論文アブストラクト： This paper reports on a postphenomenological inquiry of six trained philosophers, who as study participants lived with and reflected on a research product we designed known as the Tilting Bowl: a ceramic bowl that unpredictably but gently tilts multiple times daily. The Tilting Bowl is a counterfactual artifact that is designed specifically for this study as part of a material speculation approach to design research. A postphenomenological inquiry looks to describe and analyze accounts of relationships between humans and technological artifacts, and how each mutually shapes the other through mediations that form the human subjectivity and objectivity of any given situation. This paper contributes an empirical account and analysis of the relations that emerged (background and alterity) and the relativistic views that co-constitute the philosophers, Tilting Bowl, and their specific worlds. The findings demonstrate the relevance of this philosophical framing to fundamentally and broadly understand how people engage digital artifacts.
予測できないタイミングで不自然に傾く果物入れを作り, 6名の哲学者と入れ物を3ヶ月共同生活させ, 人と科学技術の産物がいかに調和していくかを彼らの証言から考察した.
論文アブストラクト： This paper integrates theory, ethnography, and collaborative artwork to explore improvisational activity as both topic and tool of multidisciplinary HCI inquiry. Building on theories of improvisation drawn from art, music, HCI and social science, and two ethnographic studies based on interviews, participant observation and collaborative art practice, we seek to elucidate the improvisational nature of practice in both art and ordinary action, including human-computer interaction. We identify five key features of improvisational action -- reflexivity, transgression, tension, listening, and interdependence -- and show how these can deepen and extend both linear and open-ended methodologies in HCI and design. We conclude by highlighting collaborative engagement based on 'intermodulation' as a tool of multidisciplinary inquiry for HCI research and design.
論文アブストラクト： his paper reports on design strategies for critical and experimental work that remains constructive. We report findings from a design workshop that explored the "home hub" space through "imaginary design workbooks". These feature ambiguous images and annotations written in an invented language to suggest a design space without specifying any particular idea. Many of the concepts and narratives which emerged from the workshop focused on extreme situations: some thoughtful, some dystopian, some even mythic. One of the workshop ideas was then developed with a senior social worker who works with young offenders. A "digital social worker" concept was developed and critiqued simultaneously. We draw on Foucault's history of surveillance to "defamiliarise" both the home hub technology and the current youth justice system. We argue that the dichotomy between "constructive" and "critical" design is false because design is never neutral.
論文アブストラクト： We presented software engineers in the San Francisco Bay Area with a working brain-computer interface (BCI) to surface the narratives and anxieties around these devices among technical practitioners. Despite this group's heterogeneous beliefs about the exact nature of the mind, we find a shared belief that the contents of the mind will someday be "read' or "decoded' by machines. Our findings help illuminate BCI's imagined futures among engineers. We highlight opportunities for researchers to involve themselves preemptively in this nascent space of intimate biosensing devices, suggesting our findings' relevance to long-term futures of privacy and cybersecurity.
シリコンバレーのエンジニアを対象に, 脳波眼電測定系に慣れ親しんでもらい, 彼らが「心は物質的なものでいつか読み取れるようになる」という考えを共有していることを発見した.