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As a research tradition, participatory design (PD) tends to focus on power dynamics where researchers hold greater power than participants. This paper uses design fiction to consider what this tendency overlooks by examining settings where participants may exist in multiple power relationships simultaneously implicated by the research, specifically focusing on the contexts of misinformation, disinformation, and online hate (M/D/OH). Drawing from existing literature in M/D/OH, we present a series of imaginary method abstracts that prompt questions for researchers to reflect on as they adapt PD techniques for new, different contexts. We highlight three value tensions—authenticity, reciprocity, and impact—integral to sustaining a concern for responsibility in PD scholarship. We end with reflections and potential considerations for responsibly applying PD and design fiction methods in M/D/OH settings. 

Despite the central role that stories play in social movement-building, they are difficult to sustainably document for many reasons. To explore this challenge, this paper describes the design of a community-based conversational storytelling agent (CSA) to document digital stories of housing insecurity. Building on insights from an ongoing grassroots project, the Anti-Eviction Mapping Project, we share how a study initially focused on CSA-support opened an investigation of the role that artificial intelligence may play in housing justice movements. Drawing from 17 interviews with narrators of housing insecurity experiences and collectors of such stories, we find that collectors perceive opportunities to expand means of documentation with multimedia and multi-language support. Meanwhile, some narrators perceive potential for a CSA to offer therapeutic storytelling experiences and document otherwise unrecorded stories. Yet, CSA encounters also surface perils of machine bias, as well as reduced possibilities of human connections and relations. 

Over the past decade, the growth of voice assistants has presented new challenges within domestic life. Prior research has shown that such technologies affect users unevenly or fail to account for some relationships and domesticities entirely. Our work investigates the under-examined topic of queerness at home. Drawing on the experience of queer breakup, we describe a design inquiry and a first-person research approach exploring two concurrent relationships in separate households both using Alexa. We explore issues of temporality, glitch, and shared accountability. We also ask critical questions with audio experiments, including: How do voice assistants differentiate between queer voices? How should we converse with voice assistants about queerness? And are voice assistants “queer enough”? We contribute a discussion of difference, inclusion, and queer cultures of adversarial use to highlight the limitations of both everyday and professional language for describing and analyzing the particulars of queerness and interaction design. 

Notions of what counts as a contribution to HCI continue to be contested as our field expands to accommodate perspectives from the arts and humanities. This paper aims to advance the position of the arts and further contribute to these debates by actively exploring what a "non-contribution" would look like in HCI. We do this by taking inspiration from Fluxus, a collective of artists in the 1950's and 1960's who actively challenged and reworked practices of fine arts institutions by producing radically accessible, ephemeral, and modest works of "art-amusement." We use Fluxus to develop three analogous forms of "HCI-amusements," each of which shed light on dominant practices and values within HCI by resisting to fit into its logics.