Making Up Instruments: Design Fiction for Value Discovery in Communities of Musical Practice

The design of a new technology entails the materialisation of values emerging from the specific community, culture and context in which that technology is created. Within the domain of musical interaction, HCI research often examines new digital tools and technologies which can carry unstated cultural assumptions. This paper takes a step back to present a value discovery exercise exploring the breadth of perspectives different communities might have in relation to the values inscribed in fictional technologies for musical interaction. We conducted a hands-on activity in which musicians active in different contexts were invited to envision not-yet-existent musical instruments. The activity revealed several sources of influence on participants' artefacts, including cultural background, instrumental training, and prior experience with music technology. Our discussion highlights the importance of cultural awareness and value rationality for the design of interactive systems within and beyond the musical domain.

[1]  Marcelo M. Wanderley,et al.  A Method and Toolkit for Digital Musical Instruments: Generating Ideas and Prototypes , 2017, IEEE MultiMedia.

[2]  Mary Jo Pugh,et al.  New Directions for Child and Adolescent Development , 2002 .

[3]  G. Saxe,et al.  Cognition, development, and cultural practices. , 1999, New directions for child and adolescent development.

[4]  Curt Sachs,et al.  Classification of Musical Instruments: Translated from the Original German by Anthony Baines and Klaus P. Wachsmann , 1961 .

[5]  Mark Blythe,et al.  The Co-ordinates of Design Fiction: Extrapolation, Irony, Ambiguity and Magic , 2016, GROUP.

[6]  Augusto Boal Games for Actors and Non-Actors , 2021 .

[7]  David Kirsh,et al.  Embodied cognition and the magical future of interaction design , 2013, TCHI.

[8]  Henry Lin,et al.  Material speculation: actual artifacts for critical inquiry , 2015, Aarhus Conference on Critical Alternatives.

[9]  Andrew Clement,et al.  Communities: Participatory Design for, with and by communities , 2012 .

[10]  Tom Mudd,et al.  New Directions in Music and Human-Computer Interaction , 2019, Springer Series on Cultural Computing.

[11]  Peter C. Wright,et al.  Pastiche scenarios: Fiction as a resource for user centred design , 2006, Interact. Comput..

[12]  Donald A. Norman,et al.  THE WAY I SEE ITSignifiers, not affordances , 2008, INTR.

[13]  Eva Hornecker,et al.  Beyond affordance: tangibles' hybrid nature , 2012, TEI.

[14]  Kim Cascone,et al.  The Aesthetics of Failure: Post-Digital Tendencies in Contemporary Computer Music , 2000, Computer Music Journal.

[15]  Donald A. Norman,et al.  Affordance, conventions, and design , 1999, INTR.

[16]  Nick Bryan-Kinns,et al.  Skip the Pre-Concert Demo: How Technical Familiarity and Musical Style Affect Audience Response , 2016, NIME.

[17]  C. W. Morris Imagined communities: Reflections on the origin and spread of nationalism , 1995 .

[18]  E. Wenger,et al.  Situated Learning: Legitimate Peripheral Participation in Communities of Practice , 1991 .

[19]  Batya Friedman,et al.  Value-sensitive design , 1996, INTR.

[20]  Steve Benford,et al.  Supporting traditional music-making: designing for situated discretion , 2012, CSCW '12.

[21]  Kristina Höök,et al.  Personlig integritet: a comparative study of perceptions of privacy in public places in Sweden and the United States , 2008, NordiCHI.

[22]  Alexander Refsum Jensenius,et al.  Exploring the myo controller for sonic microinteraction , 2017, NIME.

[23]  Susan Wyche,et al.  Values as lived experience: evolving value sensitive design in support of value discovery , 2009, CHI.

[24]  William W. Gaver,et al.  Design: Cultural probes , 1999, INTR.

[25]  Albrecht Schmidt,et al.  The drift table: designing for ludic engagement , 2004, CHI EA '04.

[26]  J. Holton Qualitative Tussles in Undertaking a Grounded Theory Study , 2009 .

[27]  Koray Tahiroglu Mobile music making paradigm: towards a new culture of use , 2017 .

[28]  P. H. Kahn,et al.  Human values, ethics, and design , 2002 .

[29]  Mark D. Plumbley,et al.  The Medium is the Message: Composing Instruments and Performing Mappings , 2011, NIME.

[30]  J. Dewey Art as Experience , 1934 .

[31]  Steven J. Jackson,et al.  Digital Entanglements: Craft, Computation and Collaboration in Fine Art Furniture Production , 2015, CSCW.

[32]  S. Greenberg,et al.  The Psychology of Everyday Things , 2012 .

[33]  Manfred Tscheligi,et al.  CHI '04 Extended Abstracts on Human Factors in Computing Systems , 2004, CHI 2004.

[34]  Jill Palzkill Woelfer,et al.  Improving the safety of homeless young people with mobile phones: values, form and function , 2011, CHI.

[35]  L. Nijs The merging of musician and musical instrument : incorporation, presence and the levels of embodiment , 2017 .

[36]  S. Clegg Making Social Science Matter: Why Social Inquiry Fails and How It Can Succeed Again , 2002 .

[37]  J. Thompson Studies in the theory of ideology , 1987 .

[38]  Peter C. Wright,et al.  Anti-Solutionist Strategies: Seriously Silly Design Fiction , 2016, CHI.

[39]  Mark Blythe,et al.  Research through design fiction: narrative in real and imaginary abstracts , 2014, CHI.

[40]  Marcelo M. Wanderley,et al.  A Network-Based Framework for Collaborative Development and Performance of Digital Musical Instruments , 2008, CMMR.

[41]  Lucy A. Suchman,et al.  Located Accountabilities in Technology Production , 2002, Scand. J. Inf. Syst..

[42]  Vanessa Hertzog,et al.  Games For Actors And Non Actors , 2016 .

[43]  Thor Magnusson,et al.  Of Epistemic Tools: musical instruments as cognitive extensions , 2009, Organised Sound.

[44]  Hubert L. Dreyfus,et al.  Mind over Machine: The Power of Human Intuition and Expertise in the Era of the Computer , 1987, IEEE Expert.

[45]  Joel Ryan Some remarks on musical instrument design at STEIM , 1991 .

[46]  David A. Kirby,et al.  The Future is Now , 2010 .

[47]  Wendy E. Mackay,et al.  Music and HCI , 2016, CHI Extended Abstracts.

[48]  Danielle Wilde,et al.  Circles and props: making unknown technology , 2012, INTR.

[49]  Nicola Orio,et al.  Evaluation of Input Devices for Musical Expression: Borrowing Tools from HCI , 2001, Computer Music Journal.

[50]  Allison W. McCulloch,et al.  Developing and Using a Codebook for the Analysis of Interview Data: An Example from a Professional Development Research Project , 2011 .

[51]  Viktor Shklovskii,et al.  Art as Technique , 2019, From Symbolism to Socialist Realism.

[52]  Elvin Karana,et al.  Material Driven Design (MDD): A Method to Design for Material Experiences , 2015 .

[53]  Steve Benford,et al.  Accountable Artefacts: The Case of the Carolan Guitar , 2016, CHI.

[54]  G. Anders Über die Zerstörung des Lebens im Zeitalter der dritten industriellen Revolution , 1980 .

[55]  Marcelo M. Wanderley,et al.  Mapping performer parameters to synthesis engines , 2002, Organised Sound.

[56]  Wiebe E. Bijker,et al.  Shaping Technology/Building Society: Studies in Sociotechnical Change ed. by Wiebe E. Bijker, John Law (review) , 1994, Technology and Culture.

[57]  Alan Borning,et al.  Parenting from the pocket: value tensions and technical directions for secure and private parent-teen mobile safety , 2010, SOUPS.

[58]  William W. Gaver Making spaces: how design workbooks work , 2011, CHI.

[59]  George Allan,et al.  A critique of using grounded theory as a research method , 2003 .

[60]  Predrag V. Klasnja,et al.  Value scenarios: a technique for envisioning systemic effects of new technologies , 2007, CHI Extended Abstracts.

[61]  Michael Gurevich,et al.  Discovering instruments in scores: a repertoire-driven approach to designing new interfaces for musical expression , 2017, NIME.

[62]  K. Bijsterveld,et al.  Breaking into a World of Perfection , 2004 .

[63]  A. Strauss,et al.  Grounded theory , 2017 .

[64]  Per-Anders Hillgren,et al.  Participatory design and "democratizing innovation" , 2010, PDC '10.

[65]  Alexander Refsum Jensenius,et al.  Trends at NIME—Reflections on Editing A NIME Reader , 2016, NIME.

[66]  Etienne Wenger,et al.  Communities of Practice: Learning, Meaning, and Identity , 1998 .

[67]  Michael S. Horn The role of cultural forms in tangible interaction design , 2013, TEI '13.

[68]  Mark Blythe,et al.  Solutionism, the Game: Design Fictions for Positive Aging , 2015, CHI.

[69]  Michael Gurevich,et al.  Expression and its discontents: toward an ecology of musical creation , 2007, NIME '07.

[70]  Joseph Lindley,et al.  Back to the future: 10 years of design fiction , 2015, BCS HCI.

[71]  Katie Shilton,et al.  Observing the Materiality of Values in Information Systems Research , 2016, 2016 49th Hawaii International Conference on System Sciences (HICSS).

[72]  Tuck Wah Leong,et al.  Values-led participatory design: mediating the emergence of values , 2012, NordiCHI.

[73]  M. Mcluhan Understanding Media: The Extensions of Man , 1964 .

[74]  Kristina Andersen,et al.  Making Magic Machines , 2013 .

[75]  Eric Paulos,et al.  Some variations on a counterfunctional digital camera , 2014, Conference on Designing Interactive Systems.

[76]  Alan Borning,et al.  Next steps for value sensitive design , 2012, CHI.

[77]  Lucy A. Suchman,et al.  Working relations of technology production and use , 1993, Computer Supported Cooperative Work.

[78]  Donna Harawy Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective , 2022, Philosophical Literary Journal Logos.

[79]  Kristina Andersen,et al.  The deliberate cargo cult , 2014, Conference on Designing Interactive Systems.

[80]  Alan Borning,et al.  A Survey of Value Sensitive Design Methods , 2018, Found. Trends Hum. Comput. Interact..

[81]  Joanna Demers Listening through the Noise: The Aesthetics of Experimental Electronic Music , 2010 .

[82]  Mark T. Marshall,et al.  The augmentalist: enabling musicians to develop augmented musical instruments , 2011, Tangible and Embedded Interaction.

[83]  Gareth W. Young,et al.  HCI Models for Digital Musical Instruments: Methodologies for Rigorous Testing of Digital Musical Instruments , 2020, ArXiv.

[84]  Andrew McPherson,et al.  Crafting Digital Musical Instruments: An Exploratory Workshop Study , 2018, NIME.

[85]  Jeroen van den Hoven,et al.  Handbook of Ethics, Values, and Technological Design , 2015 .

[86]  Tom Mudd,et al.  Material-Oriented Musical Interactions , 2019, New Directions in Music and Human-Computer Interaction.

[87]  H. Bernard,et al.  Techniques to Identify Themes , 2003 .

[88]  Batya Friedman,et al.  The Watcher and the Watched: Social Judgments About Privacy in a Public Place , 2006, Media Space 20+ Years of Mediated Life.

[89]  Etienne Wenger,et al.  Legitimate Peripheral Participation in Communities of Practice , 2000 .

[90]  O. Iversen,et al.  Values-led participatory design , 2012 .

[91]  Madeleine Akrich,et al.  The De-scription of Technical Objects , 1992 .

[92]  Jill Palzkill Woelfer,et al.  A value sensitive action-reflection model: evolving a co-design space with stakeholder and designer prompts , 2013, CHI.

[93]  E. Wenger Communities of Practice: Learning, Meaning, and Identity , 1998 .

[94]  Steve Benford,et al.  Digging in the crates: an ethnographic study of DJS' work , 2012, CHI.

[95]  M. Hassenzahl,et al.  Designing Moments of Meaning and Pleasure. Experience Design and Happiness , 2013 .

[96]  Mikael Wiberg,et al.  Texturing the "material turn" in interaction design , 2010, TEI '10.

[97]  P. Janata,et al.  Embodied music cognition and mediation technology , 2009 .

[98]  William W. Gaver What should we expect from research through design? , 2012, CHI.