This paper is a invitation to interaction designers across disciplines to rethink the shaping of interaction “intra-actively”. Whether in human-computer interaction design or interdisciplinary and interactive performance practices, we propose to shift the emphasis from interaction between things, towards the intra-active processes of differentiation by which such things are continually made and unmade. Expanding interaction design by engaging in processes intended to bring awareness to the value systems involved in the local production of “interaction” and “things that interact” offers an opportunity to treat these values, and likewise the designers (be it engineers or choreographers or composers), as objects themselves in the design process. In the traditions of feminist, new materialist, and process philosophy we weave a narrative of appropriated perspectives in order to dismantle hegemonic accounts of correlationism and representationalism in interaction design, while investigating the concepts of boundary objects, diffraction, and critical appropriation as potential approaches to intra-active design.
In this article we propose a biorelational framework for performance with biosensors, in which interactions are not based on causality, control, and representation, but rather, manifest through shared awareness and agency across multiple, fluid assemblies of self, other and environment. The transdisciplinary scope of this study traces trajectories from the performing and somatic arts into philosophy, biomedicine, cognitive science and human-computer interaction. A brief survey of common approaches to interaction design with biosensors will contextualize discussion of our current practice-based research and creation project, ‘Choreography and Composition of Internal Time’. In this project, we are examining temporal relationships between physiological processes, such as heart rate and breath, with rhythms in movement, music and mediated environments.
In this article we discuss the ethical and aesthetic implications of the appropriation of biomedical sensors in artistic practice. e concept of cross-disciplinary appropriation is elaborated with reference to Gua ari's ethico-aesthetic paradigms, and Barad's metaphor of di raction as methodology. In reviewing existing artistic projects with biosensors, we consider ways in which the recontextualization of technologies, and likewise techniques, can both propagate and violate disciplinary expectations and approaches. We propose that by way of critical appropriations of biosensors in artistic practice-that is to say, de-and re-contextualizations of biosensors that acknowledge the shi of ecology and epistemology-artists have a vital role to play in troubling reductive representations of bodies, and furthermore, destabilizing the ethico-aesthetic boundaries of di erently constituted disciplines. CCS CONCEPTS •Human-centered computing →Interaction design theory, concepts and paradigms; Collaborative and social computing theory, concepts and paradigms;
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