     offer immersion, they typically replicate this stage-centric passivity or demand high-level\n                     performance skills. In this paper, we propose a &#8220;Listener-Centered&#8221; paradigm: Embodied\n                     Spatial Mixing. We present InteractiveChordScape, a VR system that transforms the\n                     abstract task of auditory analysis into concrete spatial manipulation. By empowering\n                     novices to spatially &#8220;unblend&#8221; orchestral instruments, the system serves as a cognitive\n                     tool that offloads auditory attention to the physical realm. A study with 27 participants\n                     demonstrates that this embodied interaction not only significantly enhances the clarity\n                     of musical structure but also transforms the user experience from passive reception\n                     to active, personalized curation.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807534\">Engaging Older Adults in Online Everyday Creativity with Sound-Based Art<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Melika Adabinejad<\/li>\n               <li class=\"nameList Last\">Celine Latulipe<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We present an investigation of how sound can be used as a creative input by older\n                     adults to enable them to create visual art online either alone or in collaboration\n                     with others. Through longitudinal remote participatory design with a group of five\n                     older adults, we developed three playful and expressive web-based applications collectively\n                     called SoundBrush. Our results show how participants wanted to engage with sound and\n                     how sound plays into their expressive intentions in creative work. Participants valued\n                     sound-based interactions that were playful yet learnable, and preferred to rely on\n                     familiar sound inputs such as vocalization. Interactions that supported meaningful\n                     social interaction were appreciated, but collaborative interaction using sound proved\n                     challenging. For sound to function as a satisfying input, older adults wanted interactions\n                     that supported their own agency and authorship, kept accessibility in mind, and could\n                     produce visually coherent outcomes. We provide design <span style=\"color:#000000\">considerations<\/span> for sound-based creative interaction systems for older adults.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809281\">The Banquet: Participatory Sound Theatre Narratives Driven by Social Ritual Gestures<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">LiMeng Wang<\/li>\n               <li class=\"nameList\">Yuan Yao<\/li>\n               <li class=\"nameList\">Zhihao Yao<\/li>\n               <li class=\"nameList\">Qirui Sun<\/li>\n               <li class=\"nameList Last\">Shiqing Lyu<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Contemporary immersive theatre often limits audience agency to passive observation\n                     or spatial navigation, leaving social co-presence underdesigned. We present The Banquet,\n                     a co-located participatory sound theatre that turns culturally grounded ritual gestures\u2014raising\n                     and clinking cups\u2014into an interaction grammar for multi-user storytelling. Inspired\n                     by Dream of the Red Chamber, the system uses Interactive Audio Augmented Reality (IAAR)\n                     to embed narrative logic in embodied action, supported by high-precision tracking\n                     and a distributed Wi-Fi audio broadcast architecture. Layered spatial audio and subtle\n                     acoustic cues enable strangers to coordinate narrative progression without screens.\n                     We discuss how formalizing social rituals as tangible interfaces can support embodied\n                     negotiation and collective meaning-making in shared space.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807553\">&#8220;Jaw Dropping&#8221; Sound Clouds: Exploring the Role of Awe in Ambient Computational Systems\n                  through Installation Art<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Dashiel Carrera<\/li>\n               <li class=\"nameList\">Jasmine Kaur<\/li>\n               <li class=\"nameList\">Daksh Kapoor<\/li>\n               <li class=\"nameList\">Chengzhi Zhang<\/li>\n               <li class=\"nameList\">Jisu Kim<\/li>\n               <li class=\"nameList Last\">Brian Magerko<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Ambient computational systems\u2014increasingly present in installation art, traffic control\n                     systems, and smart homes\u2014can evoke \u201cawe\u201d through their conceptual and physical vastness.\n                     While this awe can productively evoke inter-user connectedness and spark dramatic\n                     conceptual shifts, this effect has been understudied in Human-Computer Interaction. To investigate this phenomenon, we built <em>Sound Clouds<\/em>, an interactive art installation and ambient computational system designed to evoke\n                     awe. Deployed in a public art space and experienced by over 200 visitors, <em>Sound Clouds<\/em> transformed a warehouse-sized urban space into an immersive sound-reactive environment\n                     with large-scale neutrally-buoyant inflatables. An interview study (n=35) showed that\n                     though interactions with <em>Sound Clouds<\/em> provoked a range of uncertain mental models, it also spurred participants to shift\n                     their focus towards awe, play, sensory experience, and collaboration. This paper ends\n                     with design considerations for creators seeking to manage the intrinsic role of awe\n                     in ambient computational systems.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Embodied Cycles and Intimate Health<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809279\">Sensing the Invisible: Materialising Hormonal Cycles though Multisensory Design<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Lisa Hofer<\/li>\n               <li class=\"nameList\">Bernhard Maurer<\/li>\n               <li class=\"nameList\">Christopher Frauenberger<\/li>\n               <li class=\"nameList Last\">Verena Fuchsberger<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This research explores the materialization of hormonally influenced sensations related\n                     to intimate health through interactive design. Drawing on critical menstruation studies,\n                     it reacts to how menstruation has been historically silenced, stigmatized, and framed\n                     as dysfunction, leading to disembodiment and emotional disconnection. We propose an\n                     introspection and translation of hormonal sensations into tangible, visible, and audible\n                     material expressions<em>,<\/em> namely that are, interactive felt-sensation pillows enhanced with embedded technologies\n                     such as heating elements, vibration modules, and sound. These multisensory artefacts\n                     externalize intimate experiences, encouraging selfreflection, and bodily awareness.\n                     By making the invisible perceptible, the project challenges dominant narratives of\n                     shame and introduces new ways of learning and relating to the hormonal body. This\n                     work contributes to the feminist design discourse by proposing a re-embodied, empowered\n                     approach to menstruation and hormonal life through material and sensory expression.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807564\">Weaving as Material Narrative: Understanding and Designing for Menstrual Temporality,\n                  Lived Experience, and Invisible Pain<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yixun Li<\/li>\n               <li class=\"nameList\">Andrea Ford<\/li>\n               <li class=\"nameList Last\">Bettina Nissen<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Menstruation is a highly subjective and situated embodied experience, yet these aspects\n                     are frequently overlooked in current menstrual tracking technologies and healthcare\n                     settings. This research proposes weaving as a feminist approach to material narrative\n                     that can illuminate subjectivity and situated embodiment. Through three woven pieces\n                     exhibited in the UK, the study explores how weaving can express menstrual experiences\n                     in tangible and sensory ways, specifically focusing on: (1) cyclical bodily perceptions\n                     of time within cycles; (2) trivialised endometriosis pain in medical contexts; and\n                     (3) daily lived experiences beyond datafication. By describing and reflecting on the\n                     making process, we found that the tactile, slow, and reflective qualities of weaving\n                     facilitate deeper and more introspective bodily awareness. It also allows menstrual\n                     experiences to be expressed in more fluid and flexible ways, supporting individuals\n                     in validating and appreciating their bodies. Those insights encourage designers to\n                     focus on materially oriented, sensory, and felt approaches, thereby expanding the\n                     design possibilities within menstrual technologies and healthcare.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            <h3>SESSION: Spatial Computing and Extended Reality<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807537\">Exploring Sense of Community in Spatial Computing: A Pok\u00e9mon Go Case Study: Sense of Community in Hybrid Space<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Beste Soybilge<\/li>\n               <li class=\"nameList\">Sema Ala\u00e7am<\/li>\n               <li class=\"nameList\">Nuno Jardim Nunes<\/li>\n               <li class=\"nameList Last\">Valentina Nisi<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Spatial computing integrates augmented reality and location-aware systems, enabling\n                     digitally mediated interactions within physical environments. As these systems increasingly\n                     shape social life, understanding how they foster a sense of community is critical\n                     for Human\u2013Computer Interaction (HCI). This paper examines Pok\u00e9mon Go, a location-based\n                     XR game, to explore how community emerges through intertwined digital and physical\n                     practices. Drawing on an exploratory qualitative study based on 11 semi-structured\n                     interviews with players in diverse urban contexts, we identify five interrelated dimensions\n                     of community formation: recognition, communality, solidarity, emotional bonds, and\n                     collective thirdspace. Our findings show how spatial computing mediates shared spatial\n                     perception and interaction, allowing community ties to persist across physical and\n                     digital contexts. We contribute to HCI by operationalizing the sense of community\n                     in hybrid interaction settings and introducing collective thirdspace as a conceptual\n                     lens for understanding community formation in location-based spatial computing systems.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807539\">Analyzing Change in VR: A Temporal\u2013Rules\u2013Cues Framework for Storyworld Dynamics and\n                  Authorial Intent<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Daniel A. Mu\u00f1oz<\/li>\n               <li class=\"nameList Last\">Jeffrey C. F. Ho<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>VR storyworlds unfold through changes in rules, affordances, and cues over time, yet\n                     many design tools describe them in relatively static terms. We present TRC (Temporal,\n                     Rules and Cues), a three layer framework for analyzing and planning dynamic change\n                     in VR. TRC maps change episodes around a focal transition point called (t<sub>0<\/sub>) using a prepare, change and consolidate structure aligned with feedforward, action,\n                     and feedback. The framework is informed by work on attention, multisensory cueing,\n                     agency, and plausibility, and is intended to help designers examine when change occurs,\n                     what changes, and how that change is signaled and stabilized. We apply TRC to five\n                     commercial VR onboarding sequences and an extended case analysis of <em>A Fisherman\u2019s Tale<\/em>. Across cases, we found recurring patterns, including short feedforward before high\n                     cost rule changes, triggers placed at taught affordances, and rapid cross modal confirmations\n                     that stabilize a new rule state. We also report a 20 participant formative Creativity\n                     Support Index study, which provides preliminary evidence that TRC externalizations\n                     were perceived as helpful for exploration and for the results worth effort item during\n                     early stage analysis and planning. Contributions include the TRC framework, a mapping\n                     protocol and codebook, an analysis template with metrics, a compact pattern\/risk library,\n                     and initial evidence of perceived creativity-support value.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807544\">EMSTouch: Electrical Muscle Stimulation for Object Interaction and Social Touch in\n                  Extended Reality<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Kirill Andreevich Shatilov<\/li>\n               <li class=\"nameList\">Alex Tat Hang Wong<\/li>\n               <li class=\"nameList\">Pan Hui<\/li>\n               <li class=\"nameList Last\">Tristan Braud<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Electrical muscle stimulation (EMS) provides direct, felt feedback by actuating muscles,\n                     offering a novel haptic channel for extended reality (XR). We present EMSTouch, a\n                     system that augments XR scenes through controlled muscle activation for virtual object\n                     manipulation and handshake tasks. EMS was evaluated against vibrotactile and visual\n                     baselines, focusing on the perception of replayed socially meaningful gestures. In\n                     a user study (N=12), EMS feedback yielded higher realism scores than visual only interaction\n                     and produced greater naturalness and immersion than vibrotactile feedback. Findings\n                     highlight the realism\u2013agency trade-off inherent in EMS-based interaction, showing\n                     how more realistic stimulation can influence autonomy. We further explore EMS in creative\n                     practice through a case study in XR art, where electromyography (EMG) captures the\n                     biodynamics of strokes during virtual sculpture creation and EMS replays the movements.\n                     Altogether, EMS emerges as a socially accepted feedback modality that elevates realism\n                     and immersion in both virtual interaction and creative expression.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807563\">&#8220;Illustration of the subconscious mind&#8221;: Reinterpreting Dream Material as Artistic\n                  Creative Workflows Supported by Generative AI<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Sijia Liu<\/li>\n               <li class=\"nameList\">Yanru Qian<\/li>\n               <li class=\"nameList\">Fan Zhang<\/li>\n               <li class=\"nameList\">Richard William Allen<\/li>\n               <li class=\"nameList Last\">RAY LC<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Dreams are sources of inspiration for artists tapping into their subconscious states,\n                     but the uncertainty of fragmented elements and difficulty of recall make it challenging\n                     to harness dream-based inspiration for creative work. Generative AI shares a similar\n                     ambiguity with dreams, producing unexpected outputs that offer reinterpretation in\n                     the creative process. It suggests GenAI may help engage with such materials. To explore\n                     how artists work with dream content using GenAI , we held a four-week online residency\n                     with six artists including weekly sessions to process dream materials, followed by\n                     artistic creation for exhibition. Artists adapted their use of GenAI across stages:\n                     during early preparation, unexpected outputs were embraced as inspiration; during\n                     production, accuracy and coherence from GenAI were demanded. As artistic creation\n                     moves from abstract to concrete, GenAI shifts from inspirational reinterpretation\n                     to generative support. This work highlights differences in preparation and creative\n                     production when tapping into dreams for creativity.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Creative Communities and Infrastructures<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807530\">AtoMix: Fostering Structured Visual Ideation for Remote Groups through Atomic Composition\n                  and Cross\u2011Pollination<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Heeji Jolie Kim<\/li>\n               <li class=\"nameList\">Anam Ahmad Khan<\/li>\n               <li class=\"nameList\">SeungHui Huh<\/li>\n               <li class=\"nameList Last\">Andrea Bianchi<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>6-3-5 brainwriting is a structured, silent ideation method where 6 participants each\n                     generate 3 ideas in 5 minutes across 6 rounds, yielding up to 108 ideas and enabling\n                     equal participation, rapid ideation and cumulative development. Many ideas are fundamentally\n                     visual, making generative image models especially useful for accelerating visual exploration\n                     and making abstract ideas quickly tangible, but existing tools cannot fully support\n                     visual composition, where ideas are built from atomic elements and iteratively remixed.\n                     A formative study (N=18) showed that even with GenAI embedded in a 6-3-5 structure,\n                     participants invested effort in crafting monolithic prompts yet struggled to obtain\n                     intended results, build on others\u2019 ideas, or work modularly, leading to redundancy\n                     and limited divergence. To address these issues, we present AtoMix, a collaborative visual interface for remote 6-3-5 brainwriting that supports granularity\n                     and cross-pollination through atomic prompting, canvas composition, and reuse of image\n                     fragments. In a comparative study (N=24), AtoMix afforded more fine-grained interaction than the baseline and better supported collaborative\n                     visual ideation.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807550\">Seed Bank, Co-op, Stoop Swap: Metaphors for Governing Language Model Data for Creative\n                  Writing<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Alicia Guo<\/li>\n               <li class=\"nameList\">Carly Schnitzler<\/li>\n               <li class=\"nameList Last\">Katy Gero<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>How might we govern a language model run for and by creative writers? While generative\n                     AI use is on the rise, many language models are created and owned in ways that limit\n                     writers\u2019 consent, participation, and control. We report on four workshops where over\n                     one hundred creative writers came up with and analyzed metaphors for language model\n                     governance, resulting in over two hundred metaphors: objects, places, processes, groups,\n                     and infrastructure that support reasoning about language model governance. What if\n                     a language model was like a community garden? Or a seed bank? Or the bathroom in a\n                     dive bar? We report on four themes: (1) the importance of consent, (2) how to define\n                     community boundaries, (3) ways to give contributor recognition, and (4) trade-offs\n                     in scale of language models. These metaphors point towards smaller, open models that\n                     encode group values. We discuss concrete ways to make community language models a\n                     reality.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807568\">Making Creative Technology Workable in Under-Resourced Classrooms<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Elaine Czech<\/li>\n               <li class=\"nameList\">Luma Tabbaa<\/li>\n               <li class=\"nameList\">Xiang Li<\/li>\n               <li class=\"nameList\">Sophia Ppali<\/li>\n               <li class=\"nameList\">Yvonne Cullen<\/li>\n               <li class=\"nameList\">Chee Siang Ang<\/li>\n               <li class=\"nameList\">Himanshu Verma<\/li>\n               <li class=\"nameList Last\">Alexandra Covaci<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>In underserved coastal communities, the adoption of digital technology is deeply stratified.\n                     While schools with high socio-economic status (SES) leverage technology for creative\n                     agency, under-resourced schools often face a second-level digital divide, where hardware\n                     is treated as a disruption rather than a tool for inquiry. We investigate this dynamic\n                     through an exploratory study of a digital arts programme in low-SES UK secondary schools,\n                     in which Human-Computer Interaction (HCI) researchers served as advisors and observers\n                     of a co-created partnership between schools and a local digital arts charity. Our\n                     findings reveal a pedagogical chasm. Systemic constraints and assessment pressures\n                     force teachers into the role of risk-averse behavioural gatekeepers, while external\n                     facilitators manage the creative play. However, we identify how students bridge this\n                     gap by establishing peer infrastructures, shared talk and repair work that transform\n                     technical breakdowns into possibility spaces for learning. We argue that sustainable\n                     integration requires designing for school settings to empower the human relationships\n                     central to creative technology use.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Speculative and Reflective Design<\/h3>\n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3809295\">Reading Children&#8217;s Books and Imagining Together: Knowledge Dissemination as Collective\n                  Community Building in Design Research<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Alex Jiahong Lu<\/li>\n               <li class=\"nameList Last\">Caitlin Crutcher<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Knowledge dissemination should not be treated as an afterthought to research and design\n                     efforts, particularly those that aim to center the experiences and expertise of minoritized\n                     communities. This pictorial visualizes the dissemination of an intergenerational participatory\n                     speculative design project focused on imagining community sociotechnical futures beyond\n                     anti-Black surveillance, where senior and youth community members collectively articulated\n                     their visions through designing a series of children&#8217;s picture books. We document\n                     the processes, outcomes, and reflections involved in preparing and organizing a community-based\n                     children&#8217;s book reading event as a form of knowledge dissemination. By foregrounding\n                     knowledge dissemination as a creative and communal site of gathering, dialogue, and\n                     the cultivation and celebration of joy, we invite HCI researchers and designers to\n                     consider how the dissemination of research and design outcomes can foster meaningful\n                     sociomaterial infrastructures within and beyond engaged communities.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807558\">Playing with Self-Provocations: Constraining Strategies for Making Internalized Assumptions\n                  Strange<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Jordi Tost<\/li>\n               <li class=\"nameList\">Eva Hornecker<\/li>\n               <li class=\"nameList Last\">Frank Heidmann<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Provocation has long been used in HCI to challenge audiences\u2019 assumptions about technology.\n                     However, designers and researchers themselves operate within implicit assumptions\n                     that shape the technologies they imagine\u2014invisible constraints that limit what futures\n                     we design for. In this paper, we introduce self-provocation as a complementary concept\n                     that turns the disruptive impulse inward to make designers\u2019 familiar thinking patterns\n                     strange through self-imposed constraints. Our approach builds on avant-garde artistic\n                     movements (Surrealism, Oulipo, Fluxus) and critical practices in HCI embracing speculation,\n                     anti-solutionism, and non-determinism as epistemic forces, focusing on process over\n                     outcomes. We provide a framework dividing self-provocation methods into two levels\n                     building on defamiliarization and estrangement. Self-provocation functions analytically\u2014understanding\n                     boundaries of current design imaginaries\u2014and generatively\u2014fostering creative friction\n                     to explore alternative possibility spaces. We present two self-provocation strategies\n                     and the methods we developed for them, and demonstrate through two case studies how\n                     these can be implemented in practice.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3807555\">An Otter Delight- Using Speculative Design for Long-Term Sustainable Engagements through\n                  Outdoor Recreation Technologies<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Bhavani Seetharaman<\/li>\n               <li class=\"nameList\">Madison Gruender<\/li>\n               <li class=\"nameList Last\">Kathryn Ringland<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>As outdoor recreations have grown in popularity post the pandemic, their effect on\n                     local biodiversity has been unregulated, leading to shifts in local ecology and wildlife.\n                     Recreationalists today use digital tools like mobile apps (<em>e.g.<\/em> Surfline) to facilitate and guide them towards nature spaces for these activities,\n                     highlighting opportunities for these apps to ameliorate the effects of these interactions\n                     through alternative design goals and values. By centering our design around the experience\n                     of Otter 841 (<em>i.e.,<\/em> \u201cthe surfing otter\u201d) in Santa Cruz we study how existing research in environmental\n                     studies and conservation can be used to create alternative design frameworks to improve\n                     outdoor recreation, for long-term sustainable interactions. By using speculative design\n                     centered on the \u201cTragedy of the Commons\u201d defined by Ostrom and Hardin we create alternate\n                     paradigms of how recreational technology can shift interactions to center the needs\n                     of non-human actors for technology design.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Artworks<\/h3>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h3>SESSION: Posters<\/h3>\n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816827\">ReSound: Reimagining Neurorehabilitation through Creative Movement\u2013Sound Interaction<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yuting Wu<\/li>\n               <li class=\"nameList\">Yining Ding<\/li>\n               <li class=\"nameList\">Ruizhe Yang<\/li>\n               <li class=\"nameList Last\">Jinyu Zhu<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Repetitive motor rehabilitation is often experienced as monotonous, especially in\n                     home settings with limited guidance. This project reinvents rehabilitation as an expressive\n                     and embodied activity in which movement serves as a vehicle for artistic sound exploration.\n                     We present ReSound, an interactive, low-cost system that creates dynamic musical output\n                     by fusing real-time sound production with physical movement. The system creates a\n                     movement\u2013sound interaction where gestures continuously modify rhythm, timbre, and\n                     intensity using camera-based motion tracking (MediaPipe) and real-time sound synthesis\n                     (Max\/MSP). Based on well-established principles of auditory-motor rehabilitation,\n                     the design incorporates goal-oriented engagement, continuous motion sonification,\n                     and rhythmic signals into a cohesive expressive framework. Through motion analysis\n                     and visualization, an AI-assisted approach facilitates post-session reflection. The\n                     approach turns repetitive workouts into interesting, emotive, and artistically significant\n                     experiences by incorporating creativity into therapy.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816828\">From Answer-First to Decision-First: An Interaction Pattern for Creative Judgment\n                  in AI Chat<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Naile Burcu Hacioglu<\/li>\n               <li class=\"nameList\">Maria Chiara Leva<\/li>\n               <li class=\"nameList Last\">Hyowon Lee<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Generative AI makes creative work faster, but its fluent outputs can encourage premature\n                     acceptance, shallow evaluation, and loss of orientation across extended chats. We\n                     present ReasonScape, a redesign of the familiar chat user-interface that supports\n                     creative judgement during GenAI co-creation. ReasonScape replaces answer-first interaction\n                     with a guided workflow that (1) introduces brief reflection checkpoints to surface\n                     goals and constraints, (2) triggers sensemaking interventions for recurring evaluation\n                     gaps when reasoning shows signs of one-sidedness, inconsistency, or unexamined assumptions,\n                     and (3) externalises users\u2019 evolving rationale through ReflectRail, a persistent rationale\n                     trail with direct navigation. A lightweight status view (ReflectMeter) shows which\n                     reflective checks are open without implying correctness. We report findings from two\n                     rounds of expert inquiry (n=16) indicating that the approach can keep evaluation lightweight\n                     and supportive, while highlighting calibration risks around frequency, tone, and stability.\n                     We conclude with design implications for creativity-support tools that balance reflective\n                     scaffolding with creative flow.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816817\">Understanding Human Engagement with AI-Extended Characters in Creative Media: A Preliminary\n                  Investigation into AI Talk Shows<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yuying Tang<\/li>\n               <li class=\"nameList\">Wenqi Qiu<\/li>\n               <li class=\"nameList\">Yu Zhang<\/li>\n               <li class=\"nameList\">Baiqiao Zhang<\/li>\n               <li class=\"nameList\">Wenshuo Zhang<\/li>\n               <li class=\"nameList\">Xiaojuan Ma<\/li>\n               <li class=\"nameList Last\">Huamin Qu<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Recent advances in generative AI have introduced <em>AI-extended characters<\/em>, which refer to AI-generated personas grounded in pre-existing human or fictional\n                     referents. While prior research focuses on direct social interaction, their capacity\n                     to foster parasocial interaction (PSI) in media remains underexplored. We analyzed\n                     1,460 audience comments from 299 AI talk show videos to investigate this gap. Our\n                     findings identify three distinct objects of PSI within <em>AI-extended characters<\/em>: referents, AI proxies, and blended characters. Although referents remain the primary\n                     focus, PSI toward AI proxies and blended characters suggests that audience engagement\n                     with AI media may extend beyond the original referents. We further found that humanlikeness\n                     and AI awareness appeared as recurring themes in how audiences interpreted these relationships.\n                     This work provides a preliminary understanding of human engagement with <em>AI-extended characters<\/em> and offers design implications for future AI-mediated creative media content.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816818\">Cyanotype as Slow Technology for Japanese Older Adults<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Yi Xia<\/li>\n               <li class=\"nameList\">Jianrui Zhao<\/li>\n               <li class=\"nameList Last\">Chihiro Sato<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>As everyday photography becomes faster, more automated, and increasingly frictionless,\n                     image-making is often oriented toward the efficient production of visual outcomes.\n                     This paper examines cyanotype as a form of slow technology for older adults, asking\n                     how the intervals within cyanotype practice support reflection and meaning-making.\n                     Based on four workshops in a suburban Japanese aging community, we show how the process\n                     of selecting, arranging, exposing, rinsing, and sharing cyanotype prints transformed\n                     waiting into shared attention, material uncertainty into personal interpretation,\n                     and finished prints into socially meaningful objects. Drawing on the Japanese concept\n                     of <em>ma<\/em> and Benjamin\u2019s notion of aura, we argue that cyanotype\u2019s value lies in the temporal,\n                     material, and relational conditions through which images gradually emerge. The study\n                     contributes an empirical account of how legacy photographic technologies can support\n                     reflective creative practice in later life, and suggests the continuing value of slowness\n                     in an era increasingly shaped by fast-paced technology.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816829\">WarmStone: Ceramic Making as a Participatory Design Approach to Personalized Haptic\n                  Comfort<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Bin Yu<\/li>\n               <li class=\"nameList\">Zixun Zhou<\/li>\n               <li class=\"nameList\">Jie Chen<\/li>\n               <li class=\"nameList\">Bo Wang<\/li>\n               <li class=\"nameList Last\">Somaya Ben Allouch<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Chronic stress is widespread, yet digital stress-management tools can paradoxically\n                     worsen it through screen fatigue and technology-induced anxiety. This study explores\n                     a low-tech, non-digital alternative. We conducted ceramic-making workshops with 20\n                     participants experiencing stress, who crafted <em>WarmStones<\/em>, personalized handheld ceramic objects for haptic comfort and self-soothing. After\n                     four weeks of daily use, we conducted artifact analysis and interviews, revealing\n                     a design space of shapes, textures, and interaction patterns that support stress regulation.\n                     We discuss how everyday ceramic objects can become tactile comfort tools, and offer\n                     design implications for texture-rich, personalized objects that foster moment-to-moment\n                     calm.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816830\">Journey of the Glazed Dragon Tiles: Designing Processual Storytelling for Museum Artifacts\n                  in Virtual Reality<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Fengyihan Wu<\/li>\n               <li class=\"nameList\">Zixuan Ma<\/li>\n               <li class=\"nameList\">Zihang Zou<\/li>\n               <li class=\"nameList\">Jinquan Ruan<\/li>\n               <li class=\"nameList Last\">Shu Ye<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Museums often present cultural artifacts as static objects with textual descriptions,\n                     limiting understanding of historical change over time. This paper presents a VR experience\n                     that explores processual storytelling for cultural artifacts through spatial-temporal\n                     progression and embodied interaction. Focusing on the Glazed Dragon Tiles from the\n                     British Museum, we designed an immersive narrative that reconstructs the artifact&#8217;s\n                     historical trajectory across interconnected scenes, including a temple, transportation,\n                     and auction context. We conducted a qualitative user study with 15 participants in\n                     a university setting in London. Findings show that participants developed a processual\n                     understanding of the artifact&#8217;s history through movement across scenes and changing\n                     environmental and material conditions. Embodied interactions further supported engagement\n                     by positioning participants within the narrative structure. This work contributes\n                     a process-oriented approach to VR museum storytelling and design insights into integrating\n                     spatial-temporal progression and embodied interaction in cultural heritage experiences.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816831\">Entangled Mediation: An Empirical Study of Intent Drift in Human\u2013AI Co-Creation with\n                  a Text-to-Image Model<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">YanXiang Zhang<\/li>\n               <li class=\"nameList Last\">SiYuan Wang<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This poster presents an empirical study examining how creative intent evolves during\n                     interaction with Dreamina, a text-to-image generative model. Moving beyond the assumption\n                     that creative intent is fixed prior to action, we propose an <em>entangled mediation<\/em> framework\u2014drawing on post-phenomenological mediation theory and Frauenberger\u2019s Entangled\n                     HCI\u2014to analyze the recursive interplay between human decision-making and model outputs.\n                     Through a mixed-methods study with 10 experienced creators using think-aloud protocols,\n                     process logging, and retrospective interviews, we identify three interaction patterns:\n                     <em>local correction<\/em>, <em>gradual emergence<\/em>, and <em>intent reorganization<\/em>. Our findings indicate that creative intent functions as a processual attribute shaped\n                     through iterative generation\u2013evaluation\u2013modification cycles, rather than a stable\n                     precondition. We further observe that creators\u2019 perceptions of authorship are tied\n                     to their locus of decision-making rather than the proportion of AI-generated content.\n                     These findings contribute to understanding human\u2013AI co-creativity as a situated, relational\n                     process and offer preliminary implications for designing generative tools that support\n                     flexible interaction strategies.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816820\">The Shapes of Emotions: Generating Emotive Shapes Using Physiological Signals to Support\n                  Creative Design Practices<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Vanessa Georges<\/li>\n               <li class=\"nameList\">Fran\u00e7ois Courtemanche<\/li>\n               <li class=\"nameList\">Marc Fredette<\/li>\n               <li class=\"nameList Last\">Philippe Doyon-Poulin<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This paper explores the communication of emotion through shape using Morph-UX, a web-based\n                     application for emotive form design which uses physiological features correlated with\n                     emotional experience as input to control objects attributes in real-time. Centered\n                     on the body, our approach aims to provide visual feedback as to how bodily sensations\n                     associated with the expression of emotions can alter, transform and modulate shapes.\n                     Preliminary results from a 30-participant user study show that shapes generated using\n                     Morph-UX accurately convey users&#8217; experienced emotional valence and arousal. We describe\n                     the design and development of Morph-UX and highlight how embodied shapes can be used\n                     to communicate affect, ideas and intentions. Implications for further exploration\n                     of physiological signals as a design material are also discussed.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816821\">Generative AI in Game Sound Design: Practitioner Workflows, Challenges, and a Design\n                  Framework<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Junyi Zeng<\/li>\n               <li class=\"nameList\">Tianxiao Wang<\/li>\n               <li class=\"nameList\">Cyriel Diels<\/li>\n               <li class=\"nameList Last\">Ali Asadipour<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Generative AI is increasingly adopted in sound practices, yet its use in professional\n                     production-oriented workflows remains insufficiently understood. This paper addresses\n                     this gap through an empirical study of game sound design, a structured creative practice,\n                     examining how game sound practitioners engage with generative AI tools and where current\n                     systems fail to support established workflows. We conducted a screening survey (<em>n<\/em> = 58) and semi-structured interviews involving hands-on use of two generative AI\n                     tools (<em>n<\/em> = 13) with professional game sound practitioners. Findings reveal that practitioners\n                     primarily use generative AI for early-stage ideation and rapid prototyping rather\n                     than production-ready outputs, and identify a structural misalignment between how\n                     current AI systems operate and how professional sound work is organized. We contribute\n                     a workflow model of professional game sound production, an analysis of audio teams\u2019\n                     organizational working conditions, and an initial framework for evaluating future\n                     AI-assisted game sound design tools grounded in practitioner interaction preferences.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816811\">Relational and Somatic Engagements with Anxious and Depressed Black Women: A Speculative\n                  Design Approach to Social Robot-Mediated Mental Well-being<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Abena Boadi-Agyemang<\/li>\n               <li class=\"nameList\">Adinawa D. Adjagbodjou<\/li>\n               <li class=\"nameList Last\">Jay L. Cunningham<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Anxiety and depression are among the most common mental health conditions that affect\n                     black women (BW) living in the US. Nevertheless, BW with anxiety and\/or depression\n                     (BWA\/D) are under-diagnosed and under-treated, resulting in severe and prolonged somatic\n                     symptoms. Although technology research suggests the potential of social robots for\n                     mental health, these works rarely highlight the needs of BWA\/D or how their lived\n                     experiences can shape these technologies. We contribute a relational and somatic speculative\n                     approach \u2013 rooted in Black Feminist and decolonial praxis \u2013 to designing social robots\n                     for and with BWA\/D. Our work illustrates how self-reflexive and dialogic processes\n                     situated in BWs\u2019 lived experiences can reshape the design of social robot-mediated\n                     mental well-being.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3819814\">Onycho Lab: Designing Wearable Fingertip Prostheses for Feminist Hapticism to Reframe\n                  Artificial Nails as Bodily Technology<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Keyi Zhang<\/li>\n               <li class=\"nameList\">Patrick Hartono<\/li>\n               <li class=\"nameList Last\">Robert Hall<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We present Onycho Lab, a performative \u201cmanicure surgery\u201d reframing artificial nails\n                     as bodily technology. Staged as a temporary clinic, participants book appointments,\n                     complete consent forms, and undergo a tactile procedure while an overhead camera projects\n                     the close-up transformation. The system includes a wearable fingertip prosthesis that\n                     senses pressure and delivers vibrotactile feedback via a soft bracelet. Across a three-day\n                     exhibition (58 procedures), fingertip micro-augmentations redirected attention from\n                     visual display toward somatic memory and negotiated agency, with implications for\n                     feminist HCI and soma design.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816832\">Open Weaving: Decentering Practice in More-than-Human Relations<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Jian Yu<\/li>\n               <li class=\"nameList\">Petra J\u00e4\u00e4skel\u00e4inen<\/li>\n               <li class=\"nameList Last\">Ron Wakkary<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>While it\u2019s becoming increasingly popular for designers to adopt a posthumanist view\n                     that conceptually positions nonhumans as collaborators through which relational creativity\n                     and knowledge emerge, challenges remain for human designers to practice decentering\n                     themselves in design activities. We approach this challenge through an autoethnography\n                     study of open weaving accompanied by written reflections in a workbook. Through a\n                     more-than-human lens, we see opportunities for open weaving to surface the multiplicity\n                     of relational entanglements in making with nonhumans. Our analysis presents emerging\n                     narratives that examine nonhuman creativity and their active participation. We then\n                     discuss the frictions in decentering and how the nonhuman agency could be extended\n                     through the use of woven textiles. This ongoing work contributes with a posthuman\n                     perspective to open weaving that potentially enables designers to enter non-human\n                     relations in decentered ways.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816833\">VR as a Creative Medium for Immersive Storytelling: An Autobiographic Design Exploration<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Bozhi Peng<\/li>\n               <li class=\"nameList\">Heekyoung Jung<\/li>\n               <li class=\"nameList\">Ming Tang<\/li>\n               <li class=\"nameList Last\">Yoshiko Burke<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This project explores virtual reality (VR) as a creative medium for expressing personal\n                     memories through space, movement, and interaction, while evoking shared experiences.\n                     Using autobiographic and&nbsp;research&nbsp;through&nbsp;design approaches, three VR scenes were\n                     developed through iterative prototyping and first-person inquiry to investigate immersive\n                     storytelling. Guided by the framework of immersion, presence, and interactivity, the\n                     project examines how design decisions shape immersive experience in VR through the\n                     alignment of perception, embodied movement, and responsive interaction. The work demonstrates\n                     how personal memory can function as a generative resource for experiential storytelling\n                     rather than representational narration. It also reflects on the potential and limitations\n                     of autobiographic design as a method of creative inquiry in VR and identifies future\n                     directions for engaging collective and cultural memory through audience participation.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816835\">Early Explorations at the Intersection of Clay, AI, and Embodied Making<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Allison Waxberg<\/li>\n               <li class=\"nameList Last\">Matt Wood<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This poster presents a pilot study exploring the relationship between clay and AI,\n                     as both a making material and a design method. Drawing on aspects of research through\n                     design, clay and a short set of prompts were distributed to participants to engage\n                     with in their own time and space. They articulated their experience with clay in relation\n                     to AI: asking AI what to make, comparing AI-suggested objects with self-directed ones,\n                     and exploring whether there are meaningful parallels between working with clay and\n                     working with AI. Early findings suggest themes around AI and legibility, the gap between\n                     AI pattern recognition and human making intention, and broader themes around posture,\n                     attention and clay as emotional regulator. The work invites a perspective around Creativity\n                     for Change, offering some early insights in to how embodied making practices together\n                     with AI can open new possibilities for creative participation.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816836\">Clay for the Creative Mind: Hands-On Robot Shaping Using Truss Links<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Philippe Martin Wyder<\/li>\n               <li class=\"nameList\">Judah Goldfeder<\/li>\n               <li class=\"nameList\">Quinn A. Booth<\/li>\n               <li class=\"nameList\">Meiqi Zhao<\/li>\n               <li class=\"nameList\">Gaurav Himanshu Patel<\/li>\n               <li class=\"nameList\">Jiong Lin<\/li>\n               <li class=\"nameList\">Allen Roush<\/li>\n               <li class=\"nameList Last\">Hod Lipson<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Truss Links are a modular robot platform originally developed for studying Robot Metabolism,\n                     the ability for machines to grow, repair, and intelligently adapt by integrating components\n                     from their environment or other robots. Here, we investigate whether Truss Links can\n                     be more than robots that build themselves: can they serve as a creative medium accessible\n                     to non-experts? In this paper, we present a preliminary research-through-design exploration\n                     of Truss Links as digital building blocks for the physical world. We demonstrate how\n                     Truss Links can be used to animate text, animate two- and three-dimensional shapes,\n                     form kinetic sculptures, and hand-build a delta pick-and-place robot. We discuss what\n                     this exploration reveals about the design properties that can make a research-grade\n                     robotic platform accessible as a creative medium.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816837\">Designing a Scaffolding for the Audience to Create Participatory Sense-making in Indian\n                  Classical Dance<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Lakshmi Srinath<\/li>\n               <li class=\"nameList\">Akhilesh Kumar Bhagat<\/li>\n               <li class=\"nameList\">Ayush Sharma<\/li>\n               <li class=\"nameList Last\">Gowdham Prabhakar<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Indian Classical Dance has long treated performance as a participatory act in which\n                     emotion arises in a trained spectator (rasika) through an understanding and attention\n                     on the codified vocabulary of hand gestures (mudras) and facial expressions (rasa).\n                     This participation is not behavioural but constitutive. The contemporary audience\n                     lacks the cultural cognitive vocabulary needed to interpret the performance and attend\n                     without the capacity to do so. We present an early-stage multimodal system that extracts\n                     hand gestures, facial expressions, and audio content from a recorded Mohiniyattam\n                     performance and delivers a synthesised narration through text and audio modalities.\n                     A study (n=10) combining semi-structured interviews and eye tracking reveals that\n                     scaffolding requirements vary according to the viewer\u2019s literacy in the tradition.Spectators\n                     largely prefer audio narration because it frees the visual channel to focus on the\n                     dancer; performers largely prefer text because audio narration competes with the musical\n                     structure central to the form. We argue that designing for audience-side participatory\n                     sense-making in codified performance requires attention to viewer literacy, not only\n                     modality preferences and offer preliminary design directions.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816834\">Beyond Individualistic Creativity: A Multi-Relational Evaluation Framework for Generative\n                  AI Across Scales<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">B\u0142a\u017cej Kotowski<\/li>\n               <li class=\"nameList\">Perfecto Herrera<\/li>\n               <li class=\"nameList Last\">Frederic Font<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Claims that generative AI enhances human creativity rely on individualistic notions\n                     that obscure the socio-technical conditions shaping creative practice. This framing\n                     enables what we call creativity-washing\u2014the mobilisation of creativity discourse to\n                     legitimise corporate control over creative labour\u2014and narrows evaluation to copyright\n                     compliance and user experience. We propose a multi-relational evaluative framework\n                     examining generative AI across scales: micro-level experience (postphenomenology),\n                     meso-level networks of agency (actor-network theory), and macro-level cultural and\n                     economic conditions (materialist-relational perspective). The framework surfaces concerns\n                     that single-dimension metrics, such as openness rankings, usability studies, and output\n                     benchmarks, render invisible. We illustrate the framework through a comparative analysis\n                     of two generative audio systems, Stable Audio Open and RAVE. The analysis yields findings\n                     at each scale, including the observation that openness at the point of access can\n                     coexist with enclosure at the point of governance.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816812\">Cute for Good &#8211; Cuteness as an Affective Strategy for Purpose-led Communication Design<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Guo Yi Xian Yix<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Cuteness is a pervasive affective language in contemporary digital culture, shaping\n                     interaction across interfaces, voice technologies, robotics, and communication design.\n                     Despite extensive psychological, neuroscientific, and HCI evidence demonstrating cute&#8217;s\n                     capacity to evoke empathy, increase engagement, and encourage prosocial behaviour,\n                     cuteness remains under-theorised within design research. This PhD addresses this gap\n                     by reframing cuteness as an intentional and ethical affective strategy for purpose-led\n                     communication design. The research develops an integrated conceptual and methodological\n                     framework comprising the \u2018Cuteness Matrix\u2019 (mapping power and purpose), a set of articulated\n                     \u2018Cute Functions\u2019, and the \u2018Cuteness Playbook\u2019, a card-based toolkit for analysis and\n                     ideation. Together, these components translate interdisciplinary insights into actionable\n                     design methods that support reflective and accountable creative work. The research\n                     positions cuteness as affective infrastructure instead of surface ornamentation. It\n                     establishes cuteness as a relational mechanism that shapes perception, behaviour,\n                     and agency, and advances it as a strategic and designable affect within design practice.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816813\">Designing Affective Urban Interfaces: AI-Driven Interactive Lighting for Creative\n                  Public Space Experiences<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Tongguo Wang<\/li>\n               <li class=\"nameList Last\">Ziyu Liu<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>As urban nightlife expands, public lighting increasingly influences how people perceive\n                     and experience urban space beyond basic visibility and safety. Most systems, however,\n                     remain static or reactive, lacking holistic environmental understanding. This work\n                     reconceptualizes public lighting as an interactive affective urban interface. We propose\n                     an AI-driven system that uses anonymized, multimodal data (temperature, crowd density,\n                     movement) to model collective spatial affect through a transparent rule-based affective\n                     inference model combining environmental thresholds and weighted contextual mappings.\n                     Crucially, it employs a compensatory lighting strategy\u2013generatively modulating color,\n                     brightness, and rhythm to mitigate environmental stress rather than mirror it.<\/p>\n                  <p>Through an augmented reality (AR)-based design evaluation combining physiological\n                     indicators and experiential feedback, the system consistently lowers across participants\n                     stress arousal and enhanced perceived comfort in high-density scenarios. By framing\n                     AI as a adaptive environmental medium, this work provides a design framework for affective\n                     urban modulation, moving beyond control-oriented smart city paradigms toward responsive,\n                     ethical, and culturally adaptable public spaces. This poster presents an early exploration\n                     of the system design and its potential for creative interaction in public space.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816838\">Beyond Rendering Generation: A Production-Aware AI Co-creation System for Suzhou Ming-Style\n                  Furniture Cultural Heritage<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Liwen Fan<\/li>\n               <li class=\"nameList\">Aojie Feng<\/li>\n               <li class=\"nameList\">Yuxuan Li<\/li>\n               <li class=\"nameList\">Yueyi Li<\/li>\n               <li class=\"nameList\">Xiang Li<\/li>\n               <li class=\"nameList Last\">Zhifeng Zhao<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>As a representative of cultural heritage, Suzhou Ming-style furniture embodies a composite\n                     knowledge system integrating material properties, structure, and craftsmanship. While\n                     Generative AI shows potential in creative design, current models lack an intrinsic\n                     understanding of physical and manufacturing constraints, often producing unproducible\n                     visual illusions. To bridge the gap between pixelated images and actual production,\n                     this paper proposes and develops a production-aware AI co-creation system that translates\n                     implicit traditional craftsmanship into explicit digital rules. Utilizing a node-based\n                     workflow and a knowledge-embedded estimation module, the system connects creative\n                     exploration with production configuration. It generates multimodal outputs, including\n                     renderings, structural exploded views, and practical cost and timeline estimations.\n                     Preliminary evaluations indicate high consistency with actual workshop production\n                     experience, effectively lowering the creative threshold for non-professionals. This\n                     research demonstrates how AI transcends mere visual generation to become a new pathway\n                     for the dynamic preservation and revitalization of cultural heritage.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816839\">Actionspaces \u2013 Storytelling through Proxemic Interactions in Augmented Exhibitions<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Fabian T\u00f6pfer<\/li>\n               <li class=\"nameList\">Lars Engeln<\/li>\n               <li class=\"nameList\">Franziska Hann\u00df<\/li>\n               <li class=\"nameList Last\">Matthew McGinity<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The modern museum continually transforms, reflecting broader social, political, and\n                     technological shifts. Post-colonial critiques, intangible cultural heritage, and the\n                     mass digitisation of collections underscore the need for new methods to mediate contextualised\n                     knowledge embedded within collections through narrative forms, moving beyond traditional\n                     object-centered modes of display. This work examines how augmented exhibition can\n                     enact digital storytelling through proxemic interactions in embedded hybrid spaces.\n                     Specifically, we examine how proxemics (the study of the social and cultural use of\n                     space) can inform the design of augmented exhibitions delivered through head-mounted\n                     displays. We translate structural and semantic aspects of proxemic interaction into\n                     a design framework for augmented exhibitions, leading to the concept of actionspaces.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816815\">ShadowAI: Fostering Children&#8217;s AI Literacy and Critical Understanding of AI Reasoning<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Xixiang Nie<\/li>\n               <li class=\"nameList\">Maureen Mwadime<\/li>\n               <li class=\"nameList\">Xin Shu<\/li>\n               <li class=\"nameList Last\">Matthew Wood<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>AI systems are increasingly shaping everyday life through data capture and reasoning\n                     processes that often remain difficult for children to grasp. This paper presents ShadowAI, a playful, metaphorical, and creative system designed to support children\u2019s AI literacy\n                     in informal learning environments. It comprises the Shadow Capture Box and ShadowStories.\n                     Drawing on the metaphor of AI as a \u201cghost\u201d that hides within the shadow of data, and\n                     on the benefits of creative making that makes AI concepts tangible, engaging, and\n                     personally meaningful. ShadowAI invites children to create play-doh artefacts whose shadows are captured and interpreted,\n                     generating images, narratives, and staged visualisations of AI reasoning. Rather than\n                     offering conceptual explanations of AI, the system uses ambiguity, family interaction,\n                     and discussion to help children critically engage with how AI observes, interprets,\n                     and reasons from partial input, while reflecting on data and agency.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816814\">Reframe: Rethinking Versioning as a Creative Practice in Coding<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Juan Pablo S\u00e1enz<\/li>\n               <li class=\"nameList Last\">Stefano Di Leo<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Creative Coding is characterized by iterative and exploratory workflows oriented toward\n                     open-ended outcomes. Practitioners make small adjustments to parameter values and\n                     code structure, where even minor edits can produce drastically different visual results.\n                     Yet existing tools offer limited means for tracking this process, and creative coders\n                     rely on time-consuming strategies to save, inspect, compare, and revisit prior versions.\n                     More importantly, this is not only a practical limitation but also a conceptual mismatch:\n                     the tools used to manage versions can shape and potentially constrain the creative\n                     process itself. This article derives design considerations and presents Reframe, a\n                     web-based Creative Coding environment for p5.js that seeks to support creative work\n                     by rethinking versioning. By distinguishing between structural and value-level change\n                     and combining non-linear navigation, direct code editing, parameter-level exploration,\n                     and continuous visual feedback, Reframe is designed to support divergence, reflection,\n                     and continued iteration while keeping source code as the creative medium.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816816\">DataMorph: Designing a Metaphorical Data Factory Provotype to Physicalise Invisible\n                  Data<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Xixiang Nie<\/li>\n               <li class=\"nameList\">Eike Schneiders<\/li>\n               <li class=\"nameList Last\">Weijia He<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Data has emerged as one of the most powerful resources of the 21st century, yet the\n                     processes through which it is collected, transformed, and exploited remain opaque\n                     to the general public. While individuals continuously generate data through everyday\n                     interactions, they often lack understanding of how data is collected, by whom, and\n                     for what purposes. In this poster paper, we present the development process of DataMorph, an artistic provotype inspired by the metaphor of a data factory. It employs data\n                     physicalisation to render invisible processes and abstract data flows visible through\n                     a physical shape-changing form. Through this design provocation, we aim to foster\n                     critical reflection, public dialogue, and engagement with data practices, agency,\n                     and power. Lastly, we discuss various contexts in which DataMorph could be deployed.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816859\">Language as a Material Interface for Creative LLM Interaction<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Jon McCormack<\/li>\n               <li class=\"nameList\">Tace McNamara<\/li>\n               <li class=\"nameList\">Chen Wang<\/li>\n               <li class=\"nameList Last\">Maria Teresa Llano<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Although directive prompting is the predominant way to interact with Large Language\n                     Models (LLMs), many creative practices rely on language that is open-ended, associative,\n                     phonaesthetic, symbolic, and that unfolds across multiple temporalities. In this work,\n                     we explore how creative practitioners might work with AI systems when language is\n                     treated not merely as instruction but as material. We conducted an ecological two-week\n                     study with four creative practitioners using a design probe: the <em>Memetic Mixer<\/em>, a tangible interactive device that constrains interaction with an LLM. Analysis\n                     of post-study interviews and device logs identified distinct modes of material language\n                     use and temporalities that shaped each participant\u2019s engagement with AI and their\n                     creative practice. We reflect on these findings and contribute design considerations\n                     that support open-ended interaction with AI in creative practice.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816823\">Exploring Personal Narratives and Sociotechnical Change: Insights from Techno-Biographical\n                  Reflexive Ateliers<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Luciana de Sousa Lima<\/li>\n               <li class=\"nameList\">Maria J\u00falia Vieira<\/li>\n               <li class=\"nameList\">Cl\u00e1udia Silva<\/li>\n               <li class=\"nameList Last\">Ana Cristina Pires<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This paper introduces the Techno-Biographical Reflexive Atelier (TeBRA), a collaborative\n                     autoethnographic method designed to explore how personal narratives intersect with\n                     sociotechnical systems over time. Drawing on three editions involving eleven participants,\n                     we examine how the method supports situated reflection, creative expression, and collective\n                     sense-making around lived technological experiences. TeBRA combines four interconnected\n                     elements: techno-biographical narratives, multimodal self-expression activities, retelling\n                     of others\u2019 narratives, and collective reflection distributed across four sessions.\n                     Using participants\u2019 reflections on artificial intelligence as an illustrative case,\n                     we argue that TeBRA supports collective reflection and can serve as a safe space for\n                     participants to share concerns, negotiate perspectives, and critically engage with\n                     contemporary sociotechnical transformations. We contribute a first-person methodological\n                     approach for HCI that expands collaborative autoethnographic inquiry through relational\n                     interpretation, multimodal expression, and reflexive engagement with the socio-cultural\n                     conditions shaping people\u2019s relationships with technology.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816824\">Where Art Lives Online: Reimagining Creative Distribution<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Kate Chier<\/li>\n               <li class=\"nameList Last\">Shm Garanganao Almeda<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Social media platforms have become the dominant infrastructure for distributing and\n                     encountering art online, shaping how creative work is presented, accessed, and valued.\n                     While they enable wide discoverability, they also privilege platform-values over artist\n                     values, constraining artists\u2019 presentation options to generic, standardized formats.\n                     This convergence discourages artists from showcasing work in personal, contextually\n                     situated, or non-standard formats. We investigate online art distribution as an expressive\n                     design landscape through which artists shape meaning and viewer engagement as an extension\n                     of creative practice. Through interviews with seven artists who share work online,\n                     we examine how practitioners navigate existing platforms, reflect on alternatives,\n                     and imagine more expressive spaces for their work. Our findings highlight key tradeoffs\n                     between visibility, creative control, friction, and engagement, as well as medium-specific\n                     constraints. We outline design directions for art presentation systems that support\n                     diverse, malleable, and interoperable forms of presentation to empower artist agency.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816825\">Embodied Musical Interaction through Everyday Objects<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList Last\">Ayaz Ismail<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Before anyone picks up a drumstick or sits down at a piano, they have already been\n                     making music. Tapping a table while waiting, drumming fingers during a conversation,\n                     striking a pen against a desk\u2014these gestures carry rhythm, dynamics, and phrasing,\n                     yet they remain invisible to most musical interface research. This poster presents\n                     a system that treats those everyday percussive behaviors as a creative resource worth\n                     amplifying. Piezoelectric sensors (contact microphones) attached to ordinary objects\u2014tables,\n                     chairs, cardboard boxes\u2014feed vibration data through an Arduino UNO into a Max\/MSP\n                     synthesis engine, where strike intensity, timing, and rhythmic density are continuously\n                     mapped to amplitude, brightness, pitch, and resonance. Through informal observational\n                     sessions with participants in a college community, we found that people began playing\n                     expressively within minutes, developing complementary two-handed techniques and collaborative\n                     rhythmic structures without instruction. The work argues that creativity does not\n                     require specialized tools or training\u2014it is already embedded in how people interact\n                     with the material world\u2014and that the designer&#8217;s role is to reveal and amplify these\n                     latent creative practices rather than replace them.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816826\">How Creative Design Teams Make Sense of Contrasting AI Personas<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Kevin Ma<\/li>\n               <li class=\"nameList\">Daniel Won<\/li>\n               <li class=\"nameList\">Yuchen Zeng<\/li>\n               <li class=\"nameList\">Jaewoo Chung<\/li>\n               <li class=\"nameList Last\">Kosa Goucher-Lambert<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This paper examines how contrasting AI personas shape multi-human creative teamwork.\n                     Drawing on Computers are Social Actors and leadership research, we use two theory-grounded\n                     AI collaborator personas, a control-oriented persona and an autonomy-supportive persona,\n                     as contrasting probes to explore how contrasting AI social behavior would be interpreted\n                     in multi-human creative teamwork. We conducted a counterbalanced within-subject study\n                     with 16 human design dyads completing open-ended ideation tasks on a custom digital\n                     whiteboard, analyzing the results using a mixed-methods approach. We observed two\n                     emergent team orientations: persona-sensitive teams (7\/16) treated the control-oriented\n                     persona as intrusive or adversarial, while persona-neutral teams (9\/16) engaged both\n                     personas in a tool-like manner. Our preliminary findings indicate that teams do not\n                     respond to AI personas uniformly, motivating future works on understanding how existing\n                     collaboration norms shape those responses.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            <h3>SESSION: Technical Demonstrations<\/h3>\n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816881\">Mimori: A Tangible Origami Artefact Highlighting Human Impact Upon Non-Humans<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Tanisha Sarkar<\/li>\n               <li class=\"nameList\">Loraine Clarke<\/li>\n               <li class=\"nameList\">Miriam Sturdee<\/li>\n               <li class=\"nameList Last\">Tom Metcalfe<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We present a tangible origami-based artefact designed to explore how artefacts can\n                     foreground ecological entanglements by embodying movement, fragility, and responsiveness.\n                     Drawing on a Research through Design (RtD) practice-led approach using a diffractive\n                     lens rooted in new materialist philosophy, and inspired by expressive and defensive\n                     behaviours in plants and animals, the artefact combines rhythmic \u201cbreathing\u201d actuation,\n                     colour change, and contraction to evoke a sense of aliveness and ambiguity. We contribute\n                     the design of a diffractive, tangible origami artefact intended to evoke aliveness\n                     and artefact agency, and a design process demonstrating diffraction as a generative\n                     lens for more-than-human HCI.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816880\">Multisensory climate communication: Meaning-making through interactive audiovisual\n                  atmospheres<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Oscar Str\u00f6m<\/li>\n               <li class=\"nameList Last\">Sofia Lundmark<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>This demonstration presents rawTemp, an interactive multisensory data representation\n                     (MDR) that sonifies and visualises annual mean temperature data for Sweden (1900\u20132023).\n                     Users explore the dataset nonlinearly via a physical MIDI controller, triggering year-specific\n                     audiovisual states generated by a particle system and multilayered sonification. The\n                     system was designed through an iterative research-through-design process and evaluated\n                     through a qualitative study with ten participants. Findings show that the prototype\n                     elicited diverse emotional reactions, ranging from calmness to anxiety, and invited\n                     metaphorical and symbolic interpretations. Participants often described the data in\n                     non-literal terms, using imagery such as glaciers, galaxies, wombs and systemic collapse,\n                     highlighting the role of affect and metaphor in personal meaning-making processes.\n                     Conference attendees are invited to interact with the system, experience temperature\n                     change as an audiovisual atmosphere, and reflect on how multisensory design can support\n                     experiential engagement with climate data.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816887\">Exploring AI Audio Models in Soundwalking with Broader Audiences<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Jiatong Liu<\/li>\n               <li class=\"nameList Last\">Shuoyang Jasper Zheng<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The development of generative AI offers new possibilities for music composition and\n                     production. However, it could undermine the creative process and obscure the generation\n                     steps between input and output, and lead to homogenous results. To enable broader\n                     audiences to engage with generative AI models, we adopt soundwalking\u2014an embodied listening\n                     and compositional practice \u2014 as a design principle, and apply meaningful human control\n                     to its AI integration. Together, these frameworks can encourage the player\u2019s exploration\n                     and understanding of the sonic outcome. This demo presents an immersive soundwalking\n                     experience created using an AI audio synthesis model. The audience walks in the virtual\n                     environment as their movements transform into soundscapes in real time. The interactive\n                     system is built in an accessible and playful way for a broader gallery audience to\n                     engage with AI models through embodied listening.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816886\">Spontaneous Spectacles: AR- and LLM-Enabled Improvised Theatre Practice<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Piotr Mirowski<\/li>\n               <li class=\"nameList\">Boyd Branch<\/li>\n               <li class=\"nameList Last\">Kory Mathewson<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We employ augmented reality (AR) glasses combined with automated speech recognition,\n                     and optionally, our bespoke system based on large language models (LLMs), to enable\n                     novice (and challenge veteran) improvisers to join us in improvisational theatre scenes.\n                     Our AR+LLM improv system has been validated in 51 live theatre performances and 3\n                     workshops. This interactive demo session is an applied improvisation workshop open\n                     to participants without theatre experience, and is facilitated by two professional\n                     performers who help \u201cget you out of your head\u201d.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816885\">Linea Viva: A Single-Line Live Score for Embodied Drawing-and-Sound Performance<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Federica Ciotti<\/li>\n               <li class=\"nameList Last\">Patrick Hartono<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>While hybrid drawing systems often prioritise visual outcomes, drawing as a live sonic\n                     score remains under-explored. <em>Linea Viva<\/em> is a drawing-and-sound performance in which a single continuous line unfolds in real\n                     time under three rules: always make the line, never cross the path, and close the\n                     loop. These constraints transform drawing into a time-based score where gesture, pacing,\n                     and spatial movement shape a responsive sonic environment. A pressure-sensitive surface\n                     and contact microphones translate drawing gestures into sound processing and spatial\n                     diffusion, foregrounding the performative experience of continuous interaction between\n                     drawing, listening, and sonic response.<\/p>\n               <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816884\">Beyond Rigid Avatars: A Deformation-Aware Interactive System for Garment\u2013Body Design\n                  Exploration<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Xiaolu Li<\/li>\n               <li class=\"nameList\">Joanne Yip<\/li>\n               <li class=\"nameList Last\">Chongyang Ye<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>Virtual prototyping in garment design typically relies on rigid avatars, limiting\n                     designers&#8217; ability to simulate how tight-fitting garments interact with the body&#8217;s\n                     soft tissue that constraining design exploration. We demonstrate a deformation-aware\n                     interactive system that makes soft-tissue deformation and contact pressure visible\n                     and actionable within design workflows. The system integrates a physically-constrained\n                     conditional PointNet model trained on 3D body scan data from 30 participants across\n                     five legging prototypes. The front-end provides a single-screen web interface with\n                     coordinated 3D deformation views, region-of-interest (ROI) analytics panels, and evidence-linked\n                     suggestion cards. Designers set target fit bands for five anatomical regions, adjust\n                     garment and material parameters, and receive real-time deformation predictions through\n                     a goal-oriented \u201ctweak\u2013predict\u2013see\u2013decide\u201d cycle. In preliminary use with professional\n                     fashion designers, the system supported more efficient task completion and received\n                     high feature usefulness ratings. At the conference, attendees will interact with the\n                     live system through guided and free exploration modes, experiencing how deformation-aware\n                     visualization can expand creative exploration in virtual prototyping.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816882\">Devising Interactive Spaces: A Rehearsal-Oriented Tool for Creating Responsive Environments\n                  for Immersive Theatre<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Pavlos Panagiotidis<\/li>\n               <li class=\"nameList\">Paul Tennent<\/li>\n               <li class=\"nameList\">Jocelyn Spence<\/li>\n               <li class=\"nameList Last\">Nils Jaeger<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>We present a rehearsal-oriented system for creating responsive built environments\n                     during theatre devising workshops. The system connects bespoke sensing modules for\n                     gesture, position, and speech recognition to light and sound outputs through a visual\n                     no-code programming layer. It was developed, used, and refined across six workshops\n                     with eight professional performance-makers, where participants created light-and-sound\n                     scores, gesture- and position-triggered scenes, responsive architectures, participatory\n                     prototypes, and a multi-room scratch performance. Rather than presenting a production-ready\n                     show-control platform, this demo focuses on how sensing and actuation can be made\n                     available as compositional materials during early-stage creative experimentation for\n                     immersive theatrical compositions. The system is designed to support quick configuration,\n                     visible mappings, and in-room testing, allowing performers to experiment with responsive\n                     spaces with minimal technical support. We describe the system architecture, its workshop\n                     use, and the practical conditions that helped integrate interactive sensing into embodied\n                     performance-making.<\/p>\n                  <\/div>\n            <\/div>\n            \n            \n            \n            <h4><a class=\"DLtitleLink\" title=\"Full Citation in the ACM Digital Library\" referrerpolicy=\"no-referrer-when-downgrade\" href=\"https:\/\/dl.acm.org\/doi\/10.1145\/3803784.3816883\">Baby Lottery: An Interactive Demonstration of AI Bias in Generative Imagery<\/a><\/h4>\n            <ul class=\"DLauthors\">\n               <li class=\"nameList\">Cindy H Lin<\/li>\n               <li class=\"nameList Last\">Rebecca Fiebrink<\/li>\n            <\/ul>\n            <div class=\"DLabstract\">\n               <div style=\"display:inline\">\n                  <p>The fertility industry has rapidly adopted AI as both a clinical and marketing tool.\n                     However, the biases embedded within these systems remain largely invisible to the\n                     people making intimate decisions based on the outputs of the AI models. Baby Lottery\n                     is an interactive demonstration that invites conference attendees to generate AI images\n                     of a hypothetical baby by combining their own photograph with a randomly selected\n                     AI-generated donor profile created from a dataset of over 1,000 sperm donor profiles\n                     collected from U.S. and European sperm banks. The results are printed on a thermal\n                     receipt printer, producing an immediate physical artifact. By making the generation\n                     process participatory and its outputs tangible, the demonstration invites critical\n                     examination of how AI systems encode bias in deeply personal contexts. This work extends\n                     the investigation of AI bias propagation in fertility marketing documented in our\n                     recent work, and engages attendees as active subjects in the ongoing inquiry.<\/p>\n               <\/div>\n            <\/div>\n            \n            <\/div>\n      <\/div>\n\n<\/div>\n<\/div>\n\n\n\n<div id=\"wp-block-themeisle-blocks-advanced-columns-d26b613d\" class=\"wp-block-themeisle-blocks-advanced-columns has-1-columns has-desktop-equal-layout has-tablet-equal-layout has-mobile-equal-layout has-vertical-unset\"><div class=\"wp-block-themeisle-blocks-advanced-columns-overlay\"><\/div><div class=\"innerblocks-wrap\">\n<div id=\"wp-block-themeisle-blocks-advanced-column-b994ad10\" class=\"wp-block-themeisle-blocks-advanced-column\"><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>PROCEEDINGS Full Citation in the ACM Digital Library SESSION: Graduate Student Symposium Designing Creativity Supportive Ecosystems Shm Garanganao Almeda Creativity Support Tool (CST) research in HCI spans an increasingly vast space of tools for supporting creative activity. But creative communities are facing issues that emerging technologies tend to neglect, or even exacerbate\u2014from plagiarism to algorithmic [&hellip;]<\/p>\n","protected":false},"author":10,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_themeisle_gutenberg_block_has_review":false,"_ti_tpc_template_sync":false,"_ti_tpc_template_id":""},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/pages\/7987"}],"collection":[{"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/comments?post=7987"}],"version-history":[{"count":10,"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/pages\/7987\/revisions"}],"predecessor-version":[{"id":8001,"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/pages\/7987\/revisions\/8001"}],"wp:attachment":[{"href":"https:\/\/cc.acm.org\/2026\/wp-json\/wp\/v2\/media?parent=7987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}