| 1. |
- Ahmed, Syed Ishtiaque, et al.
(author)
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Citational justice and the politics of knowledge production
- 2022
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In: interactions. - : Association for Computing Machinery (ACM). - 1072-5520 .- 1558-3449. ; 29:5, s. 78-82
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Journal article (peer-reviewed)abstract
- Citation is how we acknowledge our debt to those who came before; those who helped us find our way when the way was obscured because we deviated from the paths we were told to follow. Sara Ahmed reminds us that just citational practices recognize the knowledge contributions of less dominant, routinely overlooked voices. Pursuing citational justice, then, entails moving away from individualistic views of authorship and toward a shared, reciprocal understanding of how knowledge is produced. Drawing from our experiences working within HCI, we extend an invitation for a just citational practice—one that makes space for the diversity of human experience and recognizes that human-computer interactions must be responsive to cultural and geographic differences. We outline parts of our ongoing conversations as a collective to motivate a careful citation practice across our field, interrogating how we can best honor one another’s ideas and labor without alienation or appropriation.
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| 2. |
- Andersen, Kristina, 1970-, et al.
(author)
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Circles and props: making unknown technology
- 2012
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In: interactions. - New York, USA : ACM Press. - 1072-5520 .- 1558-3449. ; 19:3, s. 60-65
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Journal article (other academic/artistic)abstract
- The OWL Circles are hosted in a neutral, utilitarian space containing a large, shared worktable with a selection of tools and various neatly organized recycled materials. The Circle workshop experience takes the participant through a rapid series of formalized conceptual shifts, each drawing on work in theater and performance theory, game play, psychology, and other areas. The introduction functions as the drawing of a circle or the beginning of a game, and as such it serves a number of roles. In a theatrical sense it declares that a game is beginning. The switch between an abstract desire, defined very strictly by someone else and the feeling that this word does indeed reside within your body, allows the participants to begin to work. As a postscript to the overall workshop experience, each participant is debriefed before leaving the workshop space.
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| 3. |
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| 4. |
- Arvola, Mattias, 1975-, et al.
(author)
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What we mean by interactive form
- 2018
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In: interactions. - New York, NY : ACM Press. - 1072-5520 .- 1558-3449. ; 25:4, s. 6-7
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Journal article (pop. science, debate, etc.)abstract
- The following blog post is edited from an email conversation between the authors about the concept of interactive form, which incidentally is the name of a course given at Linköping University. If you do teach a course, it might be a good idea to understand the meaning of the course name.
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| 5. |
- Balaam, Madeline, et al.
(author)
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Intimate Touch
- 2020
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In: interactions. - : Association for Computing Machinery. - 1072-5520 .- 1558-3449. ; 27:6, s. 14-17
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Journal article (other academic/artistic)
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| 6. |
- Balaam, M., et al.
(author)
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Women’s health at CHI
- 2018
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In: interactions. - : ACM Digital Library. - 1072-5520 .- 1558-3449. ; 25:1
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Journal article (peer-reviewed)
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| 7. |
- Bardzell, Jeffrey, et al.
(author)
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Interaction criticism : Three readings of an interaction design, and what they get us
- 2010
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In: interactions. - : ACM Digital Library. - 1072-5520 .- 1558-3449. ; xvii:2, s. 32-37
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Journal article (other academic/artistic)abstract
- Criticism is an integral part of the ongoing knowledge construction that is embraced in the more mature design disciplines—architecture, industrial design—and in the arts. Critics interpret, contextualize, interrelate, abstract, and question the artifacts of design to clarify opportunities for designs to improve everyday life and to explore the ways in which designs deliver on this promise. In doing so, they feed an ongoing dialogue between design and criticism, through which knowledge grows for the benefit of practitioners, scholars, and the general public. Interaction design, in general, does not really accommodate criticism and the role of the critic, with some exceptions in new media [1, 2], HCI [3, 4], and video-game studies. As HCI's interdisciplinary expansion continues to incorporate design, criticism's day is coming. As our work becomes increasingly culturally and socially complex, we will need both the "expert readings" of erudite critics and everyday design "crits" from practitioners to provide the knowledge we need to design. We expect interaction criticism to emerge as a skilled practice, closely tied to interaction design. Our intention here is to fuel this development by providing an example of what interaction criticism could offer members of the interaction design community.
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| 8. |
- Bertelsen, Olav, et al.
(author)
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Generalization: Beyond research for the very particular
- 2019
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In: Interactions. - : Association for Computing Machinery (ACM). - 1072-5520 .- 1558-3449. ; 26:1, s. 35-38
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Journal article (other academic/artistic)abstract
- In this article, we discuss HCI research that does not aim for universal or generic solutions, but rather focuses on addressing the particular challenges of particular people in particular situations or activities. We clarify what we mean by design and research for the very particular with examples from industry and academic research, highlight benefits and potential problems, discuss our suggestions, and conclude with a list of open questions for HCI researchers to consider.
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| 9. |
- Bolter, Jay David, et al.
(author)
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Media studies, mobile augmented reality, and interaction design
- 2013
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In: interactions. - : ACM. - 1072-5520 .- 1558-3449. ; 20:1, s. 36-45
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Journal article (other academic/artistic)abstract
- You are walking in the Sweetwater Creek State Park near Atlanta and using the Augmented Reality (AR) Trail Guide, a mobile application designed by Isaac Kulka for the Argon Browser (Figure 1). The application offers two views: a now familiar Google-style map, with points of interest marked on its surface, and an AR view, which shows these points located in space. You see the map view when you hold the screen parallel to the ground; when you turn the phone up to look at the world, you get the AR view with the points of interest floating in space in front of you. This simple gesture of raising the phone changes your relationship to the information. You pass from a fully symbolic form of representation to a form of perceiving symbolic information as part of your visual environment. The AR Trail Guide, developed in the Augmented Environments Lab at Georgia Tech [1], illustrates a new realm in AR design that goes beyond current commercial applications. In this article, we discuss some of these new areas, such as designing for experiences in cultural heritage, personal expression, and entertainment. At the same time, we want to address a larger issue. ACM interactions has often been a place for exploring new paradigms and the relevance for interaction design of unusual approaches from other disciplines. In that spirit, we pose the question: Can the humanistic discipline of media studies play a useful role in interaction design? Media studies looks at the history of media and their relationship to culture, and we will focus here on digital media and their relationship to other media, both present and past. Looking at digital media in a historical context is relevant because of the dynamic relationship between "traditional" media (film, television, radio, print) and their digital remediations. How can media studies be made to contribute to the productive work of interaction design? We believe one answer lies in using the historical understanding gained through media studies to develop a kind of media aesthetics that can guide designers as they explore new forms of digital media such as the mobile augmented reality application described above.
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