A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, The Design of Everyday Things, offers a useful analytical tool in technology studies—but, Jenny Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses. The mechanisms and conditions framework shifts the question from what objects afford to how objects afford, for whom, and under what circumstances. Davis shows that through this framework, analyses can account for the power and politics of technological artifacts. She situates the framework within a critical approach that views technology as materialized action. She explains how request, demand, encourage, discourage, refuse, and allow are mechanisms of affordance, and shows how these mechanisms take shape through variable conditions—perception, dexterity, and cultural and institutional legitimacy. Putting the framework into action, Davis identifies existing methodological approaches that complement it, including critical technocultural discourse analysis (CTDA), app feature analysis, and adversarial design. In today's rapidly changing sociotechnical landscape, the stakes of affordance analyses are high. Davis's mechanisms and conditions framework offers a timely theoretical reboot, providing tools for the crucial tasks of both analysis and design.

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, The Design of Everyday Things, offers a useful analytical tool in technology studies--but, Jenny Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses.

A conceptual update of affordance theory that introduces the mechanisms and conditions framework, providing a vocabulary and critical perspective. Technological affordances mediate between the features of a technology and the outcomes of engagement with that technology. The concept of affordances, which migrated from psychology to design with Donald Norman's influential 1988 book, The Design of Everyday Things, offers a useful analytical tool in technology studies--but, Jenny Davis argues in How Artifacts Afford, it is in need of a conceptual update. Davis provides just such an update, introducing the mechanisms and conditions framework, which offers both a vocabulary and necessary critical perspective for affordance analyses.

Some 13,000 years ago, humans were drawn repeatedly to a small valley in what is now Central Texas, near the banks of Buttermilk Creek. These early hunter-gatherers camped, collected stone, and shaped it into a variety of tools they needed to hunt game, process food, and subsist in the Texas wilderness. Their toolkit included bifaces, blades, and deadly spear points. Where they worked, they left thousands of pieces of debris, which have allowed archaeologists to reconstruct their methods of tool production. Along with the faunal material that was also discarded in their prehistoric campsite, these stone, or lithic, artifacts afford a glimpse of human life at the end of the last ice age during an era referred to as Clovis. The area where these people roamed and camped, called the Gault site, is one of the most important Clovis sites in North America. A decade ago a team from Texas A&M University excavated a single area of the site—formally named Excavation Area 8, but informally dubbed the Lindsey Pit—which features the densest concentration of Clovis artifacts and the clearest stratigraphy at the Gault site. Some 67,000 lithic artifacts were recovered during fieldwork, along with 5,700 pieces of faunal material. In a thorough synthesis of the evidence from this prehistoric “workshop,” Michael R. Waters and his coauthors provide the technical data needed to interpret and compare this site with other sites from the same period, illuminating the story of Clovis people in the Buttermilk Creek Valley.

A leading scientist argues that we must consider deploying climate engineering technology to slow the pace of global warming. Climate engineering—which could slow the pace of global warming by injecting reflective particles into the upper atmosphere—has emerged in recent years as an extremely controversial technology. And for good reason: it carries unknown risks and it may undermine commitments to conserving energy. Some critics also view it as an immoral human breach of the natural world. The latter objection, David Keith argues in A Scientist's Case for Climate Engineering, is groundless; we have been using technology to alter our environment for years. But he agrees that there are large issues at stake. A leading scientist long concerned about climate change, Keith offers no naïve proposal for an easy fix to what is perhaps the most challenging question of our time; climate engineering is no silver bullet. But he argues that after decades during which very little progress has been made in reducing carbon emissions we must put this technology on the table and consider it responsibly. That doesn't mean we will deploy it, and it doesn't mean that we can abandon efforts to reduce greenhouse gas emissions. But we must understand fully what research needs to be done and how the technology might be designed and used. This book provides a clear and accessible overview of what the costs and risks might be, and how climate engineering might fit into a larger program for managing climate change.

Named a Best Book of the Year by NPR and LitHub Winner of the 2021 Science in Society Journalism Book Prize A fascinating and provocative new way of looking at the things we use and the spaces we inhabit, and a call to imagine a better-designed world for us all. Furniture and tools, kitchens and campuses and city streets—nearly everything human beings make and use is assistive technology, meant to bridge the gap between body and world. Yet unless, or until, a misfit between our own body and the world is acute enough to be understood as disability, we may never stop to consider—or reconsider—the hidden assumptions on which our everyday environment is built. In a series of vivid stories drawn from the lived experience of disability and the ideas and innovations that have emerged from it—from cyborg arms to customizable cardboard chairs to deaf architecture—Sara Hendren invites us to rethink the things and settings we live with. What might assistance based on the body’s stunning capacity for adaptation—rather than a rigid insistence on “normalcy”—look like? Can we foster interdependent, not just independent, living? How do we creatively engineer public spaces that allow us all to navigate our common terrain? By rendering familiar objects and environments newly strange and wondrous, What Can a Body Do? helps us imagine a future that will better meet the extraordinary range of our collective needs and desires.

A foundational text offering a unified design vocabulary and a common methodology for maximizing the expressive power of digital artifacts. Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field. Murray explains that innovative interaction designers should think of all objects made with bits—whether games or Web pages, robots or the latest killer apps—as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations—creative exercises for students and thought experiments for practitioners—that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts.

The world is in the midst of a social media paradigm. Once viewed as trivial and peripheral, social media platforms like Twitter, Facebook and WeChat have become an important part of the information and communication infrastructure of society. They are bound up with business and politics as well as everyday life, work, and personal relationships. This international Handbook addresses the most significant research themes, methodological approaches and debates in the study of social media. It contains substantial chapters written especially for this book by leading scholars from a range of disciplinary perspectives, covering everything from computational social science to sexual self-expression. Part 1: Histories And Pre-Histories Part 2: Approaches And Methods Part 3: Platforms, Technologies And Business Models Part 4: Cultures And Practices Part 5: Social And Economic Domains

An argument for a design philosophy of better, not more. Never have we wanted, owned, and wasted so much stuff. Our consumptive path through modern life leaves a wake of social and ecological destruction--sneakers worn only once, bicycles barely even ridden, and forgotten smartphones languishing in drawers. By what perverse alchemy do our newest, coolest things so readily transform into meaningless junk? In Meaningful Stuff, Jonathan Chapman investigates why we throw away things that still work, and shows how we can design products, services, and systems that last. Obsolescence is an economically driven design decision--a plan to hasten a product's functional or psychological undesirability. Many electronic devices, for example, are intentionally impossible to dismantle for repair or recycling, their brief use-career proceeding inexorably to a landfill. A sustainable design specialist who serves as a consultant to global businesses and governmental organizations, Chapman calls for the decoupling of economic activity from mindless material consumption and shows how to do it. Chapman shares his vision for an "experience heavy, material light" design sensibility. This vital and timely new design philosophy reveals how meaning emerges from designed encounters between people and things, explores ways to increase the quality and longevity of our relationships with objects and the systems behind them, and ultimately demonstrates why design can--and must--lead the transition to a sustainable future.

Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.