Expanding on Wabi-Sabi as a Design Resource in HCI

Abstract

The material foundations of computer systems and interactive technology is a topic that gained an increased interest within the HCI community during the last years. In this paper we discuss this topic through the Japanese concept of Wabi-Sabi, a philosophy that embraces three basic realities of the material world: 'nothing lasts', 'nothing is finished', and 'nothing is perfect'. We use these concepts to reflect on four unique interactive artefacts, which all in different ways embrace aspects of Wabi-Sabi, in terms of their design gestalt, materiality, but also in terms of use practices. Further, we use our analysis to articulate three high-level principles that may help addressing the long-term realities faced in physical interaction design, and for the design of interactive systems in general.

Design for Rituals of Letting Go

“…Similarly to Wilson and Bruyere [2010] and Tsaknaki and Fernaeus [2016], we also argue that wabi-sabi aesthetics are a valuable lens to support and teach the grace of letting go. Thus, we expand the value of this construct for HCI community in three specific directions each of which opens up new design opportunities.…”

“…A useful lens to unpack such experiential qualities and further develop a vocabulary for disposal is provided by the concept of wabi-sabi, rooted in Japanese philosophy and aesthetics. This concept has been referenced in HCI in relation to organic interfaces [Holman and Vertegaal, 2008], craft and repair practices [Rosner et al, 2015], and recently as a resource to inform more sustainable physical and interaction design through conscious use of impermanent materials and media [Tsaknaki and Fernaeus, 2016].…”

Towards Materials for Computational Heirlooms

“…As such, we acknowledge the value of incorporating fashion perspectives in the design of long-lasting artifacts, which emphasize the time-dependent, intersubjective aspects of aesthetics [71,72,73,74,75]; along with approaches that primarily regard the user experience as a dynamic phenomenon that changes over time [45,46]. Experiments with design philosophies centered around incomplete, broken, and changing media and "graceful aging" can also serve to inform such design efforts [34,81,84,90].…”

“…First, the materials from which mechanical watches are made-precious and/or technically advanced metals, jewels, leather for strapspromote a perception of longevity and afford maintainability. In the context of interaction design, Tsaknaki and Fernaeus (2016) point out that such "organic" materials "seem to have a greater potential for adaptation and repair, and also address a more varied view on culture and ever-changing contexts of use," thereby affording "liveness" -the sense that the materials with change over time -and promoting practices "accepting the need for some caretaking over time" [90]. Second, they are not dependent on any electronic components that are susceptible to invisible wearout.…”

Cinehacking Cape Town - Embracing Informality in Pursuit of High Quality Media

“…John Ruskin and William Morris) are sometimes dismissed as parochial for denouncing machinery as inferior to the skill of a craftsperson [33] but in developing Cinehack, we were attuned to the possibility that enjoying making represents a more attractive basis (than pedagogy) for supporting Ômeans-to-an-endÕ makers. As well as the subversive and playful nature of meritocratic online peer-support communities, Cinehack embraces the Ònothing is perfectÓ philosophy of Ôwabi sabiÕ [35] and the low-fi aesthetics of the maker movement. Make Magazine, for example, highlights creative DIY projects and ÔMaker FaireÕ is a series of events where Òhackers, crafters, coders, DIYers and garden shed inventorsÓ i come together and share ideas.…”