Repair and “broken world thinking”

Another stimulating paper about repair is "Rethinking repair" by Steven J. Jackson. In this book chapter, the author advocates for a shift in social sciences, a shift from a modernist perspective to address what he calls “broken world thinking” which “asserts that breakdown, dissolution, and change, rather than innovation, development, or design… are the key themes and problems facing new media and technology scholarship today." In other words, "broken world thinking" implies acknowledging the importance of fixing/reconfiguration/recombinations. Practically speaking, this kind of statement means that "repair" is relevant to address:

"The fulcrum of these two worlds is repair: the subtle acts of care by which order and meaning in complex sociotechnical systems are maintained and transformed, human value is preserved and extended, and the complicated work of fitting to the varied circumstances of organizations, systems, and lives is accomplished. Repair in this connotation has a literal and material dimension, filled with immediate questions: Who fixes the devices and systems we “seamlessly” use? Who maintains the infrastructures within and against which our lives unfold? But it also speaks directly to “the social,” if we still choose to cut the world in this way: how are human orders broken and restored (and again, who does this work)?"

For Jackson, addressing repair is pertinent wrt to innovation and innovative practices:

"At first glance, nothing could seem farther apart than the apparently separate questions of innovation and repair. Innovation, in the dominant coding, comes first: at the start of the technology chain, in moments of quasi-mythical origination, a creature of garage-turned-corporate engineers, operating with or without the benefits of market research and user experi- ence operations. Repair comes later, when screens and buttons fail, firmware is corrupted, and the iPhone gets shipped back to wherever iPhones come from. (We generally prefer to think not at all of what happens after such moments, in the piles of e-junk accumulated in attics and landfills or shipped overseas to Africa or Asia.) In scientific computation and collaboration, the language of innovation is generally reserved for new and computationally intensive “bright and shiny tools,” while repair tends to disappear altogether, or at best is relegated to the mostly neglected story of people (researchers, information managers, beleaguered field technicians) working to fit such artifacts to the sticky realities of field-level practices and needs. In both cases, dominant productivist imaginings of technology locate innovation, with its unassailable standing, cultural cachet, and valo- rized economic value, at the top of some change or process, while repair lies somewhere else: lower, later, or after innovation in process and worth. But this is a false and partial representation of how worlds of technology actually work, when they work."

Hence the following question/role for the social sciences (and probably design + engineering): "How might we begin to reverse this dominant view, and reimagine or better recognize the forms of innovation, difference, and creativity embedded in repair?" ... which leads him to define a sort of research program "with special attention to the existence, dynamics, and tensions of innovation beyond moments of ideation, design, and up-front adoption." In the context of repair, there a variety of questions to be addressed:

"can repair sites and repair actors claim special insight or knowledge, by virtue of their positioning vis-à- vis the worlds of technology they engage? Can breakdown, maintenance, and repair confer special epistemic advantage in our thinking about technology? Can the fixer know and see different things—indeed, different worlds—than the better-known figures of “designer” or “user”? Following on the claims of Hegelian, Marxian, and feminist theorists, can we identify anything like a standpoint epistemology of repair?"

Why do I blog this? The excerpts listed here show a set of general questions and problems to be addressed. Ethnography – and design research – can certainly help here, and I'm wondering about how to address these in conjunction with electronic objects such as smartphones, tablets or game consoles. Such issues also echo a lot with current field research in mobile phone repair shop.

Year of the Depend Adult Undergarment: InterLace Telentertainment, 932/1864

"Year of the Depend Adult Undergarment: InterLace Telentertainment, 932/1864 R.I.S.C. power-TPs w/ or w/o console, Pink2, post-Primestar D.S.S. dissemination, menus and icons, pixel-free Internet Fax, tri- and quad-modems w/ adjustable baud, Dissemination-Grids, screens so high-def you might as well be there, cost-effective videophonic conferencing, internal Froxx CD-ROM, electronic couture, all-in-one consoles, Yushityu nanoprocessors, laser chromotography, Virtual-capable media-cards, fiber-optic pulse, digital encoding, killer apps; carpal neuralagia, phosphenic migraine, gluteal hyperadiposity, lumbar stressae."

David Foster Wallace, Infinite Jest, 1996, p.60

Why do I blog this? because it's a lovely type of poetry.

Weekly digital lexicon #3

Maskenfreiheit (seen here) : German term that indicates the liberty that comes from wearing a mask... and metaphorically to stay anonymous, or to partly hide one's identity in public sphere.

1701 : an adjective sometimes employed to express the "futuristic" character of an object/situation; comes from the name of Star Trek's vessel The Enterprise (NCC-1701).

Auto erect : an expression which refers to the sexual connotation implied by texts/SMS/messages transformed by the auto-correct feature.

Brouteurs : an idiom used in Côte d'Ivoire to designate people committing internet frauds (seen in a text by N’Guessan Julien Atchoua found in "Quand l’Afrique réinvente la téléphonie mobile")

MTurk Research : scientific research projects that employ crowdsourcing platforms such as Mechanical Turk, Rapidworkers, etc. (seen in this article).

Strange hand “choreographies” + mobile phones

Screen Portraits by Anna Pinkas:

"Each video in this series was shot on the New York City subway and captures a passenger’s interaction with his/her phone. The video has been edited frame-by-frame to call attention to the strange hand “choreographies” that our constant use of handheld screens has engendered."

Why do I blog this? An intriguing project that's related to my "Curious Rituals" project. I like the focus on the hands themselves and the way the movement is represented. It allows to highlight specific gestural aptitudes related with digital artifacts such as phones.

It's also intriguing to stumble across this roughly at the same time as Facebook's "Photos of hands holding various phones, to be used in any presentation of your designs." (which are far less inspiring).

From conversational agents to robots

Mark Meadows wrote an interesting piece at Robohub. Basically, on virtual assistants such as Apple's SIRI, Microsoft's Cortana or Facebook's M are "the testbeds for tomorrow’s personal robots":

"Our mobile devices are becoming natural language interface hubs for life management and, as a result, having a gravitational pull on an increasingly complex buzz of connected services and APIs. This means that things like search will change: we will no longer have to speak Googlese; paper and page metaphors will be supplanted by the more dynamic (and cognitively more addictive) character metaphor. And if trends in virtual assistants and intelligent helpers – software robots – continue, then knowledge-bases (such as Wolfram Alpha or IBM Watson) will continue to come peppered with a patina of natural language, allowing us to move through data faster, with less training, and in a more human manner.

[...] We can also foretell the future by looking at less advanced natural language systems. Bots – essentially natural language oriented scripts – are a good indicator of where the robotics industry is at because bots are pervasive, useful, and simple to author. TwitterBots and FacebookBots crawl through these systems like bees in a hive, industriously providing retweets, reposts, summaries, aggregations, starting fights and flocking to followers. They can be bought, auctioned, sold, and deleted; you can buy 30,000 Twitter followers on eBay for as little as for $20, provided they’re all bots."

Why do I blog this? Although I'm not sure whether these agents need a proper physical instantiation (bigger than a phone), Mark's argument is relevant; especially if you consider how talking to objects (interacting with voice, or chatting/tweeting to bots) becomes slightly more present (= less weird).

Weekly digital lexicon #2

Zykluserkennungssoftware, die: German word "drive cycle recognition" software, a term used in a comment seen on Spiegel Online... that refers to software used to pass pollution tests (🚗💨)… modified by VW (so that they work only during tests).

AI trainer : a new job profile that consists in supervising/train computer programs: "A team of 'AI trainers' works with the program, and if there’s a request that M doesn’t understand the trainers take over. M then learns from what the human trainer does, and can use that technique with later requests." (seen here, thanks Fabien Girardin)

Plogging : the transposition of the (we)blogging logic to social networking platforms such as Facebook or Twitter (which may allow longer posts), seen in this article (merci Virginie Bejot)

开挂 (abbreviation of 开外挂 "kai1 gua4") : a Chinese term used to express disbelief or that something has been enhance/forged (e.g. a Photoshopped image), and which originally refers to "the act of running an illegal plug-in on a game, either for practical usability purposes (translating an interface into Chinese) or to cheat (faking in-game presence to accumulate more virtual currency, or even packet modification to make a character move faster in an online game)" (Source: BoingBoing)

Design fiction, "anticipatory ethnography" and "ethnographies of the possible"

My interest in design fiction has always been related to my ethnographic practice (see for instance this piece about it) which is why I find it interesting to run into these two notions :

"Ethnographies of the possible", coined by Joachim Halse (2013):

"are a way of materializing ideas, concerns and speculations through committed ethnographic attention to the people potentially affected by them. It is about crafting accounts that link the imagination to its material forms. And it is about creating artifacts that allow participants to revitalize their pasts, reflect upon the present, and extrapolate into possible futures. These ambitions lie at the borderland between design and anthropology. For designers involved in this type of process, it is a new challenge to craft not beautiful and convincing artifacts, but evocative and open-ended materials for further experimentation in collaboration with non-designers. For anthropologists, it is a new challenge to creatively set the scene for a distorted here and now with a particular direction as a first, but important step toward exploring particular imaginative horizons in concrete ways."

Halse, J. (2013). "Ethnographies of the possible", in Gunn, W., Otto, T. & Smith, R.C. (eds). Design Anthropology: Theory and Practice, Bloomsbury, pp. 180-196.

"Anticipatory ethnography", proposed by Lindley and Sharma:

"Anticipatory ethnography suggests that the properties of the traditional inputs to design ethnography (situated observations) are analogous with the ‘value adding’ element of design fictions (diegetic prototypes). [...] Assuming that these suppositions are correct, then we can infer that combining the exploratory and temporally independent techniques of design fiction, may allow design ethnography to glimpse the future. Conversely, design ethnography’s established tools for sense making and analysis can be applied to explorations in design fiction. Can anticipatory ethnography lend speculative, the gravitas of hindsight?"

Lindley, J. & Sharma, D. (2014). An Ethnography of the Future. Paper presented at ‘Strangers in Strange Lands’ – An anthropology and science fiction symposium hosted by the University of Kent, Canterbury.

Why do I blog this? These definitions echo with my own research interests. More specifically, a project like Curious Rituals is based on a dual movement : a field research phase that aimed at designing a fictional representation of everyday gestures with digital technologies. To some extent, it is close to the two concepts defined above... and I see design fiction as a sort of "downstream user research" approach to test scenarios about the future... for instance by running focus groups with users and project stakeholders, generating a debate about pieces of technologies by taking concrete instances/scenarios (videos, catalogues, user manuals, etc.).

These definition also reminded me of Laura Forlano's text on Ethnography Matters. Called "Ethnographies from the Future: What can ethnographers learn from science fiction and speculative design?", it dealt with similar issues and ended up with this insightful remark:

"As ethnographers, it is not enough to describe social reality, to end a project when the last transcripts and field notes have been analyzed and written up. We must find new ways to engage and collaborate with our subjects (both human and nonhuman). We need better ways of turning our descriptive, analytical accounts into those that are prescriptive, and which have greater import in society and policy. We may do this by inhabiting narratives, generating artifacts to think with and engaging more explicitly with the people formerly known as our “informants” as well as with the public at large."

Weekly digital lexicon #1

(I used to run a daily idiom thing on twitter few years ago, never had the time to continue, but I guess a weekly lexicon is easier to maintain)

Speakularity (spotted on Nautilus) : a word proposed by journalist Matt Thompson and that corresponds to the transition between a society in which "the default expectation for recorded speech will be that it’s searchable and readable, nearly in the instant." (while the default nowadays is that it's not)

Sega-core (found in Killscreen) : sub-genre of chiptune music, produced by machines with 16-bits processors (Sega Genesis in particular)

Stratocaching : evolution of geoaching (a game in which participants use a GPS receiver or mobile device to hide and seek containers, called "geocaches) with flying objects (balloons, flying capsules, etc.) dropped to earth from the sky.

Fork bomb (also called rabbit virus, or wabbit) : a denial-of-service attack wherein a process continually replicates itself to deplete available system resources, causing resource starvation and slowing or crashing the system. 

On Cuban repair cultures

Here’s a list of services offered in an AC-intense mobile phone repair shop in Trinidad (Cuba): "desbloqueo decodificatión y liberación de celulares, código de usuario, cambio de idioma, cambio de frecuencia, reparación de software (flasheo), reparación de celulares Chinos, reparaciones generales de hardware (display, flex, táctiles, bocinas, micrófonos, régiment de carga), eliminación de humedad a móviles, instalación de aplicaciones, actualización de sistema Android, actualización de sistema IOS, configuración del coreo nauta, información et asesoria gratuitas."

A rather broad and interesting inventory. Some of the services can generally be fond in this type of shop ((I regularly visit these stores while traveling here and there )); unlocking the SIM card and change components (speaker, microphone ...) in particular. I also understood "eliminación of humedad has móviles" is not related to the climatic constraints of moisture as one might think, but rather to the fact that many people, there as elsewhere, seems to drop the phone in the water 📱💦. The other services are less common : assistance with phone configuration (language, messaging software, update OS) or app installation. The precision concerning the Chinese mobile phone repair is obviously intriguing too.

Basically, this type of store is not very different from those I have just a few meters from my home in Geneva. However, Cuba has many other shop/counters/garage/apartment????) offering repair services for all kinds of other artifacts : for automobiles of course (from 1951 Plymouth to the latest Audi), electro-mechanical watch/clock, garden and kitchen hardware, bikes, etc.

Plastic and metal parts sold on the street in Trinidad.

Plastic and metal parts sold on the street in Trinidad.

Electronic shop in Viñales.

Electronic shop in Viñales.

Given the difficulty to acquire property on the island, this is not hardly a surprise, but it reflects a important“repair culture". However, unlike many titles of articles or reference guide saying that a visit to Cuba is a “frozen in time", it is a lively present. With, one the one hand, a variety of technical objects both old and new, not necrotic at all. And, on the other hand, altered artifacts, with more or less recent parts. The best example being the bicitaxi (bicycle taxi) that are certainly rudimentary at first but whose sound consists bluetooth speakers hanging on the ceiling (cardboard, metal or wood) and controlled by a smartphone (iPhone or Android ). Similarly, American cars are certainly old, but the driver may well have a bluetooth headset for phone calls, and a USB key inserted into car stereos with tons of mp3s collected in in music stores delivering content more or less fresh downloaded from the Internet (and potentially via the Paquete Semanal). The government also contribue to this, as attested by the Soviet-like toll arches on Havana highways ... on which fixed cameras read the registration plates (according to our taxi driver) in a very contemporary robot world-readable fashion. This type of arrangement is also not limited only to hardware tinkering, it is found in fact in the service of such design… with Airbnb being available for in some casa particulares (guest capita ) with a payment made through an intermediary in an agency in Miami.

A repairman in Trinidad.

A repairman in Trinidad.

Another consequence of this culture of DIY also concerns the recycling of objects, materials and spare parts from multiple devices. Some examples encountered : along with the inevitable mention of 1950s US cars, I ran across a lawn mower made up of a screw motor metal rods and a small motorcycle tank, a leaf blower assembled with a vacuum cleaner motor mounted on a leather harness and a North American switch, a Lada VAZ-2101 engine placed in the hood of a 1957 Dodge, etc. This kind of bricolage is also described by the anthropologist Sarah Hill in a fascinating article titled "Recycling History and the Never-Ending Cuban Life of Things" ... who goes into more detail on what I describe here. Without idealizing these practices, it would be intriguing to compare this practices with other recycling and repair cultures including Gambiarra described Felipe Fonseca in Brazil.

Engine from a taxi car in Habana.

Engine from a taxi car in Habana.

Without offering the same conditions (political, social, technological and other) that the Western world, the island is far from being “frozen in the past” as I’ve seen written here and there. And one can also wonder wether this type of lively hybridization cannot be also considered as our future. It seems reasonable to think that a culture of recycling or DIY could become widespread in the Western world due to the scarcity multiple commodities / rare metals.

Some smartphone evolution diagrams

Two visualizations (among many others) from unknown authors.

smartphone-evol
iphoneiphone

This two-pages document is from a magazine called EPOCA:

epoca

A simple series with some design parameters presented with icons from 3oneseven:

3oneseven

The next one is made by Bogdan Răuţă for usell.com:

BogdanRăuţă

Why do I blog this? I recently started a project about smartphone gestures, a sort of follow-up to Curious Rituals. These representations (which are not perfect of course) are relevant for that matter, as they show how different parameters evolved over time. 

Fortress of Solitude: exploring the near-future of "smart home"

"Fortress of Solitude" by Space Caviar (Simone Niquille), sound by M.E.S.H:

"is an essay film in three chapters investigating the technology used to make the home smarter. The internet and alternative network protocols are the backbone to home automation. Much of the technology infused into homes and our everyday lives have a history of defense funding or only exist because of military research. Is the smart home in fact a militarisation of the domestic, home.mil? Is our home becoming a data machine rather than architecture for living? Are our most privates spaces broadcasting our lives involuntarily instead of providing shelter?"

Why do I blog this? Both because the topic is important wrt to recent project (cloud computing project, as well as smart cities scouting reports), and because the format itself is intriguing. This is a great exemple of how design work materialize issues, situations and consequences of domestic technologies.