The Care Work of Access

Current approaches to AI and Assistive Technology (AT) often foreground task completion over other encounters such as expressions of care. Our paper challenges and complements such task-completion approaches by attending to the care work of access—the continual affective and emotional adjustments that people make by noticing and attending to one another. We explore how this work impacts encounters among people with and without vision impairments who complete tasks together. We find that bound up in attempts to get things done are concerns for one another and how well people are doing together. Reading this work through emerging disability studies and feminist STS scholarship, we account for two important forms of work that give rise to access: (1) mundane attunements and (2) noninnocent authorizations. Together these processes work as sensitizing concepts to help HCI scholars account for the ways that intelligent ATs both produce access while sometimes subverting people with disabilities

A beer a minute in Texas football: Heavy drinking and the heroizing of the antihero in Friday Night Lights

This article applies a qualitative framing analysis to the first three seasons of the television series Friday Night Lights, focusing particularly on its incorporation of heavy drinking into narrative representations of the player whose character is most consistently central to the game of football as fictionally mediated in small-town Texas over the course of those three seasons. The analysis suggests that over the course of that period Friday Night Lights embeds nuanced social meanings in its framing of alcohol use by that player and other characters so as to associate it with multiple potential outcomes. Yet among those outcomes, the most dominant framing works to, in effect, reverse a progression through which media representations historically evolved from a heroic model toward an antihero model, with heavy drinking central to that narrative process of meaning-making in such messages.Yeshttps://us.sagepub.com/en-us/nam/manuscript-submission-guideline

Photography as Experience: Michael Kirby's 'Embedded Sculptures' between Photography, Theatre, and Sculpture

Well-known for his writing on happening, performance, and theatre, Michael Kirby also produced, in the mid-1960s, a series of highly notable photo-sculptures. Developed in conjunction with the theoretical concept of “situational aesthetics,” these “embedded sculptures” where conceived of as “visual instruments” in order to explore the experience of art within a specific spatial and temporal context. Sharing with the avant-garde movements of the 1960s the rejection of Modernism, they draw their originality from their theoretical and historical position at the crossroad of Conceptual art, Minimalism, Performance art, and experimental theatre

Invited talk : Force nanoscopy of living cells

n/

of the. SPIE Vol. 4299, pp. 1-12, Human

The peeKCKCK ofobje:O is aweP:RCSFBPKKC fieP: butthe peB:F?LCS ofmateOKKC has beC studie rathe little This is surprisinggive how important matetant are for humans, and how importantthe must bestC forinteO?PCSF robots.We mayleCP someFFFB by looking atothe fie: in whichmateCR? appeCR?RF is reROR:CSR as important. Classical artistswei highly skille atgePRFRCSR convincing mateincin The simulation ofmateRLO appeLOCSR is a topic ofgreR importance in 3-Dcompute graphics. Some fiehic such asmineBKCSRO use the conceB of a habit, which is a combination ofshape and tedCF:? and which maybe use forcharacteSRYYK cearac objeac ormateORCSR We have reeOR take ste towardmateC:: reC::O?KC bymachineC usingtegCP?:K? degCP fromthe domain ofteRBLB analysis. Kealysis Peysis.CFK mateis.CF reeis.CFKO BRDF

Display Clash. The Diorama and/as Wunderkammer in Contemporary Art

From a historical point of view, the natural habitat diorama and the Wunderkammer are mutually excluding displays that stand for two distinct ways to approach the world. Whereas the Wunderkammer of the 16th and 17th century was conceived as an encyclopedic collection gathering all kinds of objects ranging from natural history, ethnography, religious relics, antiquities to work of arts in order to constitute a theatrical microcosm of the world, the habitat diorama aimed to be a “window on nature” (Frank M. Chapman) supposed to convey a truthful depiction of a group of animals within their natural surroundings. In an evolutionary perspective, the Wunderkammer, based on principles such as heterogeneity, association, allegory, and analogical thinking has been replaced, since the 19th century, by the specialization of scientific disciplines and museums, a tendency of which the diorama as a biological model of natural history is a paradigmatic example. Yet, in recent times it seems that the limits between these historically and epistemologically diverging models of world representation are increasingly put to the test. On the one hand, Natural History Museums such as the Musée des Confluences in Lyon rediscover the Wunderkammer (chambre des merveilles) as an alternative way to display nature. On the other hand, numerous artists such as Mark Dion, Thomas Hirschhorn and Dominique Gonzalez-Foerster, already since the late 1990s, combine Wunderkammer and diorama in order to challenge institutional forms of knowledge, representation and information. In the tradition of surrealist exhibition displays and Dadaist collage techniques, these artists create contested spaces where specific systems of representation clash and compete. This paper will discuss Mark Dion’s Mobile Wilderness Units, Thomas Hirschhorn’s Diorama as critical laboratory, and Dominique Gonzalez-Foerster’s Chronotopes. Each of these works is a different form of integrating the diorama in a widely ramified network of historical, cultural, ecological and aesthetic issues. Dion examines the link between “changes in museum method” and “shifts in the construction of the social category of nature”. Hirschhorn transforms the diorama into a kind of “non-lieux”, “a space without hierarchy” that questions the legitimizing discourses of the exhibition hall. Gonzalez-Foerster’s book-dioramas, finally, melt fact and fiction, illusion and narrative, in order to stress issues of ecological, biological and cultural endangerment. What all of them have in common is that they conceive the diorama not as a self-contained system but as an open intermedia space that is constantly in exchange with other forms of representation from different historical, social and cultural contexts. As such they constitute a “milieu” in the sense of Jacques Rancière’s definition of media, that is an environment that both represents and (re)configures a particular technical and social reality

Ego depletion and charitable support : the moderating role of self-benefit and other-benefit charitable appeals

This research investigates the interaction between ego depletion (a state of reduced self-regulatory resources) and different types of charitable message appeals upon subsequent charitable support. Three experiments compare the time donation intent and actual monetary donations of depleted (vs. non-depleted) individuals who have been exposed to either a self-benefit message, highlighting the gains to be accrued to donors themselves, or an other-benefit message which focuses on the welfare of beneficiaries. The results show that when people are depleted, self-benefit messages are more effective than other-benefit messages in generating charitable support. When people are not depleted, the opposite pattern is observed. It appears that generosity among depleted people is self-seeking. As a processing mechanism, we show that depleted individuals perceive self-benefit messages as more appealing than the other-benefit messages. This research demonstrates that charities can maximize donations by advertising other-benefit messages in the morning and then self-benefit messages in the evening, given that depletion occurs naturally over the course of the day