intervention by presenting information in a form that was usable in
only one way. Participants would have to be sufficiently privileged in the culture
of the digital to reinterpret the information back. Of course, this digital-person
choreography was designed in by humans in the first place and carries assump-
tions about the kinds of uses and users.
Arduino and other maker intermediaries require some basic knowledge of
coding, and the better the resources for coding the more things open up. The
combination of sensors and e-health kits did provide an extensive range of
entangled in practice (Feldman/Orlikowski 2011: 16).4 Agency is therefore under-
stood as performative; echoing actor network theory notions about technologies
as “choreographies of human and non-humans” (Pottage 2012: 167), and also
STS scholar Andrew Pickering’s concept of “the dance of agency” (1995), where
material and human agency temporally emerge through a ‘dance’ or ‘mangle’.
This mangle is a process of resistance and accommodation: resistance denotes
the failure to achieve an intended capture of agency in practice, while accom-
modation refers to an active