The arts and Human Computer Interaction (HCI) have a lot in common. As part of computer science HCI is ground breaking, interdisciplinary and focused on the interactions that form part of our everyday world. As part of the arts, HCI is a lens on technology, showing us spaces where there is room to interact and create new and meaningful blended experiences. It is therefore no surprise that many researchers and practitioners in our field h ave a nd m aintain c reative p ractices alongside, and as part of their research. We explore how these dual practices relate to each other, and how we might reconcile our mindful creative experiences with the formality of research. What benefits does such duality

In this paper, we present a method of Dialogical Sketching. We introduce the development of this method as a discursive aid to understanding design probe responses within participatory co-design engagements but also articulate its potential more broadly within participatory research. Situated within a research study into the potential of digital jewellery to support self, we focus on how sketching can elucidate reflection on layers of meaning conveyed both explicitly and implicitly in participants' probe responses. The method enabled an iterative dialogue not bound by certainty, but more by inference, interpretation and suggested meanings. Systems of sketching scaffolded conversations about personal issues and feelings that were difficult to articulate in a way that was imaginative, rather than descriptive. We argue that the method firstly enriches the potential of probes, secondly encourages discourse in open and often uncertain ways and thirdly can enable sustained participatory engagement even through challenging circumstances.

We describe the design and use of ReFind, a handheld artefact made for people who are bereaved and are ready to re-explore their relationship to the deceased person. ReFind was made within a project seeking to develop new ways to curate and create digital media to support ongoingness-an active, dynamic component of continuing bonds. We draw on bereavement theory and care championing practices that enable a continued sense of connection between someone bereaved and a person who has died. We present the design development of ReFind and the lived experience of the piece by the first author. We discuss our wider methodology which includes autobiographical design and reflections on if and how the piece supported ongoing connections, the challenges faced, and insights gained.

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IntroductionThe Research Through Design (RTD) conference was first held in 2013 as a way to engage practice-based researchers of and in design to share their process, reflect on their work, and critique the work of their co-delegates. In a break from a traditional conference format, RTD placed objects at the core of discussion, with delegates seated around large tables on which the practitioners' work sat at the center as artifacts of research. A notable success of RTD 2013 was the richness of the intellectual critique that the "Rooms of Interest" and roundtable approach fostered. However, this success was a cultural memory that faded with time. The conversations, reflections, and atmosphere of this richness were left unrecorded. This loss was something we wanted to address through the documentation of RTD 2015.This reflective piece focuses on the practices of Scribes, a feature that was newly introduced to RTD 2015 and was envisioned as a way to capture aspects of the highly discursive nature of this conference format. "Scribing" refers to drawing, writing notations, or mark-making on paper to capture some essence of the discussions, dynamics, and atmosphere of the various sessions of the conference as they happen. Scribing was selected because of its potential to capture more than notes of what was being said and because of its place in broader design studio practices as a means to capture ideas, conversations, and textures of group engagement. For RTD 2015, six scribes worked in pairs in the "Rooms of Interest" and collectively during "Provocations." None of the invited scribes were "professional scribes"; instead, each had an active interest in research through design and came from diverse backgrounds as practitioners. The scribes were briefed by the event's Documentation Chairs to capture conversations in any way that fit with their practice and with which they were comfortable. For example, Erika Shorter, a creative writer, used writing as her "scribe lens." The other scribes were Jo Foster (Fine Art and Music),