Animistic design: how to reimagine digital interaction between the human and the nonhuman

This article puts forward the notion of animistic design as an uncertainty-driven strategy to reimagine human–machine interaction as a milieu of human and nonhuman. Animistic design is suggested as capable of fostering affects, sensibilities and thoughts that capitalize on the uncertain, the unpredictable and the nonlinear, and their capacity to trigger creative pathways. Informed by post-human philosophies, theories of mediation and materiality, as well as by affect, agency and aesthesia, animistic design eschews the anthropomorphic and the cute playfulness often associated with animism. Instead, it proposes a practical–theoretical framework to articulate the nexus of digital innovation, interaction design practices, technical materialities and affective responses already emerging in the digital cohabitation of the human and the nonhuman. Using a ‘research through making’ approach, the article describes in detail a series of animistic design experiments and prototyping methods that explore ways of rethinking interaction as an open-ended and creative enterprise. Animistic design offers an investigative strategy that exploits degrees of collaboratively curated uncertainty and unpredictability to imagine forms of digital interaction, and to engender creative human–nonhuman relationships within a given digital milieu

Understanding socio-technological systems change through an indigenous community-based participatory framework

Moving toward a sustainable global society requires substantial change in both social and technological systems. This sustainability is dependent not only on addressing the environmental impacts of current social and technological systems, but also on addressing the social, economic and political harms that continue to be perpetuated through systematic forms of oppression and the exclusion of Black, Indigenous, and people of color (BIPOC) communities. To adequately identify and address these harms, we argue that scientists, practitioners, and communities need a transdis-ciplinary framework that integrates multiple types of knowledge, in particular, Indigenous and experiential knowledge. Indigenous knowledge systems embrace relationality and reciprocity rather than extraction and oppression, and experiential knowledge grounds transition priorities in lived experiences rather than expert assessments. Here, we demonstrate how an Indigenous, experiential, and community-based participatory framework for understanding and advancing socio-technolog-ical system transitions can facilitate the co-design and co-development of community-owned energy systems

A Memento of Complexity: The Rhetorics of Memory, Ambience, and Emergence

Drawing from complexity theory, this dissertation develops a schema of rhetorical memory that exhibits extended characteristics. Scholars traditionally conceptualize memory, the fourth canon in classical rhetoric, as place (loci) or image (phantasm). However, memory rhetoric resists the traditional loci-phantasm framework and instead emerges from enmeshments of interiority, collectivity, and technology. Emergence considers the dynamics of fundamental parts that generate complex systems and offers a methodological lens to theorizing memory. The resulting construct informs everyday life, which includes interfacing with pervasive computing or sensing familiarity. Further, congruently with a neurological turn that contradicts simplification, this dissertation resituates rhetorical memory as generative to imagination or perception

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

The Clemson Ghost Tour: Disrupting Rhetorical Stagnation

How do we teach in sick places, physically and institutionally designed to exclude? Through activism? Through inquiry? Perhaps somewhere in-between? I argue that an understanding of rhetoric grounded in an early Greek understanding of space and place is of utmost importance to our students\u27 ability to live among others in a more civil, just, and equitable society, a society that extends beyond physical spaces and places and into virtual ones. This dissertation explores our relationality through an ecological-ethical design approach that views writing and teaching not only as acts of disruption, but also as a means of attending to our spaces and places, especially this messy, territorialized, networked, posthuman space

Relational Basis of the Organism's Self-organization A Philosophical Discussion

In this thesis, I discuss the organism’s self-organization from the perspective of relational ontology. I critically examine scientific and philosophical sources that appeal to the concept of self-organization. By doing this, I aim to carry out a thorough investigation into the underlying reasons of emergent order within the ontogeny of the organism. Moreover, I focus on the relation between universal dynamics of organization and the organization of living systems. I provide a historical review of the development of modern ideas related to self-organization. These ideas have been developed in relation to various research areas including thermodynamics, molecular biology, developmental biology, systems theory, and so on. In order to develop a systematic understanding of the concept, I propose a conceptual distinction between transitional self-organization and regulative self-organization. The former refers to the spontaneous emergence of order, whereas the latter refers to the self-maintaining characteristic of the living systems. I show the relation between these two types of organization within biological processes. I offer a critical analysis of various theories within the organizational approach. Several ideas and notions in these theories originate from the early studies in cybernetics. More recently, autopoiesis and the theory of biological autonomy asserted certain claims that were critical toward the ideas related to self-organization. I advocate a general theory of self-organization against these criticisms. I also examine the hierarchical nature of the organism’s organization, as this is essential to understand regulative self-organization. I consider the reciprocal relation between bottom-up and top-down dynamics of organization as the basis of the organism’s individuation. To prove this idea, I appeal to biological research on molecular self-assembly, pattern formation (including reaction-diffusion systems), and the self-organized characteristic of the immune system. Finally, I promote the idea of diachronic emergence by drawing support from biological self-organization. I discuss the ideas related to constraints, potentiality, and dynamic form in an attempt to reveal the emergent nature of the organism. To demonstrate the dynamicity of form, I examine research into biological oscillators. I draw the following conclusions: synchronic condition of the organism is irreducibly processual and relational, and this is the basis of the organism’s potentiality for various organizational states

Organization, atmosphere, and digital technologies: designing sensory order

We argue technology and organization are inherently spatial phenomenon. We conceptualize this conjunction as atmosphere: a gathering of mood, human practice, material and environmental conditions, and values that has sufficient coherence and distinction to constitute a distinct interior. Atmospheres, however, are not entirely stable and present: the interior is porous to outside influence, and the interior is never wholly ordered. We show this through the study of digitally mediated architectural design practice. We find the technological mediation of atmospheres is constituted in sensory and affective spatial arrangements, and not in rationally calculated configurations of assets and goals. An atmosphere is inherently aesthetic. This allows us to gesture toward a definition of organization as technologically mediated spatial struggle to reconcile interior coherence with outward exposure

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities