The paper "Entangling Entanglement: A Diffractive Dialogue on HCI and Musical Interactions" by Landon Morrison and Andrew McPherson explores the emerging paradigm of "Entanglement HCI," which emphasizes the co-constitution of subjects and objects in technosocial configurations. The authors engage in a diffractive dialogue, drawing on their disciplinary backgrounds in music theory, media studies, electrical engineering, and digital musical instrument (DMI) design. They examine how technical knowledge from design and engineering can be integrated with critical theories from music, media, and cultural studies to understand the interdependencies of theory, design, and practice. The paper begins by mapping the contours of entanglement theory and its cross-disciplinary influences, highlighting its potential to promote accountability and responsibility beyond humans to include non-human agents. It then delves into specific examples, such as the keyboard and step sequencer, to illustrate how these objects are deeply entangled with human musicians, material-discursive practices, and surrounding discourses. The authors critique the reification of conceptual descriptors in DMI design, arguing that a more nuanced understanding of musical interactions is needed. In the third section, Morrison and McPherson reflect on their own design practices, using the example of TouchKeys, a capacitive touch-sensing keyboard. They discuss how the design process can be inverted as an analysis, highlighting the importance of situated musical experiences and the need to move beyond numerical representations to understand the material-discursive practices at play. The paper concludes by discussing the ideological interfaces and the limits of creative agency in DMI design, drawing on concepts from critical media theory and post-Marxist notions of ideology. The authors emphasize the importance of interrogating intra-faces and regimes of signification to understand the complex interactions between users, technologies, and their environments.The paper "Entangling Entanglement: A Diffractive Dialogue on HCI and Musical Interactions" by Landon Morrison and Andrew McPherson explores the emerging paradigm of "Entanglement HCI," which emphasizes the co-constitution of subjects and objects in technosocial configurations. The authors engage in a diffractive dialogue, drawing on their disciplinary backgrounds in music theory, media studies, electrical engineering, and digital musical instrument (DMI) design. They examine how technical knowledge from design and engineering can be integrated with critical theories from music, media, and cultural studies to understand the interdependencies of theory, design, and practice. The paper begins by mapping the contours of entanglement theory and its cross-disciplinary influences, highlighting its potential to promote accountability and responsibility beyond humans to include non-human agents. It then delves into specific examples, such as the keyboard and step sequencer, to illustrate how these objects are deeply entangled with human musicians, material-discursive practices, and surrounding discourses. The authors critique the reification of conceptual descriptors in DMI design, arguing that a more nuanced understanding of musical interactions is needed. In the third section, Morrison and McPherson reflect on their own design practices, using the example of TouchKeys, a capacitive touch-sensing keyboard. They discuss how the design process can be inverted as an analysis, highlighting the importance of situated musical experiences and the need to move beyond numerical representations to understand the material-discursive practices at play. The paper concludes by discussing the ideological interfaces and the limits of creative agency in DMI design, drawing on concepts from critical media theory and post-Marxist notions of ideology. The authors emphasize the importance of interrogating intra-faces and regimes of signification to understand the complex interactions between users, technologies, and their environments.