They can enable individuals to reflect on the personal and social impact of new technologies, and provide a provocative, speculative, and rich vision of our technological future that avoids the clichés of consumerist-oriented industrial design.

Critically engaged language can do detailed surgery on a topic, but critical objects can hit like an emotional sledgehammer if thoughtfully implemented.

reflection on unconscious values embedded in computing and the practices that it supports can and should be a core principle of technology design

Matt Ratto (2011) defines "critical making" as a combination of critical thinking and material production. His contribution for the current discussion is: if critical makers can "reintegrate technical and social work and thereby innovate both" (p. 258). Design appears a fertile inroad for thinking about empowerment and politics, as particular genres of technology are created through complex social, economic, and cultural processes, leading to literacies that can be drawn on and reconfigured (Balsamo, 2011 ). DiSalvo's (2009) notion of critical making involves users in the design process through practices such as tracing and projection, resulting in the creation of new publics. This was later developed into "adversarial design" (DiSalvo, 2012), which confronts the politics of technologies of objects with an intent to encourage participation. Rafi Santo's (2011, 2013) "hacker literacies" similarly positions hacking as enabling critical thinking within a framework of media literacies.

Critical making, as envisioned by Ratto in 2011, was much more focused on the constructive process of making as opposed to building an artifact. While critical design is focused on building refined objects to generate critique of traditional industrial design, critical making was initially conceived as a workshop framework with the final prototypes existing only as a remnant of the process [19]. Critical design, on the other hand, tends to be focused on building objects that document well, with the artifacts themselves challenging concepts like optimization, efficiency, social norms, and utopianism. Critical design is object-oriented; critical making is process-oriented and scholarship-oriented: “Critical making emphasizes the shared acts of making rather than the evocative object. The final prototypes are not intended to be displayed and to speak for themselves” [19]. Ratto’s emphasis is on using hands-on techniques to augment the process of critical thinking about information systems, while Dunne and Raby’s critical design is primarily focused on building photo and video props for the construction of a speculative narrative to help us rethink designed objects and consumer culture.