In this exploratory paper, we advocate for a way to mitigate the anthropocentrism inherent in interaction-design methodologies. We propose to involve animals that live in anthropic environments as participants in design processes. The current relationships between animals and technology have an inevitable impact on their well-being and raise fundamental ethical questions concerning our design policies. Drawing from the work of Bruno Latour and Donna Haraway, we argue for a situated approach in which we reflect upon concrete design contexts. We explore the notion of becoming with as a conceptual framework for the intuitive and bodily understanding that takes place between humans and animals when they encounter one-another in shared contexts. Adopting a research through design approach, we further explore this notion by reflecting upon two different participatory design projects with two dogs. We found these reflections to offer valuable perspectives for designers to analyse and discuss their iterative processes.

Forests are increasingly central to policies and initiatives to address global environmental change. Digital technologies have become crucial components of these projects as the tools and systems that would monitor and manage forests for storing carbon, preserving biodiversity, and providing ecosystem services. Historically, technologies have been instrumental in forming forests as spaces of conservation, extraction, and inhabitation. Digital technologies build on previous techniques of forest management, which have been shaped by colonial governance, expert science, and economic growth. However, digital technologies for achieving environmental initiatives can also extend, transform, and disrupt these sedimented practices. This article asks how the convergence of forests and digital technologies gives rise to different socio-technical formations and modalities of “political forests.” Through an analysis of five digital operations, including 1) observation, 2) datafication, 3) participation, 4) automation, and 5) regulation and transformation, we investigate how the co-constitution of forests, technologies, subjects, and social life creates distinct materializations of politics–and cosmopolitics. By building on and expanding the concept of cosmopolitics, we query how the political is designated through digital forest projects and how it might be reworked to generate less extractive environmental practices and relations while contributing to more just and pluralistic forest worlds.

Digital technologies are increasingly influencing forest landscape restoration practices worldwide. We investigate how digital platforms specifically reconfigure restoration practices, resources, and policy across scales. By analyzing digital restoration platforms, we identify four drivers of technological developments, including: scientific expertise to optimize decisions; capacity building through digital networks; digital tree-planting markets to operate supply chains; and community participation to foster co-creation. Our analysis shows how digital developments transform restoration practices by producing techniques, remaking networks, creating markets, and reorganizing participation. These transformations often involve power imbalances regarding expertise, finance, and politics across the Global North and Global South. However, the distributed qualities of digital systems can also create alternative ways of undertaking restoration actions. We propose that digital developments for restoration should not be understood as neutral tools but rather as power-laden processes that can create, perpetuate, or counteract social and environmental inequalities.

This paper proposes and evaluates a novel method for the analysis and the refinement of products and designs that participate in playful, digitally-mediated human-animal interactions. The proposed method relies on a Grounded Theory approach and aims at guiding design and research in the field of Animal Computer Interaction in a way that is better focused on the experience and needs of the animals interacting with playful, digital artefacts. In order to validate the proposed techniques, we designed a video game (Felino) in which cats and humans play together on a single tablet. Felino was then tested together with cats (N=19).Guidelines for the refinement of the game itself emerged from the process, and are presented as exemplary outputs of the proposed method at the end of this study.

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