Conference PaperPDF Available

Design for hackability



Design for hackability encourages designers and non-designers to critically and creatively explore interactivity, technology and media - to reclaim authorship and ownership of technologies and the social and cultural worlds in which we live. Hackability implies more than customization or adaptation - it calls for redefinition. In a world where technologies are increasingly mobile and invisible, designing for hackability means allowing and encouraging people to make technologies be what they want them to be. It cultivates reciprocity between users and designers and supports transparency and graceful responses to unanticipated uses. Before entering into a broader discussion with the audience, panelists will discuss tensions between people and artifacts, technology and play, the creative use of readily available resources, subverting traditional functions and uses of networks, and the everyday realities of corporate design practice. These discussions will be used to generate a design for hackability manifesto to guide further explorations in designing interactive systems.
Panel: Design for Hackability
Anne Galloway
Carleton University
Dept. of Sociology & Anthropology
1125 Colonel By Drive
Ottawa, ON, Canada K1S 5B6
+1 613 520-2600, ext. 2582
Jonah Brucker-Cohen
Trinity College Dublin
Lalya Gaye
Viktoria Institute
Elizabeth Goodman
Dan Hill
BBC Radio & Music
Interactive, UK
Design for hackability encourages designers and non-
designers to critically and creatively explore interactivity,
technology and media to reclaim authorship and
ownership of technologies and the social and cultural
worlds in which we live. Hackability implies more than
customization or adaptation it calls for redefinition. In a
world where technologies are increasingly mobile and
invisible, designing for hackability means allowing and
encouraging people to make technologies be what they want
them to be. It cultivates reciprocity between users and
designers and supports transparency and graceful responses
to unanticipated uses. Before entering into a broader
discussion with the audience, panelists will discuss tensions
between people and artifacts, technology and play, the
creative use of readily available resources, subverting
traditional functions and uses of networks, and the everyday
realities of corporate design practice. These discussions will
be used to generate a design for hackability manifesto to
guide further explorations in designing interactive systems.
Categories & Subject Descriptors: H.5.2 [User
Interfaces]: theory and methods, user centered design; J.4
[Social and Behavioral Sciences]: sociology
General Terms: Design, Theory
DIS2002 closed with Tom Moran’s plenary session on
everyday adaptive design, and this panel seeks to build on
his points by re-positioning his design criteria within current
critical research and design practices in wireless computing.
As computational objects become more pervasive or
ubiquitous, design theory and practice must account for its
increasingly intimate involvement in the daily lives of
diverse people. To this end, we are interested in design and
social processes that are ethically, politically, economically
and environmentally responsible. We are particularly
interested in exploring the space in which technology, art,
social and cultural studies come together to put creative
power directly in the hands of non-designers.
This panel brings together an international and multi-
disciplinary group of researchers and designers to explore
what the next generation of design for interactive systems
can be, both conceptually and technologically.
Design for hackability is best described as critical and
playful design practice inspired by historical and current
hacker, net art, ‘do-it-yourself’ and ‘re-mix’ cultures and
Hacker cultures date back to 1920s amateur radio and
1950s model railroad enthusiasts; by the 1960s a hack
referred to a technologically based prank or any clever
technological solution. According to the Hacker Jargon File,
hacking can also be understood as interacting with
computers in playful and exploratory ways, as well as
enjoying the “intellectual challenge of creatively
overcoming or circumventing limitations.” [1] By the
1970s, personal computing enthusiasts were working and
gathering in garages around America, and a 1975 issue of
the Homebrew Computer Club Newsletter sums up hacking
culture at the time: “By sharing our experience and
exchanging tips we advance the state of the art and make
low cost home computing possible for more folks …
Computers are not magic. And it is important for the general
public to begin to understand the limits of these machines
and that humans are responsible for the programming.” [2]
Copyright is held by the author/owner(s).
DIS2004, August 14, 2004, Cambridge, Massachusetts, USA.
ACM 1-58113-787-7/04/0008.
Hacker cultures, then and now, generally embody some
combination of the following ethics: ensuring access to
technology and knowledge about it; putting power in the
hands of users; decentralizing control; protecting privacy;
exceeding limitations; creating beauty; and doing no harm
to people. One example of the hacker ethic can be seen in
the work of MIT’s Mitchel Resnick: his programmable
bricks were commercialized as LEGO Mindstorms,
programmed by individuals and user communities; and The
Computer Clubhouse trains inner city youth to “become
designers and creators not just consumers of
computer-based products.” [3] Hacker ethics are also
behind the creation of most encryption methods used to
secure online communications, and hacker cultures have
been instrumental in creating and evolving many open
source technologies as alternatives to proprietary software
and examples of collaborative design.
Similar ethics and practices can also be found in punk rock
‘do-it-yourself’ (DIY) cultures. The general premise behind
DIY is that if you do not like the way things are done, then
you should do it yourself. DIY culture involves creating
your own world amid the dominant culture, thereby putting
power back in the hands of individuals. For example, ‘zine
(short for magazine) culture is based on self-publishing and
the cultural production, rather than consumption, of media.
Most recently, DIY ‘zine cultural ethics can be seen in
weblog or online journal communities. While ‘zines often
reassemble content from other sources and in the process
create something new ‘re-mix’ practices are most
commonly associated with DJ cultures. Cutting up, editing
and sampling music has been described as “the evolution of
our ability as humans to process, manipulate, and make
meanings out of an ever-increasing flow of information.”
[4] Like hacker and DIY ethics, remixing involves getting
people the materials they need to manipulate or subvert
technologies and media to their own needs and desires, to
create their own messages and meanings. Further critical
performances and practices can be found in net art cultures
which use technology to create images and stories that
challenge our understandings of technology and the world
around us. For example, the Critical Art Ensemble has
employed tactical media to raise awareness and stimulate
public debate about new technologies, and
supports the “creation, presentation, discussion and
preservation of contemporary art that uses new technologies
in significant ways.”
Design for hackability draws on all these cultural practices
and values. It encourages designers and non-designers to
critically and creatively explore technology and media, to
reclaim authorship and ownership of new and existing
technologies, and of the social and cultural worlds in which
we live. Hackability implies more than simple
customization or adaptation it calls for redefinition.
Design for hackability involves creating spaces for play
where people are never forced to adapt to technology. It
involves recognizing and working with tensions between
people and artifacts. It also subverts the traditional functions
and uses of networks. In a world where technologies are
increasingly mobile and invisible, design for hackability
means allowing and encouraging people to work with
resources at hand and to make technologies be what they
want them to be. It cultivates reciprocity between users and
designers and supports transparency and graceful responses
to unanticipated uses.
Setting the stage with academic analysis, artistic expression,
and corporate realities, we invite people to further explore
with us what it means to design interactive systems that are
creative as well as socially and culturally responsible to
explore what design for hackability might involve and how
it may inspire our design objectives and processes.
Jonah Brucker-Cohen, Trinity College Dublin, Ireland
My research focus is on subverting existing relationships to
human/networked interfaces by building real-world inputs
to networks, redefining how information is used and
disseminated, and shifting virtual processes into physical
forms through networked devices and experiences. My
process embraces a playful approach to changing people's
notions of how networks are used and function. This is
expressed through hacking and changing their fundamental
properties, questioning their everyday use, and re-
appropriating the language of networks in popular culture.
Some examples of my projects that address this approach
- Wifi-Hog: a tactical media tool for disrupting the claim
of ownership to public wireless networks
- SimpleTEXT: a mobile phone enabled performance
that allows for collaborative use of mobile devices
- a platform for ‘coincidence of need’
networks that only form when a specific need or
condition is met.
These projects are examples of hacking conventional uses
of networks to obtain both tactical and sociable results. My
interpretation of design for hackability is of an open system
that allows for maximum interaction and involvement while
simultaneously attempting to challenge accepted forms of
use of such a system. This represents a catch-22 of
interaction design where the designer gives up control of
their system to people using it by making it easily accessible
and open. A hackable system also deconstructs the
fundamental assumptions of how technology should or
could exist from a user standpoint. Some examples include
reducing a device's functionality to reveals its true strengths,
augmenting a traditional type of interaction to yield
unexpected results, and networking individual actions into
collective ones to open new communication channels
among strangers. These approaches ultimately lead to the
breakdown of technological imperialism, where barriers for
entry are reduced and playful renderings are valued above
Jonah Brucker-Cohen works as a Research Fellow in the
Human Connectedness Group at Media Lab Europe in
Dublin, Ireland, and is a Ph.D. candidate in the Networks
and Telecommunications Research Group (NTRG) at
Trinity College Dublin.
Lalya Gaye, Viktoria Insitute, Sweden
My research explores how ubiquitous computing can trigger
new aesthetic practices by enabling people to transform
their everyday life into a raw material for creation and
personal expression.
The projects I work on investigate different aspects of this
- Sonic City [5]: the urban environment becomes an
interface for real-time electronic music making as you
are walking through a city
- Context Photography [6]: the digital still camera is
modified to capture and translate the invisible context
of a scene visually, as you are taking a picture
- -Tejp [7]: explores various means of creating and
accessing location-based personal annotations in public
space through direct physical interaction, focusing on
expressivity and subtle embedding in physical space
and social contexts.
Besides enabling new types of personal creativity and
expression, each project reflects the notion of hacking
everyday life: people using Ubiquitous Computing to enable
whatever everyday resource is available at hand to
participate in their aesthetic practice. Available at hand not
only means found and repurposed, but also incorporated
into the on-going creative act right away, as these resources
present themselves to the hacker, and on the spot, in their
natural context: a situated bricolage of one's everyday, that
happens and is experienced ‘right here, right now.’
Whether directly manipulated physical artifacts and
environments, exploited interaction possibilities or
subverted everyday activities, the hacking of these resources
complicates their meaning and how we approach them
while still preserving their primary nature and function. The
immediacy of their availability and the potentials and
constraints they present, forces the hacker to improvise on
the spot in order to overcome and exploit their
heterogeneity (sometimes unpredictability) in a way that
compliments her creative act. Designing for this kind of
hackability implies considering aspects of urgency,
contextuality and heterogeneity, but also of subtlety,
personal meaning, and embodiment.
Lalya Gaye works as a researcher at the Future Applications
Lab, Viktoria Institute in Göteborg, Sweden, and is a Ph.D.
candidate in Informatics at the University of Göteborg. Her
background is in Engineering Physics and Electroacoustics
(University of Geneva, Switzerland, and Royal Institute of
Technology, Stockholm, Sweden).
Elizabeth Goodman, Consultant, USA
As a creative response to the status quo, hacking does not
depend on the permission or support of designers. Indeed,
certain kinds of hacking as when early hackers fed punch
cards into mainframes derive their satisfaction from their
very difficulty or rebellion. Hackability is contextual; it is
not inherent in artifacts but rather arises from tensions
between specific artifacts and specific groups of people. To
effectively design for hackability, we must critically engage
with the social pressures that drive people to do-it-
I am developing FIASCO, a location-based game, with
Michele Chang of Intel’s People and Practices Research
Group. FIASCO is a game of physical action with virtual
consequences. Using New York City as a game board and
networked telecommunications systems as dice, players
conquer street corners on a virtual map by performing and
documenting game moves (‘stunts’) at the corresponding
physical locations. Other players judge the stunts’ wit and
daring, with winners the kingpins of the virtual streets.
FIASCO is an experiment in producing hackability through
playful competition and limited functionality. Though we
include all functions necessary for play, the game interface
provides no solutions to the difficulties of coordinating and
documenting group activities. We have deliberately avoided
mechanisms for validating game moves or punishing
spoilers. Because community acclaim selects the winners,
FIASCO reflects multiple and mutable notions of elegance
and creativity. FIASCO rewards players who successfully
game the city and the system. For us as designers, FIASCO
is an experiment in loss of control. Though we created the
game, we cannot prevent players from redefining its nature,
mores, or values. Indeed, we hope to learn from them.
Elizabeth Goodman is an independent researcher and
consultant on public social interactions and pervasive
Dan Hill, BBC Radio & Music Interactive, UK
My work focuses on introducing ideas of adaptation and
hackability into the everyday practice of professional design
within a large media organization whilst my personal
weblog,, has initiated many discussions
around design and adaptation. Taking Tom Moran's
DIS2002 keynote as a starting point, my presentation at
AIGA Experience Design London in late-2002 concerned
"Designing for Adaptation," and I've since led many
discussion around adaptation and hackability, often relating
to interaction with music and radio experiences via web-
based and personal mobile devices, drawing lessons from
architecture and urban history into the realm of social
software, product design, and interface design.
For this session, I'll be talking about the creative and
cultural possibilities and difficulties of incorporating
adaptation and hackability into professional design and
media organizations. In line with this, I’ll be drawing from
an essentially craft-based perspective of urban design and
architecture, agile software methodologies, game design,
iterative web design, and vernacular design. Critical
perspectives create a back story for the work, but the work
itself is driven by the pragmatic everyday concerns of
getting quality design work done to tight deadlines and
within complex, compromised environments. Putting
"creative power directly in the hands of non-designers" is a
difficult sell to both designers and brand-owners! I'll share
a few ideas as to how it might be done.
These will include:
- detailing just what kind of components to build in order
to enable adaptation and hackability;
- how to integrate design disciplines with software
engineering to form truly multidisciplinary teams, such
that certain principles cross-pollinate, from loosely-
couple architectures through modular and interoperable
systems to assessing systems over time;
- how to open up the practice of what we do such that
amateur designers and non-designers can engage with
and build around it.
Dan Hill works as Technology and Design Manager at BBC
Radio and Music Interactive, London, England. His
academic background includes a BSc in Computer Science
and MA in digital cities, cultural industries, and urban
regeneration. He has been working as a professional
designer with the Internet since 1994. He is currently
running the team responsible for designing and building the
BBC's radio and music-based interactive offerings across
web, digital TV, and mobile platforms.
[1] and
[2] Homebrew Computer Club Newsletter #4, June 1975.
Available at:
[3] Resnick, Mitchel, Natalie Rusk and Stina Cooke. The
Computer Clubhouse: Technological Fluency in the Inner
City. In High Technology and Low-Income Communities
edited by D. Schon, B. Sanyal, and W. Mitchell, MIT
Press, 1998. Available online:
[4] Von Seggern, John. Postdigital Remix Culture and Online
Performance. Available online:
[5] Gaye, L., Mazé, R., and Holmquist, L. E. Sonic City: The
Urban Environment as a Musical Interface. In Proc.
NIME'03, McGill University, Montréal, Canada, 2003.
[6] Ljungblad, S., Håkansson, M., and Gaye, L. Context
Photography: Modifying the Digital Camera into a New
Creative Tool. To be published in Extended Abstracts of
CHI'04, Vienna, Austria, 2004.
[7] Jacobs, M. and Gaye, L. Tejp: Ubiquitous Computing as a
Expressive Means of Personalising Public Space. In
Adjunct Proc. of Ubicomp'03, Seattle, USA, 2003.
... The practice of circuit bending (Ghazala, 2005;Collins, 2008), or exploratory rewiring of commercial electronic devices, shows how resourceful "users" can modify or hack even apparently closed systems. Nonetheless, just as Dix (2007) makes the case that design can encourage or discourage appropriation, Galloway et al. (2004) argue that design decisions can influence a tool's suitability for hacking: "Hackability implies more than simple customization or adaptation-it calls for redefinition. Design for hackability involves creating spaces for play where people are never forced to adapt to technology. ...
... These performer comments suggest a certain tension between hacking and open or unfinished designs, but they also align with the comments of Galloway et al. (2004): "Hackability implies more than simple customization or adaptation-it calls for redefinition. Design for hackability involves creating spaces for play where people are never forced to adapt to technology." ...
Full-text available
This paper investigates the appropriation of digital musical instruments, wherein the performer develops a personal working relationship with an instrument that may differ from the designer's intent. Two studies are presented which explore different facets of appropriation. First, a highly restrictive instrument was designed to assess the effects of constraint on unexpected creative use. Second, a digital instrument was created which initially shared several constraints and interaction modalities with the first instrument, but which could be rewired by the performer to discover sounds not directly anticipated by the designers. Each instrument was studied with 10 musicians working individually to prepare public performances on the instrument. The results suggest that constrained musical interactions can promote the discovery of unusual and idiosyncratic playing techniques, and that tighter constraints may paradoxically lead to a richer performer experience. The diversity of ways in which the rewirable instrument was modified and used indicates that its design is open to interpretation by the performer, who may discover interaction modalities that were not anticipated by the designers.
... In order to prolong their use, wearable technologies should be designed to enable the end users to customize and even hack the product to better fit into their lives in order to effectively meet their needs (cf. [129]). Indeed, designers of wearables are also encouraged to consider how to allow users to change the different features of devices according to their own needs, preferences, and personal style, as it has been found that users' requirements for wearables and aesthetical aspects change with different contexts of use [10,11,130]. ...
Full-text available
Wearable technologies involve the integration of technology into clothing or accessories to bring new functionalities for people on the move. Many examples of wearables are emerging, from simple fitness tracking watches to electronics deeply embedded into garments for multi-touch sensing and control for personal music players. Without careful development, wearables can have a negative impact on the environment due to increased production of electronic components, increased e-waste from abandoned devices, and increased energy usage. We examine environmental sustainability issues through a review of recent research and cases across three broad areas including the fashion industry, information and communications technology (ICT), and wearable technologies. In the analysis, we examine stages in the product life cycle and identify the unique issues for each sector, including the extraction of materials, production process, distribution of products, use, and disposal of products that have reached the end of their life. The findings are gathered as implications for design so that researchers, educators, designers, developers, and product managers will gain an overview of the issues related to environmental sustainability. Related examples of products and prototypes are provided to enable informed choices during the design and development of wearables that are more environmentally sustainable.
... These are focused more on the ability of end-users to hack or modify systems and are based on a long tradition of user-tailorable systems such as the Xerox Buttons interface [12]. His keynote prefigured the explosion in Web2.0 mashups, which have themselves triggered a fresh focus on 'hackable' systems [11]. ...
... There is a growing recognition of the need to understand how usability and Web 2.0 phenomena interact and whether we need to change some of our conceptions of usability in order to meet the challenges of Web 2.0. The topic has already sparked several panels at Web conferences and sessions on related topics at CHI [2] and DIS [6]. There have also been recent articles in Interfaces [11] and Interactions [7] and we can expect many more to come. ...
... In the spirit of 'punk HCI', their contribution unleashes the use of an unusual format, at least in the context of HCI. Although it is ring-fenced inside CHI's designated progressive section, alt.chi, this contribution, alongside other HCI and interaction design contributions [22,35,45,20,27,1,21,39,6,24], uses the manifesto as a way of provoking a discussion around complex issues. In many of these manifestos one witnesses attempts by HCI researchers to perform a series of (often overlapping) moves: to speak collectively, build consensus, raise awareness, advocate for and accelerate change, speak for and from the margins, disrupt the status quo, unsettle stuck discourse, sidestep conventional modes, expose broken promises, and 'circumvent ordinary ... avenues' of redress if they are too slow in responding to urgent demands for change [34]. ...
Conference Paper
Full-text available
We take up Bødker's [9] challenge to 'identify' a fourth wave HCI, building on the work of Blevis et al. [8] and others to shore up a new vision that places 'politics and values and ethics' at the forefront without abandoning the strengths of previous waves. We insist that a fourth wave must push harder, beyond measured criticism for actual (e.g. institutional) change. We present two studies performed at CHI'19, where we used our MANIFESTO! game to: 1) take the temperature of colleagues on adopting an activist stance, 2) test manifesto writing as a key activity in pushing HCI forward into the fourth wave, and 3) test our game for subsequent iterations, and as a probe for inspiring new digital tools. With the enthusiastic response received to gameplay, facilitated in part through a novel method using tableau vivant, we argue for taking political activism from the margins into mainstream HCI.
In the midst of a disaster event like a hurricane, all electrical, connected objects are typically rendered useless. A lack of connectivity, electricity, and potential mobility issues render devices (and sometimes users) unable to perform their basic functions. The potential for the sheer volume of these devices, of the apps installed on them, are as such that they are an unused canvas of design. We present extensible design, the activity of designing new uses for existing applications that may possess functionality that is useful outside of its intended function. We present a description of extensible design and provide a fictional example of what that approach may provide. In so doing, we help address existing gaps between emergency management and consumer-based communication behaviors during disaster. The “Decentralized Layer,” an extension of location-based games like Pokémon Go, Pikmin Bloom, and Harry Potter: Wizard’s Unite, is meant to provoke discussion about the potential use of apps and the app ecosystem past its current, limited expression. We conclude by offering next steps, road blocks, and additional considerations for extensible design that will need to be in order for it to be realized.
En este capítulo se aborda la evaluación del impacto de la revolución tecnológica en los procesos de diseño, especialmente aquellos inducidos por la velocidad y disponibilidad de información, que no son todavía claros pero que se manifiestan en la tendencia hacia un proceso de diseño más integrado, que parece interesarse cada vez más en el usuario y sus experiencias, y en la construcción de significados reconocibles en la interacción entre el objeto y la realidad social a sus diversos niveles de acción, donde la identidad se afirma en la coherencia con un patrón de atributos reconocibles. Manejar problemas cada vez más complejos y a veces caóticos requiere el acercamiento a la comprensión de las variables en conflicto de una manera holística. En comparación con el diseño tradicional, el reconocimiento previo de las experiencias deseadas podría determinar un nivel más alto de aceptación y una correlación más significativa con los objetos por parte de los usuarios, lo que puede influir notablemente en los procesos de toma de decisiones de diseño. El pensamiento integrativo orienta la generación de estrategias y mecanismos destinados a coordinar la información compartida y las asociaciones entre los significados perceptivos y simbólicos del producto.
Full-text available
This paper is mainly about how product hacking can be categorized and implemented in a systematic way in design education. The theoretical or analytical part of the project is based on a study in which a great number of hacking projects are reviewed and categorized found in popular DIY platforms. The implementation or synthesis part of the research is a design project held in an industrial design department with freshman design students based on the categorization of function proposed, which are namely; enhance, change and add function. In this project students are required to make three kinds of interventions on functions of existing products, also share their projects in the selected platform (, so that other people can find, criticize, develop, or apply it by using the instructions given. Sharing in platforms like these creates a connection between the analytical and synthetic phases of the paper, and also makes it different from other classical projects confined to a closed studio atmosphere.This paper also seeks for the possibility of fresh perspectives on issues like sustainability, ready-made and open source design by engaging students in an intervention-based design process where they look for formulating their designs in a methodological way.One other aspect of the project was the idea that it has the potential to create an advantage or value for the time and context it was given, that is when the COVID-19 has started to influence our lives deeply.
New Directions in Mobile Media and Performance explores various performative projects and forms of expression that have emerged since the onset of the smartphone. It focuses mainly on new concepts and developments that have emerged in mobile media performance. It showcases the intimate and phenomenological mobile aesthetic that has been unfolding within networked performance and media art projects for over a decade and a half. This aesthetic utilises the potential and affordances with each iteration and update of modern smartphones. Themes of embodiment, presence, liveness and connection through mobile, networked, and remote technology are revisited in the context of HD mobile cameras, selfies and live video streaming from the phone, as well as the impact of peer production, opensource and Maker culture on mobile media performance practices. It explores the surge in development of wearable devices in performance, as well as how the ‘quantified-self movement’ has affected performance works. It deals with concepts and developments in intermedial performance that incorporate mobile and wearable devices, especially from the artist’s, designer’s or dramaturge’s perspective as the creator and their creative process, working with technology as a collaborator, not just a tool or guide. The book demonstrates how artists have repurposed the device – transforming it from merely a communication device, using voice and text only – to become a new collaborative medium, a full visual, synaesthetic, interactive and performative tool of deeper expression and social change. It discusses seminal works and the evolution of the medium, within intermedial digital art and performance practices as medium for artistic expression, creative process and staged performances. It focuses on projects and artists who have pushed mobile media performance beyond the conventional blackbox. Emerging visual, digital, interactive, tactile, gestural and theatrical or performance projects that incorporate mobile or wearable devices, used as vehicles for more challenging, experimental, experiential and immersive performative artworks are highlighted. The book also contextualises Baker’s own media research and performance practice within the larger landscape with the field. It is bookended with interviews with the artists themselves on their creative process and intentions. It is the outcome of three years of research of artistic works around the world, interviews, in-person viewings of performances, as well as incorporating and reflecting on her own ongoing practice and projects in context.
Conference Paper
As technology increasingly pervades the daily life of teachers and students, finding sustainable ways to successfully integrate innovative technologies in classrooms remains a challenge. This paper reports on our experiences designing and running workshops with (and for) teachers. Collectively, the aims of the workshops were geared ultimately at encouraging teachers to work with technologies in more `designerly' ways in the classroom, i.e. looking at technology as a working material, rather than as an off-the-shelf tool for certain activities, educational content or as an isolated part of the curriculum. We present a case study of one of the workshops, the Community Garden, designed in the format of a hackathon. We report on how teachers adopted the workshop concept, appropriated the technologies and, more interestingly, how six months later they appropriated the design process as a pedagogy to engage students in their learning.
Full-text available
We present the project Tejp, which aims at exploring the potential of ubiquitous computing as an expressive means of personalising public space. The project consists of a series of experiments in which users deploy open low-tech prototypes in urban settings to create layers of personal information and meaning in public space through the parasiting of physical environments. Focusing the experiments on the aspect of physical interaction, we observe how emerging information content and user behaviours are influenced by the characteristics of the prototypes. This will result in design implications that will allow for a heightened degree of poetry and personal expression in ubiquitous computing.
Full-text available
A year or so later, Mike's mother was participating in a teachers'workshop at The Computer Museum in downtown Boston. She mentioned to the staff that her son was artistically talented, but she was worried because he was unemployed and not using his talents. They told her about the Computer Clubhouse, a new after-school center where inner-city youth could work on computer projects. They said the Clubhouse needed volunteers and suggested that she encourage Mike to apply. Mike was skeptical. "I had never touched a computer before," he remembers now. "I didn't think of them at all. " Mike's mother argued that volunteering at the Computer Clubhouse, and learning to use computers, might lead to a good job. Mike shrugged: "Whatever. "
Conference Paper
Full-text available
Context photography consists of capturing context when taking a picture, by sensing physical input in addition to light and representing it visually in real time. By developing this concept, we explore alternative potentials of digital cameras as everyday creative tools. We have developed two prototypes and tested them in user workshops. Based on the results of this process, we present implications of such modifications of underlying characteristics of a still camera.
Conference Paper
Full-text available
In the project Sonic City, we have developed a system that enables users to create electronic music in real time by walking through and interacting with the urban environment. We explore the use of public space and everyday behaviours for creative purposes, in particular the city as an interface and mobility as an interaction model for electronic music making. A multi-disciplinary design process resulted in the implementation of a wearable, context-aware prototype. The system produces music by retrieving information about context and user action and mapping it to real-time processing of urban sounds. Potentials, constraints, and implications of this type of music creation are discussed.
Postdigital Remix Culture and Online Performance Available online
  • Von Seggern
  • John
Von Seggern, John. Postdigital Remix Culture and Online Performance. Available online: