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How can humans remain in control of artificial intelligence (AI)-based systems designed to perform tasks autonomously? Such systems are increasingly ubiquitous, creating benefits - but also undesirable situations where moral responsibility for their actions cannot be properly attributed to any particular person or group. The concept of meaningful human control has been proposed to address responsibility gaps and mitigate them by establishing conditions that enable a proper attribution of responsibility for humans; however, clear requirements for researchers, designers, and engineers are yet inexistent, making the development of AI-based systems that remain under meaningful human control challenging. In this paper, we address the gap between philosophical theory and engineering practice by identifying, through an iterative process of abductive thinking, four actionable properties for AI-based systems under meaningful human control, which we discuss making use of two applications scenarios: automated vehicles and AI-based hiring. First, a system in which humans and AI algorithms interact should have an explicitly defined domain of morally loaded situations within which the system ought to operate. Second, humans and AI agents within the system should have appropriate and mutually compatible representations. Third, responsibility attributed to a human should be commensurate with that human's ability and authority to control the system. Fourth, there should be explicit links between the actions of the AI agents and actions of humans who are aware of their moral responsibility. We argue that these four properties will support practically-minded professionals to take concrete steps toward designing and engineering for AI systems that facilitate meaningful human control., Preprint. Published AI and Ethics (2022): https://doi.org/10.1007/s43681-022-00167-3

In this special interest group (SIG) we invite researchers, practitioners, and educators to share their perspectives and experiences on the expansion of human-centred perspective to more-than-human design orientation in human-computer interaction (HCI). This design for and with more-than-human perspectives and values cover a range of fields and topics, and comes with unique design opportunities and challenges.In this SIG, we propose a forum for exchange of concrete experiences and a range of perspectives, and to facilitate reflective discussions and the identification of possible future paths. In this special interest group (SIG) we invite researchers, practitioners, and educators to share their perspectives and experiences on the expansion of human-centred perspective to more-than-human design orientation in human-computer interaction (HCI). This design for and with more-than-human perspectives and values cover a range of fields and topics, and comes with unique design opportunities and challenges. In this SIG, we propose a forum for exchange of concrete experiences and a range of perspectives, and to facilitate reflective discussions and the identification of possible future paths.

What if we began to speculate that intelligent things have an ethical agenda? Could we then imagine ways to move past the moral divide ‘human vs. nonhuman’ in those contexts, where things act on our behalf? Would this help us better address matters of agency and responsibility in the design and use of intelligent systems? In this article, we argue that if we fail to address intelligent things as objects that deserve moral consideration by their relations within a broad social context, we will lack a grip on the distinct ethical rules governing our interaction with intelligent things, and how to design for it. We report insights from a workshop, where we take seriously the perspectives offered by intelligent things, by allowing unforeseen ethical situations to emerge in an improvisatory manner. By giving intelligent things an active role in interaction, our participants seemed to be activated by the artifacts, provoked to act and respond to things beyond the artifact itself—its direct functionality and user experience. The workshop helped to consider autonomous behavior not as a simplistic exercise of anthropomorphization, but within the more significant ecosystems of relations, practices and values of which intelligent things are a part.

In this one-day workshop we are going to make access. We aim to counteract the phenomenon that access to making (e.g., in makerspaces, fablabs, etc.) is not equally distributed, with certain groups of people being underrepresented (e.g., women∗1). After brief introductions from participants and a set of three impulse keynotes, we will envision and "make"interventions together, such as speculative or provocative objects and actions. The workshop takes a constructive stance with the goal to not rest on empirical and theoretical findings or individual experiences, but to translate those into viable interventions. These serve as exemplars of findings with the clear goal of being deployed soon after.

The last decade has witnessed the expansion of design space to include the epistemologies and methodologies of more-than-human design (MTHD). Design researchers and practitioners have been increasingly studying, designing for, and designing with nonhumans. This panel will bring together HCI experts who work on MTHD with different nonhumans as their subjects. Panelists will engage the audience through discussion of their shared and diverging visions, perspectives, and experiences, and through suggestions for opportunities and challenges for the future of MTHD. The panel will provoke the audience into reflecting on how the emergence of MTHD signals a paradigm shift in HCI and human-centered design, what benefits this shift might bring and whether MTH should become the mainstream approach, as well as how to involve nonhumans in design and research.

What if things had a voice? What if we could talk directly to things instead of using a mediating voice interface such as an Alexa or a Google Assistant? In this paper, we share our insights from talking to a pair of boots, a tampon, a perfume bottle, and toilet paper among other everyday things to explore their conversational capabilities. We conducted Thing Interviews using a more-than-human design approach to discover a thing’s perspectives, worldviews and its relations to other humans and nonhumans. Based on our analysis of the speculative conversations, we identified some themes characterizing the emergent qualities of people’s relationships with everyday things. We believe the themes presented in the paper may inspire future research on designing everyday things with conversational capabilities at home.

This article accounts for how value in design research can be derived from knowledge exchange that occurs through the collaborative discourse of doing design. To demonstrate this point, the article details the arc and impact of a design research collaboration that extended over several years with design practitioners in the field of internet-connected devices. As a result of this ongoing collaborative work, a programmatic set of design ideals and intentions concerning how to construct a more transparent and ethical relationship with technology was shaped. We examine this sustained and transformative collaboration as a series of knowledge exchanges. Within each particular collaborative project, worldviews and knowledge are exchanged among design researchers and practitioners, enabling them to traverse ‘through practices’ of academic and professional design. To unpack these exchanges and how they built and fed into each other, the article examines how collaboration unfolded and produced value on two levels: first on the scale of the academics and practitioners directly involved in a project; and secondly on the scale of the larger international community of design practitioners concerned with Internet-connected devices, with whom we had shared our work.

As digital technologies such as big data, the internet of things, machine learning, and artificial intelligence increasingly challenge and even disrupt the everyday job of design—not to mention everyday life—there comes a need to raise critical questions about the ways we design. Design as we currently know it and practice it was born out of the logic of industrial production. Although initially mimicking the form and expression that were characteristic of craft and making by hand, it soon became obvious that making by machine required something else. In places such as the Bauhaus, ideas about a unity of art and technology started to evolve. Over time, design came to develop methods meant to ensure that a product was “right” by working iteratively with prototypes and minimizing the risk of mass replicating faults and shortcomings, and to form an industrial aesthetic celebrating (rather than hiding) what “new” machines and technologies brought to the making of everyday things. Contemporary technologies of networked computational things and artificial intelligence, as well as the data capitalism they have made possible, differ from the logic of industrial production. Not only that, they fundamentally challenge the conceptual space designers have created to cope with complexity. For instance, with runtime assembly of networked services, constant atomic updates, and agile development processes, the boundary between production and consumption is almost fully dismantled. No longer is the design process something that happens before production; rather, we see a complete intertwining of development and deployment, sometimes as frequent as daily releases. It appears that this characteristic of a constant becoming is going to be further accelerated by technologies that actively “learn” while in use, changing and adapting over time at an even more fundamental level than is currently the case. As is already evident, not least in the public debate around what to consider a fair and secure use of data, this emerging technological landscape brings up many issues we need to tackle. One of them is that we might be reaching the limits of what our current primary framework for design can cope with—that is, the boundaries of what can be conceived within the frames of human- and user-centered design. In what follows, we discuss what happens if human-centered design is unable to effectively give form to this new technology, why this might be the case, and where we could look for alternatives.

This contribution illustrates the Research through Design process of Mr.V the Spaceman, a tactful object meant to support families of children with cancer maintain a healthy domestic life during stressful times. By recounting insights from the field and unfolding changes to the original artifact over a period of two years, the paper illuminates how an understanding of tactfulness has emerged and developed into a key design quality for this work. This complex and entangled process of making is surfaced and illustrated by a rich and scrupulous annotation of the artisanal craft and technological explorations that led from the original Mr.V prototype to what is now Mr.V the Spaceman.

Over the last half century, design education has diversified and developed considerably, in part in the arts academies, and increasingly in universities and vocational technical education. The TU Delft design program was founded in 1969, and has since grown quickly into a large, university-based, technology-aligned set of programs presently housing 2000 students and 100 academic staff. In the 50 years the Delft program changed due to: (1) changes in societal demand (from products, via services, to the systemic level of societal challenges), (2) the maturing of design as an academic discipline between science and engineering, and (3) international developments of the educational system (e.g., the Bologna agreement). In this paper we describe the development of this program within the broader disciplinary context of TU Delft, and how it brought together engineering, social sciences, and business studies in project-based education. We draw lessons from a unique position, made possible by this large scale and positioning next to engineering sciences. This position supported a large pool of in-house expertise; it fostered an intertwining of education, research, and practices in the industrial and wider societal context. And it also posed challenges of making design education work at a large scale. Keywords: Design education, Integrated design, PhD in design, Design and society

This paper describes ObjectResponder - a tool that allows designers to use Artificial Intelligence (AI) to rapidly prototype concepts for context-aware intelligent interaction in the wild. To our knowledge, there are currently no available tools for designing and prototyping with AI within the actual context of use. Our application uses Google Cloud Vision to allow designers assigning chat bot-like responses to objects recognized by the smart-phone camera. This enables designers to use object recognition labels as a means to diverge on possible interpretations of the context and start generating ideas that can then be immediately tested and iterated. Initial results suggest that looking at the world from the perspective of the AI may enable designers to balance human and nonhuman biases, enrich a designer's understanding of the context, and open up unexpected directions for idea generation.

As the material becomes active in disclosing the fullness of its capabilities, the boundaries between human and nonhuman performances are destabilized in productive practices that take their departure from materials. This paper illuminates the embodied crafting of action possibilities in material-driven design (MDD) practices with electroluminescent materials. The paper describes and discusses aspects of the making process of electroluminescent materials in which matter, structure, form, and computation are manipulated to deliberately disrupt the affordance of the material, with the goal to explore unanticipated action possibilities and materialize the performative qualities of the sample. In light of this account, the paper concludes by urging the HCI community to performatively rupture the material, so to be able to act upon it as if it was always unfinished or underdeveloped. This, it is shown, can help open up the design space of smart material composites and reveal their latent affordances.

Design has long been human-centered, but with data technology things too can become part of the design and innovation process.

This paper describes a blockchain-enabled system aimed to facilitate urban walking as a lifestyle choice. This work-in-progress is based on an provisional classification of blockchain's social affordances into four core features. These features are used as design materials to enable 'walking contracts' between humans and non-humans as triggers for urban walking.

What can design do to address adverse life events like childhood cancer? Cancer is not just a health matter—it strains family relationships and profoundly disrupts the stability of everyday routines. In this article, we introduce a socio-ecological perspective that untangles the systemic complexity of the challenges families face when confronted with childhood cancer. We use this lens to identify potential design opportunities for reconfiguring a “new normal” in their lives. We present and discuss the results of a participant observation of childhood cancer survivors at a large support group conference. These findings we analyze and organize into five themes corresponding to specific coping strategies: accepting the transformation of one’s body, avoiding avoidance, maintaining interest in social activities, retaining a sense of belonging to one’s social networks, and dealing with social stigma. These themes reveal opportunities for design innovation in sensitive settings that traverse the fields of interaction design, developmental psychology, and pediatric oncology. Keywords: Childhood cancer, Family life, Disruptive life events, New normal, Design innovation, Sensitive settings

In research on health and wellbeing, resourcefulness is seen as an important skill that can improve quality of life. In design and HCI literature, it has long been acknowledged that resourcefulness is about more than human skills and involves the adaptation, modification and reinvention of technologies in everyday life. In this paper we argue how certain aspects of resourcefulness have so far remained under-theorized, and present a new design perspective on resourcefulness that is grounded in practice theory. In this view, resourcefulness is conceptualised as the dispersed practice of dealing with everyday crises of routine. By elaborating on the complex interplay between means and purpose, we tease out resourcefulness as a practice of reconfiguration. The paper closes by discussing implications of this conceptualisation by zooming in on ways of capturing and designing for resourcefulness. Conceptualising Resourcefulness as a Dispersed Practice (PDF Download Available). Available from: https://www.researchgate.net/publication/317420379_Conceptualising_Resourcefulness_as_a_Dispersed_Practice [accessed Jul 27, 2017].

The documentary The Act of Killing (Oppenheimer, 2013) is a recording of the process of how perpetrators look back on the crime of killing (the allegedly communist) opponents of the military regime in Indonesia after the army’s coup d’etat in 1965-66. This film is distinct from many other documentaries about war and conflict, in that it neither uses the expository mode often used for historical documentaries – the mode that tells the viewer confidently what happened, often by using survivor interviews, re-enactment, and iconic historical props – nor the observational or ‘fly-on-the-wall’ mode dominant in contemporary war documentaries resulting from embedded journalism. Instead, this documentary employs a mix of reflexive and poetic frames (cf. Potzsch, 2013; Bonner, 2013). The challenge of ‘representing the unpresentable’ visibly informs the structure of the film, while the scope of the historical drama is evoked, not represented, by using theatrical props and settings. Assembled almost haphazardly and often veering on the grotesque, the eerie murder weapons, poky interrogation rooms, and fantasy attire establish a metonymic connection to the past. The effect is chilling and utterly perplexing. This paper will discuss how the films strange material scaffolding allows the main in the The Act of Killing to re-enact the drama of the past as the perpetrators they once were. Re-enactment is in fact one of the key-terms in the film as it quietly establishes a veiled connection between trauma and performance (or performativity) that allows for a sense of continuity between the past and the present, both on the personal level and politically.

The term “virtual” often is associated with the idea of a duplication of reality. As a result, “virtual museum” has become a useful synonym for multimedia products and Websites capable of providing new and fresh experiences of a specific museum heritage, or creating a large system of interconnections among different museum collections. It is necessary, however, to explore and envision further opportunities. Today’s questions should be: What cultural role and significance can physical artifacts assume in the age of information technologies? In what ways do information and communication technologies enhance the nature and contemporary role of the museum? Can a virtual museum promote the social dimension of creativity, and connect it to the collection and preservation of novel cultural objects? This paper aims at responding to these questions and promoting a new form of virtuality for the museum, capable of empowering the interaction among the tangibility of a physical artifact, and its current and future interpretations. To sustain this argument, the paper describes and examines in detail the Virtual Museum of the Collective Memory of Lombardia (MUVI).1 This project provides evidence of how the collective memory of a local community represents a living heritage that—by means of different media and information technologies—can be translated into actual cultural objects and give rise to new forms of creativity and museum construction.

The power of the unaided individual mind is highly overrated. Although society often thinks of creative individuals as working in isolation, intelligence and creativity result in large part from interaction and collaboration with other individuals. Much human creativity is social, arising from activities that take place in a context in which interaction with other people and the artifacts that embody collective knowledge are essential contributors.This paper examines: (1) how individual and social creativity can be integrated by means of proper collaboration models and tools supporting distributed cognition; (2) how the creation of shareable externalizations ("boundary objects") and the adoption of evolutionary process models in the construction of meta-design environments can enhance creativity and support spontaneous design activities ("unselfconscious cultures of design"); and (3) how a new design competence is emerging one that requires passage from individual creative actions to synergetic activities, from the reflective practitioner to reflective communities and from given tasks to personally meaningful activities. The paper offers examples in the context of collaborative design and art practice, including urban planning, interactive art and open source. In the effort to draw a viable path "beyond binary choices", the paper points out some major challenges for the next generation of socio-technical environments to further increase the integration of individual and social creativity.

End-user development (EUD) activities range from customization to component configuration and programming. Office software, such as the ubiquitous spreadsheet, provides customization facilities, while the growth of the Web has added impetus to end-user scripting for interactive functions in Web sites. In scientific and engineering domains, end users frequently develop complex systems with standard programming languages such as C++ and Java. However, only a minority of users adapt commercial off-the-shelf (COTS) software products. Indeed, composing systems from reusable components, such as enterprise resource planing (ERP) systems, defeats most end users who resort to expensive and scarce expert developers for implementation.

This paper describes a framework that supports the physical prototyping of innovative interactive artifacts. Specifically, the framework allows designing, implementing, and testing "social products," that is, physical artifacts able to interact with social media platforms such as Facebook, Twitter, Google+ and others. Since the target users of the framework are not expert in software programming, an End-User Development (EUD) approach has been adopted, which aims at facilitating the ideation process and providing simple mechanisms for automatic code generation and testing. User tests have proved the usefulness and validity of the framework, and provided indications for how to expand it.

This one-day workshop brings together HCI scholars and practitioners who share a common interest in understanding and exploring how we will be socially connected in the future. Central to our discussion will be the exploration of an interdisciplinary research agenda in social interaction design (SxD) that merges social networks and socially generated data with a vision for materiality in computing and the possibilities of tangible and embedded interaction.

This paper investigates 'pause' and 'duration' as conceptual resources to expand current design approaches to place, technology, and experience in museums to the extended temporality of heritage practice. The author strives to understand 'through design' how we come to value objects, places and events through multiple and repeated interactions. In doing so, the author contributes to expand the boundaries of interaction design beyond individuals acting 'in the moment' (pause) to individuals and communities participating 'across time' (duration) in the cultural production of memory and identity.

Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop improved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools. Copyright © 2006, Lawrence Erlbaum Associates, Inc.