論文アブストラクト： In response to recent calls for HCI to address ongoing environmental crises and existential threats, this paper introduces the concept of collaborative survival and examines how it shapes the design of interactive artifacts. Collaborative survival describes how our (human) ability to persist as a species is deeply entangled with and dependent upon the health of a multitude of other species. We explore collaborative survival within the context of designing tools for mushroom foraging and reflect on how interactive products can open new pathways for noticing and joining-with these entanglements towards preferable futures. In addition to highlighting three tactics-engagement, attunement and expansion-that can guide designs towards multispecies flourishing, our prototypes illustrate the potential for wearable technology to extend the body into the environment.
論文アブストラクト： The profound impact of digital technologies on human life makes it imperative for HCI research to deal with the most fundamental aspects of human existence. Arguably, insights from existential philosophy and psychology are highly relevant for addressing such issues. Building on previous attempts to bring in existential themes and terminology to HCI, this paper argues that Yalom's notion of "the givens of existence", as well as related work in experimental existential psychology, can inform the development of an existential inquiry framework in HCI. The envisioned framework is intended to complement current approaches in HCI by specifically focusing on the existential aspects of the design and use of technology. The paper reflects on possible ways, in which existential concepts can support HCI research, and maintains that adopting an existential framework in HCI would be consistent with the overall conceptual development of the field.
Irvin Yalomが提唱した“the givens of existence”ー実在が与えるものーをベースとし、HCI研究における実在調査手法を実在主義をベースとするHCI研究のサーベイを通じて言及した。人の認知をモデル化する心理学ではなく、自らの生存における最も基本的な課題に人がどのように対処するかに言及する心理学にフォーカスした。
論文アブストラクト： Biosensing displays, increasingly enrolled in emotional reflection, promise authoritative insight by presenting users' emotions as discrete categories. Rather than machines interpreting emotions, we sought to explore an alternative with emotional biosensing displays in which users formed their own interpretations and felt comfortable critiquing the display. So, we designed, implemented, and deployed, as a technology probe, an emotional biosensory display: Ripple is a shirt whose pattern changes color responding to the wearer's skin conductance, which is associated with excitement. 17 participants wore Ripple over 2 days of daily life. While some participants appreciated the 'physical connection' Ripple provided between body and emotion, for others Ripple fostered insecurities about 'how much' feeling they had. Despite our design intentions, we found participants rarely questioned the display's relation to their feelings. Using biopolitics to speculate on Ripple's surprising authority, we highlight ethical stakes of biosensory representations for sense of self and ways of feeling.
論文アブストラクト： Our work links hybrid practices from biology, fine arts, and design in a studio setting to support materially-oriented engagement with biotechnology. Using autoethnographic methods, we present our two-year process of converting an HCI studio into a BSL-1 (biosafety level 1) facility, our iterative development of low-cost tools, and our own self-reflexive experimentation with (DIY)bio protocols. Insights from this work led us to design a weeklong bioart course, whereby junior highschool students creatively "painted" with bacteria and antibiotic substances, digitally designed stencils from the resulting petri dish images, and screenprinted them onto physical artifacts. Our findings reveal the nuances of working with biological, analog, and digital materials in a design studio setting. We conclude by reflecting on DIYbio studio as a gathering of diverse actors who work with hybrid materials to give physical form to matters of concern.