DIS 2012 Workshop. Slow Technology: Critical Reflection and Future Directions

DIS 2012 Workshop: Slow Technology: Critical Reflection and Future
Directions (June 12, 2012, Newcastle, UK)

Website: http://www.willodom.com/slowtechnology/

Deadline for workshop submissions: March 20, 2012

In their seminal article on Slow Technology, Hallns and Redstrm (2001)
argue that the increasing availability of technology in environments
outside of the workplace requires interaction design practice to be
expanded from creating tools to make people’s lives more efficient to
creating technology that surrounds us and therefore is part of our
activities for long periods of time. These authors outline a design
agenda aimed at inverting values of efficient performance and emphasizing
creating technologies that support moments of reflection, mental rest,
slowness and solitude. Over a decade later, these issues remain areas of
inquiry in the HCI and design communities, and there has recently been a
resurgence of work in this area. The core goal of this one-day workshop is
to critically reflect on the work that has emerged since Slow Technology
was originally proposed to forge understanding of the challenges,
limitations and opportunities characterizing the contemporary design

March 20, 2012: submissions due
April 16, 2012: accepted submissions notified
June 12, 2012: workshop held in Newcastle, UK

We invite participants to submit a short written position paper as well as
a depiction of an artifact perceived to be constitutive of Slow
Technology. The written portion consists of a short 1-2 page submission
formatted using the ACM DIS 2012 template that responds to the statement Slow Technology.

This introductory statement is intended to provoke the author(s) to take a specific position on the Slow Technology agenda and offer their conceptualization of what Slow Technology is. This workshop paper could (but is not required to) use the author(s) own
philosophical, theoretical, empirical, or design/craft-based work to
support their position.

The artifact submission is intended to be something that the authors deem
constitutive of Slow Technology. These could include a personal object
(e.g., personal reflection on a family heirloom), experiential accounts of
“slow practices (e.g., use of cooking tools for elaborate meal
preparation), analysis of design research artifacts that incorporate the
theme of slowness(e.g., an artifact built by the author), or
existing artistic works that can offer commentary and inspiration that
explores slowness (e.g. a painting or documentation of a performance
piece). The artifact may be depicted pictorially.
We encourage submissions from diverse backgrounds including (but not
limited to): art and design, the humanities, the social sciences, the
information sciences, and industrial engineering. Industry and non-profit
organizations are similarly encouraged. Submissions will be selected based
on originality, quality, and potential to generate discussion. Both
completed and in-progress work is welcome.

William Odom, Human Computer Interaction Institute, Carnegie Mellon
University, US

Richard Banks, Microsoft Research, Cambridge, UK

Abigail Durrant, Newcastle University, Newcastle, UK

David Kirk, Newcastle University, Newcastle, UK

James Pierce, Human Computer Interaction Institute, Carnegie Mellon
University, US

Some themes for submissions include:

**Consumption of objects and technologies**
There exist a range of work in the HCI and design communities exploring
how emotional attachment to technologies might extend their longevity and
increase their value. How are existing frameworks of emotional attachment
used in designing for longer term interactions with technologies? What are
the limitations to this approach? How does design promote reflection on or
address current trends of planned obsolescence, both business models and
social expectations? And, how might more systemic or service-oriented
approaches complement a move towards designing for developing enduring

**Legacy and consideration of multiple generations**
As technologies and systems are interacted with over relatively long
periods of time, questions of how they will be passed down to future
generations are becoming increasingly important. In what ways can both
digital data and interactive products be designed with notions of
sentimentality and persistence across multiple generations in mind? To
what extent should interaction designers take into account the
responsibility of supporting the lives of future generations into their
practice? What are the practical, ethical, and/or moral issues of doing

**Slowness and reflection**
Slow technologies can aim to invert values of efficiency in the service of
supporting experiences of pause, contemplation, and reflection. Considered
in contrast to efficiency and productivity, what role might “slowness”
through design play in contexts including the home, the neighborhood, and
the workplace? What kinds of interaction mechanisms and functionalities
characterize Slow Technologies? In what ways do they compare or contrast
to contemporary consumer technologies?

**Infrastructural, engineering and technical concerns**
Designing material technologies that can support slowness both raises
questions and requires solutions regarding distinct technical challenges.
What kinds of new hardware and software will be required for technologies
to persist over longer periods of time? How is the durability of
information and materials handled effectively and appropriately over time?
To what extent can digital data and hardware be designed to endure over

**Theoretical & ethnographic accounts of slowness**
Case studies and theoretical accounts of existing people and practices can
help inform the various strands of slow design. For example, how can rich
accounts of durable / non-durable practices (e.g., passing down heirlooms;
purging basements of unwanted clutter) inform slow technology design

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