Critical design is a research through design methodology that foregrounds the ethics of design practice, reveals potentially hidden agendas and values, and explores alternative design values. While it seems to be a timely fit for today's socially, aesthetically, and ethically oriented approaches to HCI, its adoption seems surprisingly limited. We argue that its central concepts and methods are unclear and difficult to adopt. Rather than merely attempting to decode the intentions of its originators, Dunne and Raby, we instead turn to traditions of critical thought in the past 150 years to explore a range of critical ideas and their practical uses. We then suggest ways that these ideas and uses can be leveraged as practical resources for HCI researchers interested in critical design. We also offer readings of two designs, which are not billed as critical designs, but which we argue are critical using a broader formulation of the concept than the one found in the current literature.

HCI research has both endorsed "making" for its innovation and democratization capacity and critiqued its underlying technosolutionism, i.e., the idea that technology provides solutions to complex social problems. This paper offers a reflexive-interventionist approach that simultaneously takes seriously the critiques of making's claims as technosolutionist while also embracing its utopian project as worth reconstituting in broader sociopolitical terms. It applies anthropological theory of the global and feministutopianism to the analysis of findings from research on making cultures in Taiwan and China. More specifically, the paper provides ethnographic snippets of utopian glimmers in order to speculatively imagine and explore alternative futures of making worth pursuing, and in so doing reconstitute the utopian vision of making.

Communities of making have been at the center of attention in popular, business, political, and academic research circles in recent years. In HCI, they seem to carry the promise of new forms of computer use, education, innovation, and even ways of life. In the West in particular, the maker manifestos of these communities have shown strong elements of a neoliberal ethos, one that prizes self-determination, techsavvy, independence, freedom from government, suspicion of authority, and so forth. Yet such communities, to function as communities, also require values of collaboration, cooperation, interpersonal support-in a word, care. In this ethnographic study, we studied and participated as members of a hackerspace for 19 months, focusing in particular not on their technical achievements, innovations, or for glimmers of a more sustainable future, but rather to make visible and to analyze the community maintenance labor that helps the hackerspace support the practices that its members, society, and HCI research are so interested in. We found that the maker ethic entails a complex negotiation of both a neoliberal libertarian ethos and a care ethos.

As HCI becomes more self-consciously implicated in culture, theories from cultural studies, in particular aesthetics and critical theory, are increasingly working their way into the field. However, the use of aesthetics and critical theory in HCI remains both marginal and uneven in quality. This paper explores the state of the art of aesthetics and critical theory in the field, before going on to explore the role of these cultural theories in the analysis and deployment of the twin anchors of interaction: the user and the artifact. In concludes with a proposed mapping of aesthetics and critical theory into interaction design, both as a practice and as a discipline.

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