Empowering Users Through Design David Bihanic Editor

Empowering Users through Design David Bihanic Editor

Empowering Users through Design Interdisciplinary Studies and Combined Approaches for Technological Products and Services

123 Editor David Bihanic CALHISTE Laboratory University of Valenciennes and Hainaut-Cambresis Valenciennes France

ISBN 978-3-319-13017-0 ISBN 978-3-319-13018-7 (eBook) DOI 10.1007/978-3-319-13018-7

Library of Congress Control Number: 2014957711

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Springer International Publishing AG Switzerland is part of Springer Science+Business Media (www.springer.com) Preface

The start of the twenty-first century has been undeniably shaped by the rise of a new sociotechnological context1 accompanied by a broad spectrum of paramount changes that not only span the professional, social, cultural, and education sectors, but also trigger a major overhaul in parts of the economy, forging ahead with an urgency and insatiable appetite for service sector growth. The urgency and appetite to revisit long-standing and ultimately stagnant consumer business models are determined to turn them upside-down, and especially those with an emphasis on industrial development and production. The ensuing transformations are the result of increasingly demanding levels of effectiveness, efficiency, and output that take into account a series of variables, including flexibility, resiliency, decentralization, and versatility, all of which are offset by value-added probabilities whose com- petitive advantage is defined with the world in mind. To make the desire, deter- mination, and deployment reality, creativity, adaptability, radical diversification, and breakthrough innovations2 form the buzz words inherent in these new and ever- evolving thought processes. These processes address, on the one hand, how consumer models evolve over time within a “function-friendly”, service-driven economy,3 in contrast to one oriented around material property gain, and on the other, how companies are to tweak their strategic and operational modi operandi through an open-door policy of idea exchange for “actors”4 there within. In view of such a context, some designers (“makers”, “builders”, etc.) are now shifting their focus to new ways of designing and producing, which, in turn, is

1 Due to the exponential rise in digital technologies. 2 Finding some kind of middle ground wherein to reconcile technological advances in a market economy literally in standstill mode because of the competition. 3 See (Giarini and Stahel 1989). 4 Toward greater acceptance of corporate in-house and external skill sets and competencies (subcontractors, clients, consultants, public sector—universities, public laboratories, private R&D centers, a wide audience, opinion leaders, etc.); in search of new inter-company, economic syn- ergies (regardless of whether partnerships involve same-sector competitors or not).

v vi Preface giving rise to yet another facet in the designer–user relationship.5 To give “crowdsourcing”6 initiatives an even longer shelf-life, these same designers are dedicated to building new bridges, and pairing creativity with production, but this time, more sustainably and alongside motivated users yearning to make a signifi- cant dent in the design scene, which, up to now, has been more or less confined to utility. A number of active user or “user-actor”7 communities have since popped up, whose members’ capacities, demands, opinions, and behaviors have broken far away from the passive mold of uttering mundane recommendations on usage and changes in routine,8 to one of action and influence, ultimately driving through the idea that we need to constantly revisit what we do (habitus), on what grounds we do it, and how suitable it is on myriad playing levels in order to keep the new use-and- habit wheel forever turning. These same user-practitioners are also called upon for their input in the design of new goods and services, and to join the ranks of those experts on the matter striving to unleash the potential in new techniques and technologies. Their insight is also used as a springboard to propel fresh, clearly outlined projects crossing over into a number of specialty areas, such as Graphic Design, Product/Object Design, and Interactive Design, to greater heights. Wanting to do away with as much as possible the complex-ridden and apathetic user9 weighed down not only by incompetence, but also ignorance, these designers are banking on the concept of “creative acculturation”, whose premise rests upon the ideas of cooperation and remote collaboration,10 in addition to making a range of creation-design and manufacturing-production tools11 available to individuals of all ages, even the youngest generations.12 Specially designed spaces and venues, such as the “Creative and Fabrication Lab” and “Hackerspace”, are quintessential to laying the foundation for a breeding ground of group-friendly encounters, initiatives, and synergy transfer. Bred from this new episode of cultural “seed-sowing” come other dynamics that prove both communitarian and unifying in nature, shaping individual intelligence networks that boast underlying notions of interconnectedness, intricacy,13

5 In reference to the new types of rising innovation models and how they are used described by Massachusetts Institute of Technology (MIT) Prof. Eric Von Hippel in his work, entitled “Democratizing Innovation” (Hippel 2005), available for free download at the following link: http://web.mit.edu/evhippel/www/books.htm (accessed October 22, 2013). 6 E.g. Eyeka online platform, URL, October 22, 2013: http://www.eyeka.com. 7 In his book, The Third Wave, futurist and forward-thinker Alvin Toffler (1984) coins the term, “prosumer”, which is a contraction of “producer” and “consumer.” 8 Reverting to what Montaigne (1993) called back in his day “routine activities” (Essays, Book I, Chapter 26, referenced version, 1, p. 156). 9 Between receiving and consuming. 10 In reference to social networks, online co-working platforms, various types of “groupware”, etc. 11 Featuring a mix of speed, flexibility, agility, strength, and robustness. 12 E.g. DIY, URL, October 22, 2013: http://www.diy.org; Makedo, URL, October 22, 2013: http://www.mymakedo.com. 13 From “Open Design” to “Peer-to-Peer Design.” Preface vii dissemination, and division. These networks have become a haven wherein eruptive, pollinating, and atoll-rich14 (and not atom-bound15) phenomena thrive, further prepping the terrain for even more exhilarating and intense user contributions.16 Advocating new forms of interrelated expression, these networks illustrate a new creative ecology. There within, users settle into the prime spot of ensuring that technological “artifacts” transform into models with definition and direction. Free to roam and think, users take advantage of this blank canvas to sketch out the future of design, as well as collaborative, ongoing, and repetitive means of production. The role the user has become accustomed to playing is now in the midst of undergoing a revolutionary facelift; one whose essence requires a combination of creative capacity and production savvy on the part of the user now in possession of the skills and expertise17 necessary to cooperate and collaborate in the execution and evolution of future products and services, in addition to changing the face of and influencing18 the structural stance (formal and functional) of production means today. Therefore, a primarily technological product or service’s economic value should not be reduced solely to its utility, function, or purpose, for there exists an entirely separate world of criteria deemed “productive”,19 resulting in a very different take on values20 and broken down as follows: The first is transformation,21 which involves redefining, redirecting, and redesigning new products and services. Next are adaptability and ownership, which create an endless number of avenues for the said items in terms of accountability, utilization, and function. What follow are the transmission and passing down of knowledge and experience, both of which endorse an increasingly sustainable life cycle of “used and reused” products and services,22 and consequently, countless owners. Given the user’s commitment to revolutionizing how technological products and services take root and flight, not to mention the innate stakes and pending solutions, it is only natural that a work such as this regroups a multitude of intersecting and interdisciplinary viewpoints. The naturally tangential nature of the topic demands a mammoth web of far-reaching expertise among researchers23 of seemingly opposing, yet complementary backgrounds from scientific to geographic for the

14 Relating to a form of “archipelization” of various collective actions, metaphorically evoking a strengthening of bonds forged between individuals and cultures: from a “rhizomatic” sequence (Gilles Deleuze and Félix Guattari) of interactions to new forms of dependency. 15 Reverting to a “balkanization” phenomenon or fragmentation of multiple contributions. 16 Toward new types and levels of user involvement. 17 Boasting an even greater number of competencies. 18 Pointing out and rectifying, if need be, areas needing attention or improvement. 19 In a way, these productive criteria designate emerging product and service know-how/ knowledge and, in turn, trigger a new social praxis (praxo-poietic). 20 Cutting ties with the field of merchandise-, trade-, and utility-related values. 21 Retaining new instances of product and service transformation in response to use and function. 22 Perpetually volatile changes in ownership likely, fueling constant product and service move- ment and evolution. 23 Designers, creators, architects, and engineers alike. viii Preface purposes of fostering a crossroads of thought to better grasp the breadth and magnitude of an undertaking of this kind. This efflux of information has led us to deliberately divide the work into a sequence of views serving as “chapters”, but without formal section breaks. This succession allows the reader to transition from one text to the next, while preserving the thematic thread binding them all in one way or another. The reader is, thus, in control of the conclusions he wishes to draw, and on a broader level, can glimpse at the relationships and overlapping nature inherent in the fields covered. The contributions here within adhere to a relatively orderly progression wherein subject matter ranges from “general” to “specific” in nature. More precisely, the opening pages of the book kick off a handful of thoughts and analyses founded in theory and concepts, and which set out the aims and expectations of the user’s commitment to the field of design, all the while harboring no doubt around the major changes and challenges that he foresees in its practice. Next is another batch of reflections and analyses, this time, on how the user’s active involvement will affect new innovative, design-driven processes and methodologies that have yet to surface, giving birth to a new form of design that welcomes involvement, outvolvement, and a conduit of exchange and feedback. A third round of contributions ensues with particular emphasis on the latest tools, methods, and new approaches in technological product and service design and development, in addition to a real push to incorporate the user at various stages of the process. The work concludes with a few case studies that offer a view into some of the advances made thus far and the important headway that has resulted. Well aware that our modest selection of scientific insight hailing from a score of disciplines could neither measure up to nor fully address a subject as vast and complex as this one, we are, nonetheless, pleased to have had the opportunity to enable readers to perspicaciously assess and acknowledge the profusion of opportunities streaming from this user-oriented and user-driven emancipation.

David Bihanic

References

Giarini O, Stahel W (1989) The limits to certainty—facing risks in the new service economy. Kluwer Academic Publishers, Dordrecht Michel de Montaigne (1993) The Essays. Translated and edited by Screech MA Penguin Books, New York Tofﬂer A (1984) The Third Wave. Bantam, New York von Hippel E (2005) Democratizing innovation. MIT Press, Cambridge Acknowledgments

With the support of the CALHISTE laboratory (Culture, Arts, Literature, History of Societies and Foreign Territories—EA 4343) and the European Social Sciences and Humanities Research Institute (Maison Européenne des Sciences de l’Homme et de la Société—MESHS). We would like to personally thank Morgane Saysana and Krista Schmidtke for the translation and editorial support.

ix Contents

1 Form Follows Practice ...... 1 David Bihanic and Pierre-Damien Huyghe

2 Who Designs?...... 13 Theodora Vardouli

3 User’s Continuity in Design Continuous Innovation ...... 43 Flaviano Celaschi

4 Towards User Involvement in Envisioning Practices...... 59 Manuela Celi and Jennifer Rudkin

5 Critical Design ...... 79 Annie Gentès and Max Mollon

6 Digital Objects Topologies...... 103 Jon Pengelly

7 Design Ethnography? ...... 119 Nicolas Nova

8 (Mis)behavioral Objects ...... 129 Samuel Bianchini, Rémy Bourganel, Emanuele Quinz, Florent Levillain and Elisabetta Zibetti

9 Open Sourcing Wearables...... 153 Zoe Romano and Serena Cangiano

10 Trialogical Learning ...... 177 Julian Malins, Carole Gray and Liapis Aggelos

xi xii Contents

11 Open Meta-Design ...... 193 Massimo Menichinelli

12 Co-design to Empower Cultural Heritage Professionals as Technology Designers ...... 213 Luigina Ciolfi, Daniela Petrelli, Fiona McDermott, Gabriela Avram and Dick van Dijk

13 User Empowerment and the I-doc Model User...... 225 Samuel Gantier and Michel Labour

14 “Nothing Makes Sense” ...... 249 Yiying Wu, Jack Whalen and Ilpo Koskinen

15 A Manifesto for Epistemological Empowerment in Chronic Disease Self Care ...... 267 Cristiano Storni

Erratum to: Open Sourcing Wearables...... E1 Zoe Romano and Serena Cangiano

Author Index ...... 281 Authors’ Biography and Contributors

Authors’ Biography

Gabriela Avram (Reseacher) is a Lecturer in Digital Media in the Department of Computer Science and Information Systems, and a senior member of the Interaction Design Centre, University of Limerick (Ireland). Gabriela has strong involvement in social media as early adopter, researcher, and educator. She is actively involved in the international social media community. Her research looks at applications of social media in different domains—from teaching and learning to multinational corporations and community support. Lately, her focus has shifted toward location-based social media applications supporting local communities and augmented reality. She has been involved in several international cooperation projects. She holds a Ph.D. in Information Systems from the Academy of Economic Studies in Bucharest (Romania). Between 2003 and 2005, she has undertaken postdoctoral studies in Germany and Luxembourg, focusing on connecting knowledge management and e-learning initiatives. During the socGSD research project at the University of Limerick, she studied collaborative work practices in cross-cultural environments, working with IBM, HP, and Intel. She is the co-organizer of 3Dcamp, an unconference style event dedicated to 3D visualizations, virtual worlds, and ubiquitous computing. For more information contact: http://www.coniecto.org/wordpress, http://www.idc.ul.ie/people/gabriela-avram, http://www.linkedin.com/in/gabrielaavram, https://twitter.com/gabig58. Samuel Bianchini (Artist and Researcher) is an artist and associate professor at the École nationale supérieure des Arts Décoratifs (EnsAD, Paris). After defending his doctoral thesis with a presentation and solo show at the Palais de Tokyo, he is today the head of the research program Reﬂective Interaction at EnsadLab, the Laboratory of EnsAD. His work investigates the impact of technology on modes of representation, on our new forms of aesthetic experiences, and our socio-political organizations. To bring his projects to fruition, he collaborates with scientists and technology research centers.

xiii xiv Authors’ Biography and Contributors

He shows regularly in France and abroad. Exhibitions have included institutions such as Art Basel 2013, Stuk Art Center (Leuven), Centre Georges Pompidou in Paris, Deutsches Hygiene-Museum in Dresden, National Museum of Contemporary Art in Athens, Jeu de Paume in Paris, Laboratoria in Moscow, Jozsa Gallery in Brussels, Thessaloniki Biennale of Contemporary Art, ZKM in Karlsruhe, Muséed’Art Moderne de la Ville de Paris, etc. In tight correlation with his artistic practice, Samuel Bianchini has undertaken theoretical work that has been published by the Centre Pompidou, Jean-Michel Place, MIT Press, Analogues, Burozoïque, Hermes, Les presses du réel, etc. For more information contact: http://diip.ensadlab.fr, http://www.dispotheque.org. David Bihanic (Designer, Consultant and Researcher) while teaching as an associate professor at the University of Valenciennes and Hainaut-Cambresis in the north of France, David Bihanic (Saint-Nazaire, France, 1977) works as a Designer and Design Consultant; he is the founder and Managing Director of a creative agency called Fxdesignstudio (FXDS). After obtaining a Ph.D. from the Paris 1 Panthéon-Sorbonne University, he published numerous scientific articles relating to the new stakes of design; he takes active part in the evolution and transformations occurring in this field. Today, his research is mainly on data design, data visualization aesthetics, and creative informatics. His work spans the whole spectrum, from theory to implementation techniques and applications. For more information contact: http://www.davidbihanic.com, http://fr.linkedin.com/in/dbihanic, https://twitter.com/ dbihanic. Rémi Bourganel (Researcher and Design Strategist) is a researcher, strategist, facilitator, and director through a professional and academic path. He founded/leads SociableMedia, an EnsadLab research program, with a main interest in using digital technology to develop people’s creativity, autonomy, and empathy through aug- menting their perception, expression, and reflexivity. He nurtures an interest in ‘imaginaire’ as generative framework as well as design for debate. He started exploring digital technologies in 1995, while designing with A. Tanaka (Apple/Ircam) one of the world’s first gesture interfaces making one’s body a music instrument. On the corporate side, he worked for Alcatel, Air Liquid, Roland Moreno Tech, Mitsubishi Electric, Samsung Design Europe, and Nokia Design London, where in senior leadership positions, he built/headed the first UX team and, later, the Nokia London multidisciplinary research and innovation group. Recently, he headed Orange Vallée, skunkwork of Orange. He has worked across the globe and has travelled to 40 countries. Authors’ Biography and Contributors xv

For more information contact: http://sociablemedia.ensadlab.fr, http://fr.linkedin.com/in/remybourganel, https:// twitter.com/epourkoapa. Serena Cangiano (Researcher) is coordinator of Master of Advanced Studies in Interaction Design SUPSI and co-manager of FabLab Lugano. She develops applied research projects focusing on interaction design, open source design, fablabs and makers culture, and new educational systems. She writes articles, gives lectures, and teaches workshops on interaction design, digital fabrication, and the design of open source interactive artifacts. At SUPSI, she carries out “Re-Programmed Art: An Open Manifesto”, a project aiming at developing open source derivatives of kinetic and programmed artworks from 1960. She works and lives in Lugano, Switzerland. For more information contact: http://www.maind.supsi.ch/members/admin/profile/, http://ch.linkedin.com/pub/ serena-cangiano/8/189/73a, https://www.fablabs.io/fablablugano. Flaviano Celashi (Researcher) Full professor in industrial design in Alma Mater Studiorum, Università di Bologna, Italy, actually is dean of the design school in Architectural department. Cofounder and first director of POLI.Design consortium of Politecnico di Milano (1999), Cofounder and first dean of the first university department of design in Italy (INDACO 2001). Vice Rector of the Politecnico di Torino (2006/2008). Leader professor at Tecnologico de Monterrey, Guadalajara campus, Mexico, Residential visiting professor in design in China Academy of Art, Hangzhou, China, visiting professor in more than 20 university in China, India, Mexico, Brasil, Egypt, Argentina, Chile, Colombia, Europe. Founder of Advanced design research Unit in Politecnico di Milano in 2008, founder and coordinator of the Latin Net- work of the Design Processes. For more information contact: http://www.flavianocelaschi.net, http://codesignlab.wp.mines-telecom.fr/a-propos/ team/, http://www.linkedin.com/in/anniegentes. Manuela Celi (Researcher) She holds the Ph.D. in Industrial Design and is currently assistant professor at the Design Department of the Politecnico di Milano. From 1999 to 2009 she cooperated with the School of Design of Politecnico di Milano designing educational program, coordinating orienteering projects and tutoring activity for foreign students or students on stage. She is teaching industrial design at the undergraduate degree courses in Furniture Design and Product Design since 2006. Her research interests are focused in the forms of knowledge related to design and their use and translation in skills within the learning systems. The Ph.D. focuses around design knowledge and its forms of learning converge on the activities of Meta-Design with the purpose to provide an approach to design knowledge, to learn how to learn, to develop metacognitive skills, to acquire autonomy in coding, and decoding information. She is in charge of the research group Design and Cultures xvi Authors’ Biography and Contributors and she has deepened her studies on the relationship between Design, Humanities and Social sciences area, being interested in the methodological approaches, process design, and transdisciplinary methods. Her most recent research interests include concentrating on advanced design and on design process to foster innovation as long-term strategy. She recently edited the book Advance design, method, paths, and tools to get ready for continuous innovation, published by McGraw-Hill Italy in 2010; together with F. Celaschi and L. Mata Garcia the article The Extended Value of Design: an Advanced Design Perspective on the “Design Management Journal”. For more information contact: http://manuelaceli.cgpublisher.com/contact.html, http://guida.design.polimi.it/guida/ 2010/index.php/faculty_docenti/docente/39089, https://twitter.com/ManuelaCeli. Luigina Ciolfi (Researcher) is Reader in Communication at the Communication and Computing Research Centre, Sheffield Hallam University (UK). She holds a Ph.D. in Computer Science/Interaction Design from the University of Limerick (Ireland) and a Laurea in Communication Sciences (summa cum laude), from the University of Siena (Italy), specializing in Human–Computer Interaction (HCI). Luigina is a human-centered computing scholar with interests in heritage, public spaces, work settings, collaboration, and participation. She is concerned with the design of technologies to support human interaction within the physical world, based on an understanding of the relationship between people, activities, and their locales. She participated in national and international research projects on the topics of heritage technologies, interaction in public spaces, mobile, and nomadic work. Luigina has published extensively in HCI and CSCW (Computer-Supported Cooperative Work), as well as having organized a number of international research events. She serves as Associate Editor and Book Review Editor for the CSCW Journal (Springer), as member of the National Consultation Panel on Cultural Heritage and Global Change (The Heritage Council of Ireland), and has been an invited speaker in Ireland, Sweden, Norway, Denmark, UK, USA, Cyprus, and Italy. For more information contact: http://luiginaciolfi.com, http://ie.linkedin.com/in/luiginaciolfi, https://twitter.com/ luiciolfi. Samuel Gantier (Documentary Maker and Researcher) has been making and editing documentaries films for 10 years (ARTE, France Télévisions, RTBF, etc.). He is a transmedia consultant for Pictanovo (northern France), a company which offers financial and technical support in the field of image production. He lectures in audiovisual and interactive documentary as an associate at the arts department and is reading for a Ph.D. in Information and Communication Sciences at the Laboratory DeVisu of the University of Valenciennes (France). His research focuses on innovation processes and design in interactive documentaries. Authors’ Biography and Contributors xvii

For more information contact: http://www.univ-valenciennes.fr/FLLASH/arts/samuel-gantier, http://fr.linkedin. com/pub/samuel-gantier/82/953/788, http://univ-valenciennes.academia.edu/ samuelgantier. Annie Gentès (Researcher) is an associate professor (Maître de conference HDR) in Information and Communication Sciences at Telecom ParisTech and head of the Codesign and Media Studies Lab. She teaches a number of graduate courses in new media art, innovation, and design and is co-head of the MA (M2 research) “Design, Media, Technology” with the University of Paris 1 Panthéon Sorbonne and the ENSCI-Les ateliers (École Nationale Superieure de Creation Industrielle). Her research focuses on extreme design and ICT. She consequently works with artists, designers, and researchers in engineering to understand their specific contribution and gamut of conceptive activities that turn a technology into a cultural artifact. She therefore has been involved in the production of works of art based on the Internet since 2001 as well as academic and industrial research ICT research projects. In particular, she has worked on distributed architectures, peer to peer applications, and Virtual intelligent Agents to develop specific applications and services. For more information contact: https://webperso.telecom-paristech.fr/front/frontoffice.php?SP_ID=17, http:// codesignlab.wp.mines-telecom.fr/a-propos/team/, http://www.linkedin.com/in/ anniegentes. Carole Gray (Artist and Researcher) is an artist, independent researcher, and higher education consultant who considers these roles to be interrelated and mutually dependent facets of her creativity. A contributor to research development at various UK Art and Design institutions, she also works internationally. Carole has served on the UK’s Arts and Humanities Research Council’s Postgraduate Panel for Visual Arts and Media, Peer Review College, and she is also a Strategic Reviewer. She has served on the UK Research Assessment Exercise 2008 sub-panel for Art and Design. Her practice as an artist has involved both individual and collaborative work exploring context-specific artwork using contemporary technologies and materials. Carole has a longstanding interest in experiential learning in Art and Design education and has been involved in developing research student education and research supervision since 1988 on completion of her Ph.D. at Aberdeen Univer- sity. The core of this pedagogic work has been concerned with encouraging creative and visual approaches to inquiry and its intimate relationship to practice. For more information contact: http://carolegray.net, http://www2.rgu.ac.uk/subj/ats/Research-VisualizingResearch/. Pierre-Damien Huyghe (Philosopher and Researcher) is a full professor at the University of Paris I Panthéon-Sorbonne, Head of the Master’s Degree Program in Design and Environments. xviii Authors’ Biography and Contributors

His research in Philosophy and Aesthetics focuses on the condition of contemporary creations and artistic practices, and its relationships with technological advances and inventions in our industrial world. He is the author of numerous books published in French: “Art et Industrie” (Bauhaus philosophy), Circé, 1999; “Du Commun”, Circé, 2002; “Éloge de l’aspect”, Mix, 2006; etc. For more information contact: http://pierredamienhuyghe.fr/1.html. Ilpo Koskinen (Sociologist and Researcher) was a sociologist, but has worked as a professor of industrial design since 1999. His main research interests have been in mobile multimedia, the relationship of design and cities, and methodology in design research. His most recent book is “Design through Research: From Lab, Field, Show- room,” a book on constructive design research. He has been working as professor in Helsinki, Aarhus, Melbourne, and Hong Kong. For more information contact: http://www2.uiah.fi/*ikoskine/, http://fi.linkedin.com/pub/ilpo-koskinen/5/355/ 951. Michel Labour (Researcher) is an associate professor at the University of Valenciennes and Hainaut-Cambresis (Lille-North of France) and a member of the DeVisu laboratory. He is the reviewer of a number of impact-factor rated scientific journals and international scientific conferences. His research focuses on the emotional and social conditions in which individuals make sense of informational constructs, notably in a decision-making context. This includes examining the communicational effects between perceived fictional and everyday realities when considering the empowering effects of technology to breach cultural and social divides. One current field of research is in Change Management and Information Systems. For more information contact: http://www.univ-valenciennes.fr/sites/default/files/pdf/fiches/Labour.pdf, http:// fr.linkedin.com/pub/michel-labour/4/245/3b2. Florent Levillain (Researcher) is a researcher in cognitive psychology at CHArt- LUTIN Userlab. During his thesis, he studied mental imagery and dynamic scenes understanding, conducting research both at the International School for Advanced Studies (Trieste, Italy) and at the Paris 8 Saint Denis University. After being granted with a postdoctoral fellowship at the Johns Hopkins Uni- versity where he examined the limitations of short-term memory as well as the perception of causal relationships, Florent Levillain resumed an investigation of the interpretation of action. What are the motion cues that enable an event to be perceived? Which cognitive systems contribute to the spontaneous understanding of behavior in terms of intentional actions? These questions are brought up in the context of a collaboration with the Ensadlab/Reflective Interaction Team at The École nationale supérieure des Arts Décoratifs in Paris. Authors’ Biography and Contributors xix

For more information contact: http://johnshopkins.academia.edu/florentlevillain, http://fr.linkedin.com/pub/ florent-levillain/18/802/271. Agellos Liapis (Researcher) is an experienced senior researcher and ICT specialist with experience in implementing and managing large European Commission funded projects. His areas of interest and expertise include Computer Supported Collaborative Working (CSCW) focused on eLearning, eHealth, Design, Computer Semantics, and Cloud Computing. He holds a Ph.D. in Computer Mediated Collaborative Design Environments from the Robert Gordon University in Aberdeen, two Master’s Degrees from the Universities of Sunderland and Hull in Network Systems and Computer Graphics and Virtual Environments, respectively, and a Bachelor’s degree in Software Development from Lincoln University in Hull. On completion of his Ph.D. he became a Marie Curie Post Doctoral researcher at Vrije Universiteit Brussels, which focused on a 3D anatomical human training network. Beyond his academic and commercial duties Aggelos has published widely in the fields of CSCW, Collab- orative Design, and Semantics. For more information contact: http://johnshopkins.academia.edu/florentlevillain, http://fr.linkedin.com/pub/florentlevillain/18/802/271. Julian Malins (Researcher) has recently joined the Norwich University of the Arts as Director of Research, having spent the past two decades working at the Robert Gordon University in Aberdeen Scotland as Professor of Design at Gray’s School of Art and Principal Member of the Institute for Innovation, Design & Sustain- ability. He is currently involved in a number of interdisciplinary research projects developing technologies to support design practice. Recent projects have included the Centre for Design & Innovation (c4di,) which was an ERDF and Scottish Government funded project providing innovation support to SMEs, and the Second Skin project which focused on the application of wearable computing technology for health and wellbeing. He originally trained as a ceramicist, and began his research career by undertaking a Ph.D. at the Robert Gordon University focused on the Design of Environmentally Sustainable Firing Processes for Ceramics. Julian is particularly interested in the application of design thinking in support of innovation, which has resulted in contributions to a diverse range of research projects, including health and wellbeing, built heritage, and computer supported collaborative learning. For more information contact: http://www.rgu.ac.uk/dmstaff/malins-julian, http://www2.rgu.ac.uk/subj/ats/ Research-VisualizingResearch/index.htm. Fiona McDermott (Researcher) is currently engaged as a researcher on the project Material Encounters with digital Cultural Heritage (MESCH) at the Interaction Design Centre, University of Limerick (Ireland). She holds an M.Arch. from University College London and a B.Sc. from Queens University Belfast. She has xx Authors’ Biography and Contributors extensive professional experience in the fields of interface and exhibition design, architecture and public participation in the UK, Germany and Denmark. Fiona’s projects include the co-design and planning of temporary uses at the former Tempelhof airport Berlin, in cooperation with the Berlin Senate. Her academic and general interests lie in the construct of narrative environments, co-design, and the design of contemporary public space. For more information contacts: http://www.idc.ul.ie/people/fiona-mcdermott, http://mesch-project.eu/people/ university-of-limerick. Massimo Menichinelli (Designer and Researcher) is a designer who researches and develops open, collaborative, and co-design projects and the systems that enable them since 2005. He uses design tools and processes in order to help companies, organizations, cities, and local communities to develop open and collaborative processes, business, services, places, and projects such as Open Design, FabLab and User-driven Open and Social Innovation initiatives. Massimo has given lectures and workshops in various countries including Italy, Spain, Finland, Germany, United Kingdom, Mexico, Colombia, South Korea, and Singapore so far. He recently worked on the development of the Aalto FabLab, co-organized the first Open Knowledge Festival in Helsinki and co-founded the Open Design Working Group at the Open Knowledge Foundation. He lectures on Digital Fab- rication and Open Design at Aalto University (Helsinki, Finland). He recently developed the MUSE FabLab (Trento, Italy) and he is now Director at the Make In Italy Italian Fablab and Makers Foundation Cdb Onlus. For more information contact: http://www.openp2pdesign.org/author/massimo-menichinelli/, http://it.linkedin. com/in/massimomenichinelli, https://twitter.com/openp2pdesign. Max Mollon (Interaction Designer and Researcher) Since 2012 my Ph.D. research has focused on how to use design as a speculative tool for public engagement. I analyze the way design can be considered and used as a means to stimulate discussions about the value and impact of emerging practices that happen at the interplay of science, technology, and society. In particular, I study the characteristics of design fiction and speculative design in bringing forward desirable unknowns. The technologies that reshape the way we feel together despite distance are also a focus of my work. Formerly masters from HEAD—Geneva, Media Design program, and currently Ph.D. Candidate at SACRe PSL, EnsadLab/Sociable Media, and Telecom ParisTech/Codesign and Media Studies Lab. Some of my projects have been exhibited at the Milano furniture fair (2010, 2011), Lift Conference (2010, 2013) and Biennale Internationale du Design de St Etienne (2013). I worked with Incandescence, Orange Lab or Alcatel-Lucent Bell Labs. I also give lectures and occasionally teach design fiction at Pôle supérieur du Design (Villefontaine, France). Authors’ Biography and Contributors xxi

For more information contact: http://cargocollective.com/alternative-communication, http://www.linkedin.com/in/ maxmollon, https://www.facebook.com/max.mollon, https://twitter.com/maxmollon. Nicolas Nova (Researcher) is co-founder of the Near Future Laboratory, a research agency based in Europe and California, and Professor at the Geneva University of Arts and Design (HEAD—Genève). At the crossroad between design and ethnography, his work is about identifying weak signals as well as exploring people’s needs, motivations, and contexts to map new design opportunities and chart potential futures. He has given talks and exhibited his work on the intersections of design, technology, and the near-future in venues such SXSW, EPIC, the AAAS conference, O’Reilly Emerging Technology Conference, NEXT, the design week in Milano, the Institute for the Future, and the MIT Medialab. Nicolas holds an undergraduate degree in Cognitive Sciences (University of Lyon), an M.Sc. in Educational Technologies and Human–Computer Interaction (University of Geneva), as well as a Ph.D. in Human–Computer Interaction from the Swiss Institute of Technology (EPFL, Switzerland). He was previously a visiting researcher at the Art Center College of Design (Pasadena, CA), and a researcher at the Media and Design Lab (EPFL, Switzerland). Nicolas is co-founder and curator at Lift Conference, a series of international events on digital culture, design, and innovation. For more information contact: http://www.nicolasnova.net, http://www.linkedin.com/in/nicolasnova, https://twitter. com/nicolasnova. Jon Pengelly (Researcher) is a lecturer/researcher in Design at Robert Gordon University. After graduating from the Royal College of Art, he undertook a practice- based Ph.D. critically examining the environmental impact of materials and creative practices, on the work of fine art printmakers. He has a long-standing interest (from the late 1990s) in computer-aided-design, rapid and direct manufacturing technologies, as they now increasingly impact on Design and Art practices. His research and own creative practice, which is interdisciplinary in nature, has sought to challenge notions of making and manufacturing, in critically reflecting upon the impact that new computer mediated forms of manufacturing and production have on disciplinary ‘norms’ or designated boundaries we might seek to apply. This research critically examines the ‘physical’‘haptic’ and ‘temporal’ inferences and expectations commonly associated with traditional definitions of creative practice, in light of this move from 3D analog to wholly digital 3D physical forms. He has published and presented at numerous international conferences, supervises Ph.D. research across both Design and Fine Art disciplines, and has exhibited his 3D computer generated artwork internationally. For more information contact: http://www.rgu.ac.uk/dmstaff/pengelly-jon, http://uk.linkedin.com/pub/jon-pengelly/ 16/89b/963. xxii Authors’ Biography and Contributors

Daniela Petrelli (Researcher) is Professor in Interaction Design at Shefﬁeld Hal- lam University (UK), Art and Design Research Centre. With a multidisciplinary background in ﬁne art, computer science, and design, since the mid-1990s she has been experimenting with several aspects of digital technology and its use in different settings. She has investigated how people access different kinds of digital content (multimedia and multilingual) at work, at leisure time, at home, and using different devices (PC, mobiles, and tangible). Her research currently focuses on domestic environments and mundane activities. In particular, she has a keen interest in family and personal memories, the way we could preserve our digital present for ourselves in later life and for future generations in a way that is engaging and fun, and that is immediately accessible from our living space and does not require the complexity of computers. Daniela is currently working on various projects, including leading the EU project meSch (Material EncounterS with Digital Cultural Heritage) and Digital Christmas—exploring the potential of festive technology for capturing and revis- iting family memories. She is an Associate Editor for the International Journal of Human Computer Studies and member of the Arts and Humanities Research Council (AHRC) Peer Review College. For more information contact: http://www.daniela-petrelli.eu, http://www.shu.ac.uk/research/c3ri/people/professor- daniela-petrelli, http://research.shu.ac.uk/lab4living/about/people/dr-daniela-petrelli, http://uk.linkedin.com/pub/daniela-petrelli/58/b16/518, https://twitter.com/Daniela Petrell1. Emmanuele Quinz (Researcher, Art Historian, and Curator) is an Art historian and curator, associate professor at the Paris-VIII University and researcher at En- sadLab, laboratory of the École nationale supérieure des Arts Décoratifs (EnsAD, Paris). He teaches regularly in other universities and art and design schools, in France and abroad (Sciences Po-Paris, Brera School of Fine arts of Milan, Head Geneva, UQAM Montréal). Among his numerous editorial projects, he edited Du corps à l’avatar (Anomos, 2000), La scena digitale. Nuovi media per la danza (with A. Menicacci, Marsilio 2001), Digital Performance (Anomos, 2002), Interfaces (Anomos-Hyx, 2003), MilleSuoni (with R. Paci Dalò, Cronopio, 2006), Strange Design (with J. Dautrey, it: éditions). His research focuses on contemporary art theories and practices crossing disciplines, like visual, media and performing arts, music, design, and fashion. As a freelance curator, he curated the international exhibitions Invisibile (Siena, Palazzo delle Papesse, 2004), and with L. Marchetti, Experience Design (Bolzano, 2005), Dysfashional (Luxembourg, 2007; Lausanne, 2008; Paris, 2009, Berlin; Moscow, 2010; Jakarta, 2011), Basic Instincts (Berlin, 2011; Arnhem, Shenzhen, 2012), The Dutch Paradox (Paris, 2012). For more information contact: http://www.labex-arts-h2h.fr, http://diip.ensadlab.fr, http://fr.linkedin.com/pub/ emanuele-quinz/6/316/b51. Authors’ Biography and Contributors xxiii

Zoe Romano (Co-founder of Openwear.org) lives in Milano and currently works on Digital Strategy and Wearables at Arduino. She co-founded Openwear.org, the European pilot project around collaborative fashion and open source branding and Wefab.it, an initiative for the diffusion of open design and digital fabrication in Italy. She has been into media activism and political visual art for the past 10 years, working on precarity, social production, material, and immaterial labor in creative and service industries. She recently launched a Makerspace in Milan called Wemake.cc, focused on agile fashion and design practices. For more information contact: http://www.dazoescope.com, https://twitter.com/zoescope. Jennifer Rudkin (Designer and Researcher) currently Ph.D. candidate in the Design Department of the Politecnico di Milano, Italy, and lecturer; pursuing a teaching activity at the Design Department of the Politecnico di Milano in the context of the doctoral program and, since 2008, as invited lecturer in Product Design and Design Research at the School of Design of the East China Normal University (ECNU, Shanghai, China). General fields of interest encompass Innovation, Trends and Creativity; Fictions, Futures, and Anticipation; Social and Cultural transformations and Urban land- scapes with a focus on mobility and food. Most recently, researcher in the UNESCO Foresight section to feed the thesis field of observation on convergences between Design and Prospective practices. Previous work experiences in Shanghai as Product Designer for My Fab, in Saint- Etienne as Curator of the China exhibition of the Biennale Internationale du Design 2010, in Paris as Project Coordinator at the (Valorisation de l’Innovation dans l’Ameublement) VIA, in New York as Interior Architect Assistant at Pierre Court Design and intern at Yohji Yamamoto Press Office. Graduated in 2007 from the Design department of the École Supérieure d’Art et de Design de Saint-Etienne (ESADSE, France). Attended the Industrial Design department courses of Rhode Island School of Design (RISD, Providence, RI, USA) for one year, as an exchange student. For more information contact: http://jenniferrudkin.wordpress.com/, http://it.linkedin.com/pub/jennifer-rudkin/ 8/653/46b, https://twitter.com/JenniferRudkin. Cristiano Storni (Researcher) is Lecturer in Interaction Design and Director of the M.Sc./M.A. in Interactive Media at Computer Science and Information Systems department (Interaction Design Center, University of Limerick). He holds a Ph.D. in Information Systems and Organization from the Faculty of Sociology in the University of Trento (Italy). During his Ph.D. Cristiano has studied the impact of ICT on people, organization, and society. He particularly focused on Science and Technology Studies (STS), Actor Net- work Theory (ANT), Social studies of Information Systems (SSIS), Ethnography, Participatory and Interaction Design. His original background is in Communication xxiv Authors’ Biography and Contributors

Sciences with a focus on HCI and Cognitive science. His research lies at the intersection of social science and design disciplines. His current research concerns design theory and practices, the social shaping of technology especially in ICT (with an interest on the notions of appropriation, participation, and empowerment) and in different application areas: Health Care, Web 2.0, open hardware and software, and social innovation. In the healthcare domain, he focuses on self-care practices and technology in the context of chronic and less-known diseases (especially type 1 Diabetes). For more information contact: http://www.idc.ul.ie/people/cristiano-storni, http://scholar.google.com/citations? user=sQIefgEAAAAJ&hl=fr, http://ie.linkedin.com/in/cristianostorni. Dick van Dijk (Creative Director) is Creative Director at Waag Society. Waag Society is an Amsterdam-based Medialab investigating the interplay of culture and technology in relation to society, education, culture, and healthcare. Waag Society wishes to make a contribution to the design of the information society by looking at the possibilities of people, their creativity, and culture. Part of Dick’s role at Waag Society is creating interactive concepts, strategizing user involvement and monitoring the development of the actual ‘thing’.Heis mostly interested in the crossover between virtual and physical interactions, in creating a narrative space, a place for imagination. As concept developer he has worked on projects as diverse as meSch, the MuseumApp, the Storyville storytelling apps, Scottie and Operation Sigismund. He has spoken and lectured on (location based) storytelling, interaction design, playful learning, and co-creation. He is co-author of several publications, among others, Users-as-designers, Waarde van Verbondenheid (on designing for healthy aging), and CONNECT— Design for an empathic society (BIS Publishers 2013). Dick has a background in Business Economics and History of Art. For more information contact: http://waag.org/nl/users/dick-van-dijk, http://mesch-project.eu/people/waag-society, http://www.linkedin.com/in/dickdijkvan. Theodora Vardouli (Architect and Researcher) is a Ph.D. candidate in Design and Computation at MIT. In her doctoral research she investigates relationships between design democratization rhetoric and computation in their historical perspective. Her publications include articles on open source culture in architecture, technical mediation and agency in participatory design, models of use in design research, and the construction of the empowered user. Among other organizational and curatorial activities, Vardouli has co-organized “Futures Past: Design and the Machine,” a conference on the institutional and intellectual history of design and computation at the MIT Media Lab, co-curated the exhibition “Things to Think with” for the MIT 150th anniversary, and designed “Geometries | Algebras,” the DCG participation in the Advances in Architectural Geometry’12 Video Panorama at the Pompidou Center in Paris. Authors’ Biography and Contributors xxv

She has instructed and assisted classes at the MIT Department of Architecture, the MIT Department of Electrical Engineering and Computer Science, the Boston Architectural College, and the NTUA. Vardouli has received academic merit awards from the NTUA, the Greek State Scholarships Foundation, the Technical Chamber of Greece, and the MIT Department of Architecture. She is an MIT Presidential Fellow and a Eugenides, AG Leventis, Onassis, and Fulbright Foun- dation alumna. For more information contact: http://architecture.mit.edu/student/theodora-vardouli, http://www.linkedin.com/ in/theodoravardouli, https://www.facebook.com/theodora.vardouli, https://twitter. com/tvardouli. Jack Whalen (Design Ethnographer and Researcher) is a design ethnographer and social science researcher, having led projects (many of them international) focusing on user/customer experience, customer services, expert system technology and artificial intelligence, peer-to-peer sharing applications and user generated content, and knowledge management more generally. He is a professor in the School of Arts, Design and Architecture at Aalto University in Helsinki, Finland. He also is on the staff of Sustainable Fisheries Partnership, an international NGO in the world of sustainable seafood and marine and freshwater conservation, where he currently directs user experience research for their Systems Division. For more information contact: http://jackwhalen.org, http://aalto-fi.academia.edu/JackWhalen, http://www. linkedin.com/pub/jack-whalen/10/635/5bb. Yiying Wu (Researcher) is a doctoral researcher in Aalto University, School of Arts, Design and Architecture, Helsinki. Her research aims to explore new social interactions and aesthetics in collaborative services through ethnographic research and participatory art. For more information contact: http://designresearch.aalto.fi/groups/encore/people/active-members/yiying-wu/, http://taik.academia.edu/yiyingwu, http://fi.linkedin.com/pub/yiying-wu/18/443/ 367, https://twitter.com/colobigbow. Elisabetta Zibetti (Researcher) is associate professor teaching cognitive psychology at the University of Paris 8 since 2003. She obtained a Ph.D. in Cognitive Psychology in 2001 (University of Paris 8, France and University of Barcelona Spain). She is currently exploring the psychological mechanisms allowing natural and artificial systems to understand and adapt to a specific situation, as well as to engage into collaborative interactions. Her research lies at the intersection of cognitive psychology and human-robot interaction (HRI), investigating the psychological assessment of humanoid robots, and more generally, behavioral artifacts. For more information contact: http://chart.ephe.fr, http://www.lutin-userlab.fr, http://www.ub.edu/gcai/group, http://fr.linkedin.com/pub/elisabetta-zibetti/3/758/130. xxvi Authors’ Biography and Contributors

Contributors

Liapis Aggelos Intrasoft International SA, Luxembourg, Luxembourg Gabriela Avram Interaction Design Centre, University of Limerick, Limerick, Ireland Samuel Bianchini EnsadLab-Reflective Interaction, The École Nationale Supéri- eure Des Arts Décoratifs, Paris, France David Bihanic CALHISTE Laboratory, University of Valenciennes and Hainaut- Cambresis, Valenciennes, France Rémy Bourganel EnsadLab-Sociable Media, The École Nationale Supérieure Des Arts Décoratifs, Paris, France Serena Cangiano Laboratory of Visual Culture, SUPSI, Canobbio, Switzerland Flaviano Celaschi University of Bologna, Bologna, Italy Manuela Celi Politecnico di Milano, Dipartimento di Design, Milan, Italy Luigina Ciolfi C3RI, Sheffield Hallam University, Sheffield, UK Samuel Gantier DeVisu Laboratory, University of Valenciennes and Hainaut- Cambresis, Valenciennes, France Annie Gentès Codesign Lab, Chair Design Theory and Methods for Innovation, Telecom ParisTech, Paris, France Carole Gray Norwich University of the Arts, Norwich, UK Pierre-Damien Huyghe University of Paris I Pantheon-Sorbonne, Paris, France Ilpo Koskinen The Department of Design, School of Arts, Design and Archi- tecture, Aalto University, Aalto, Finland Michel Labour DeVisu Laboratory, University of Valenciennes and Hainaut- Cambresis, Valenciennes, France Florent Levillain University of Paris 8 Vincennes-Saint-Denis, Saint-Denis, France; The Ecole Pratique Des Hautes études (EPHE), Paris, France; The Cité Des Sciences et de L’industrie, Paris, France Julian Malins Norwich University of the Arts, Norwich, UK Fiona McDermott Interaction Design Centre, University of Limerick, Limerick, Ireland Massimo Menichinelli Media Lab Helsinki, Department of Media, School of Art, Design and Architecture, Aalto University, Aalto, Finland Authors’ Biography and Contributors xxvii

Max Mollon EnsadLab-Sociable Media, The École Nationale Supérieure des Arts Décoratifs, Paris, France Nicolas Nova HEAD—Genève, Geneva, Switzerland Jon Pengelly Gray’s School of Art, Robert Gordon University, Aberdeen, Scotland Daniela Petrelli C3RI, Sheffield Hallam University, Sheffield, UK Emanuele Quinz EnsadLab-Reflective Interaction, The École Nationale Supéri- eure Des Arts Décoratifs, Paris, France; University of Paris 8 Vincennes-Saint- Denis, Saint-Denis, France Zoe Romano WeMake, Milan’s Makerspace, Milan, Italy Jennifer Rudkin Politecnico di Milano, Dipartimento di Design, Milan, Italy Cristiano Storni Department of Computer Science and Information Systems, Interaction Design Centre, University of Limerick, Limerick, Ireland Dick van Dijk Waag Society, Amsterdam, The Netherlands Theodora Vardouli Massachusetts Institute of Technology, Cambridge, MA, USA Jack Whalen The Department of Design, School of Arts, Design and Architec- ture, Aalto University, Aalto, Finland Yiying Wu The Department of Design, School of Arts, Design and Architecture, Aalto University, Aalto, Finland Elisabetta Zibetti University of Paris 8 Vincennes-Saint-Denis, Saint-Denis, France; The Ecole Pratique Des Hautes études (EPHE), Paris, France; The Cité Des Sciences et de L’industrie, Paris, France