This paper analyses some aspects of the profound shifts in programming practice and education about bythe advent of generative AI (GenAI). As GenAI tools become increasingly integrated into programmingenvironments, they offer an approach to programming that bypasses significant aspects of the meticuloussyntax-focused processes inherent in traditional programming. Instead, these tools enable a moreimmediate transition from problem articulation to automated solution generation, reducing the need fortraditional forms of iterative problem-solving and careful focus on coding details. This paradigm shiftnot only challenges the foundational skills taught in programming education but also raises ethical concernsregarding aspects such as interpretability, authorship and accountability of the produced code. Thisinvolves a reevaluation of programming education and practice, suggesting a need for a reorientation toemphasise ethical and interpretative skills in programming with GenAI. Based on a series of studieson GenAI-supported programming, this paper highlights aspects relating to control, agency, and designfor ethical deliberation in the evolving practices of programming with GenAI. To move towards suchpractice, we propose a set of design challenges based on the concept of "Craft Ethics," which emphasizesvirtue, quality, and a thoughtful approach to programming and design. These challenges integratetraditional craftsmanship values into GenAI practices, ensuring that the ethical and qualitative aspectsof programming are renewed and enhanced.

Generative machine learning models provide opportunities to support design work in various parts of the design process. This study investigates how generative machine learning and large language models may play a part in creative design processes of ideation, early prototyping and sketching. A workshop was conducted in which design practitioners and design researchers developed design concepts for a provided design case, with the help of GPT-3. The findings point to three main themes, including i) the practical usefulness and limitations of the system in design ideation processes, ii) how the form of user interaction shapes users' expectations of the system's capabilities and potentials, and iii), how the broader discourse around AI both limits and enables how co-creative processes involving human and AI unfolds. The discussion outlines design implications and alternative framings of this kind of co-creative design practices based on post-human perspectives on design and technology use.

In spatial planning of urban areas, there is a need for new methods for meaningful inclusion of less represented voices as those of young people. This study focuses on how participatory design, design fiction and sound design can be combined to engage youth in urban planning processes. This is investigated by developing and testing a method called participatory sound fiction. The method was tested with a group of young residents in a suburban area in Sweden. Sound fictions of the suburb in 2170 were created and discussed among the youth participants. The results show that through discussions and speculations about the future, important insights were revealed about the youths’ reality, which can be of value in spatial planning processes as well as in understandings of how the youth experiences their living area. Furthermore, the study found that sound can broaden youths’ perspective on their immediate environment, that participatory sound fiction has the potential to engage youths, and that youths prefer to discuss the present to feel that their voices are being heard.

In spatial planning of urban areas, there is a need for new methods for meaningful inclusion of less represented voices as those of young people. As the United Nations Act on the Rights of the Child became law in Sweden in 2020, children and youths have the right to form, express and have their own opinions in all matters concerning them, including participation in societal development such as urban design and urban planning processes. Methods used in participatory spatial planning are most often aimed at well-educated adult audiences and tend to focus on rational argumentation about short term needs, leaving out the effect the sensory and embodied experiences of our surroundings have on our well-being. Here we suggest that there could be benefits to integrate approaches where more space is given to sensory modalities such as urban soundscape and noise levels. As sound is a prevalent element in cities, the study aims to contribute with an analysis of how sound can be used in urban design processes with a special interest in the inclusion of children and youth. 

The study proposes and evaluates a method called participatory sound fiction, based on the intersection of three methodological approaches: participatory design, design fiction and sonic interaction/sound design, and how they can be combined to engage youth in urban planning processes. The participatory sound fiction method aims to be a collaboration between urban planners, designers, and youth, and consists of three main activities: 1) a workshop with participants, where sound cues are used as a basis for discussions, 2) the design of a “sound fiction” envisioning the future, and finally, 3) a presentation of and discussion about the sound fictions with the participants. Drawing on participatory design, the method highlights learning from the participants being experts in their own situation, and the opportunity to create empowerment for the participants is elaborated. Design fiction contributes with envisioning of the future as a means to create opportunities for discussion about real problems, challenge current situations and look at everyday life from new perspectives. Sonic interaction and sound design bring to the fore the ability of sound to arouse imagination, emotions, and discussion. 

The method was deployed and tested in a suburban area in Stockholm, characterised by low socioeconomic status and criminality, and low level of trust for the local government and public institutions. The study included eight youths aged 15-16 years old, recruited through the local youth centre. As part of the process a sound fiction envisioning the area in year 2170 was created. Through the activities, the participants reflected on their current situation and everyday lives in their local neighbourhood, as well as on their visions of the future.  

In conclusion, the study shows how the method, participatory sound fiction, could be useful to engage youth in urban planning processes. The results show that through discussions and speculations about the future, important insights were revealed about the youths' reality, which can be of value in spatial planning processes. Furthermore, the study found that sound can broaden youths’ perspective on their immediate environment, that participatory sound fiction has the potential to engage youths, and that youths prefer to discuss the present to feel that their voices are being heard.

This abstract is submitted to SDG+Target: 5b, and relates to the conference theme by providing insights on how art and design can be used to encourage sustainable development of young people in their own social and urban environment.  

This paper presents a study of a group of university students using generative machine learning to translate from natural language to computer code. The study explores how the use of the AI tool can be understood in terms of co-creation, focusing on the one hand on how the tool may serve as a resource for understanding and learning, and on the other hand how the tool affects the creative processes. Findings show how the participants search for a 'correct' syntax in their instructions to the machine learning tool, and how the inconsistent and erroneous behavior can work as a way to generate clues and inspiration for generating creative expressions. The notion of friction is used to describe how systems like this can serve to both lower thresholds for programming, and also interfere with the creative processes, encouraging reflection and exploration of alternative solutions.

Detta kapitel tar avstamp i makerspace i olika klassrumssituationer. Dessa aktiviteter består av både kreativa digitala praktiker inspirerade av slöjdämnet och tekniska praktiker med fokus på matematik och programmering. Kombinationen av dessa belyser olika dilemman som lyfts i kapitlet. Kapitlet syftar till att utifrån insamlade data beskriva hur ett makerklassrum kan se ut, att peka ut några utmärkande drag som skiljer det från andra klassrum samt att söka förklara vad som försiggår där inne och hur deltagarna agerar. Särskilt intressant är det att titta på dels vilka didaktiska strategier lärare i ett makerklassrum arbetar efter och hur de resonerar kring nyttan av makerspace, dels vilka egenskaper hos eleverna som särskilt uppmuntras och stöttas. 

As digital fabrication machines have become more accessible and widely available, practitioners in maker communities have become increasingly responsive to the opportunities to achieve bespoke modifications, known colloquially as modding'. Drawing on interviews with five experienced makers who engage in modding a laser cutter, along with ethnographic observations of maker-machine interactions, we analyse makers' experiences and war stories' to frame modding as a prevalent but less explored maker activity. We highlight how makers care for machines, how they cope with risks when engaging in modding, and how mods are essentially creative projects. Based on our findings, we present the conceptualisation of the pliable machine' - a socio-technical system constituted by, (1) an accessible machine that can be altered, (2) maker skills that go beyond intended use, and (3) a surrounding maker culture' of caring, sharing and experimentation. Treating the machine as a material offers an alternative perspective on our interactions with technology; we show how the laser cutter becomes pliable in the hands of those who mod.

This paper draws on data from an interview study with children engaged in a leisure time design lab situated in a socioeconomically vulnerable neighborhood. The study accounts for how the children involved in the design activities make sense of their experiences of participating in the design lab. Some perspectives on the relationship between design and empowerment are discussed and three empowering functions of the activities are identified that serve to empower the children in different ways: 1) The creative laboratory-How the activities allow for exploration and experimentation of both new identities and of new possible futures. 2) Community participation-How the design lab enables participation in the local community and reflections on what it means to be a citizen. 3) Playful apprenticeship-How the lab builds a peer-culture where children are continuously addressed and presented as equal colleagues in the lab, both in internal and external settings.