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With the increase of Internet of Things devices in home environments, data will become an even more dominant part of people’s everyday lives. The invisibility of data leads us to rely on our imagination to make sense of them, yet this imagination is heavily shaped by a technocentric lens that views data as neutral and transparent. In response, in this article, we present the Data Epics project, where we commissioned seven fiction writers to write short stories based on smart home device data provided by seven households. We offer an analysis of the writers and households’ experiences with the project, presenting seven ways in which data imaginaries are made and unmade. We contribute a reflection around how making new data imaginaries unmakes common ones, the friction in unmaking certain imaginaries, and how we might further disseminate alternative data imaginaries. 

The processes of data collection and transformation are often opaque to users. This means they rely on their imagination to make sense of the data they produce. The images data conjure up, however, tend to be homogenous and flat: black screens, ones and zeros, big server farms in the desert. For designers and researchers who work with data as a material, this small repertoire can be stifling. For device users, it can lead to a removal of agency in how they make sense and engage with the data they produce. In this pictorial, we draw from a two-year data fictionalization project to start building an expanded repertoire of data imaginaries. We worked with seven households and seven writers to transform smart home data sets into fiction stories. Based on the interviews we conducted, we present the images participants shared with us as a step towards more expressive and varied imaginaries of data. 

Understanding how professionals use digital fabrication in production workflows is critical for future research in digital fabrication technologies. We interviewed thirteen professionals who use digital fabrication for the low-volume manufacturing of commercial products. From these interviews, we describe the workflows used for nine products created with a variety of materials and manufacturing methods. We show how digital fabrication professionals use software development to support physical production, how they rely on multiple partial representations in development, how they develop manufacturing processes, and how machine control is its own design space. We build from these findings to argue that future digital fabrication systems should support the exploration of material and machine behavior alongside geometry, that simulation is insufficient for understanding the design space, and that material constraints and resource management are meaningful design dimensions to support. By observing how professionals learn, we suggest ways digital fabrication systems can scaffold the mastery of new fabrication techniques. 

Digital fabrication courses that relied on physical makerspaces were severely disrupted by COVID-19. As universities shut down in Spring 2020, instructors developed new models for digital fabrication at a distance. Through interviews with faculty and students and examination of course materials, we recount the experiences of eight remote digital fabrication courses. We found that learning with hobbyist equipment and online social networks could emulate using industrial equipment in shared workshops. Furthermore, at-home digital fabrication offered unique learning opportunities including more iteration, machine tuning, and maintenance. These opportunities depended on new forms of labor and varied based on student living situations. Our findings have implications for remote and in-person digital fabrication instruction. They indicate how access to tools was important, but not as critical as providing opportunities for iteration; they show how remote fabrication exacerbated student inequities; and they suggest strategies for evaluating trade-offs in remote fabrication models with respect to learning objectives.