What is the relationship between design, power, and social justice? “Design justice” is an approach to design that is led by marginalized communities and that aims explicitly to challenge, rather than reproduce, structural inequalities. It has emerged from a growing community of designers in various fields who work closely with social movements and community-based organizations around the world.

To what extend does that what is perceived as human agency actually emerge from what is afforded by the ecologies in which humans operate?

Skilled Intentionality Framework (SIF) (Rietveld and Kiverstein 2014; Bruineberg and Rietveld 2014; Van Dijk and Rietveld 2017; Rietveld, Denys and van Westen forthcoming), a philosophical, ecological-enactive approach to understand the situated and affective embodied mind.

Experimentation, the third affordance, refers to theuse of technology to encourage participants to try outnovel ideas.

Recombinability refers to forms of technology-enabled action where individual contributors build oneach others’ contributions.

Reviewability refers to the enactment of technology-enabled new forms of working in which participantsare better able to view and manage the content offront and back narratives over time (West and Lakhani2008). By allowing participants to easily and collab-oratively review a range of ideas, technology-affordedreviewability helps the community respond to tensionsin disembodied ideas, because the reviews can provideimportant contextual information for building on others’ideas.

Technology platforms used by OCs can providea number of affordances for knowledge collabora-tion, three of which we mention here: reviewability,recombinability, and experimentation. These affordancesevolve as new participants provide new ways to use thetechnologies, new social norms are developed around thetechnology affordances, and new needs for fresh affor-dances are identified.

Given the fluid nature of OCsand their rapidly evolving technology platforms, and inline with calls to avoid dualistic thinking about tech-nology (Leonardi and Barley 2008, Markus and Silver2008, Orlikowski and Scott 2008), we suggest technol-ogy affordance as a generative response, one that viewstechnology, action, and roles as emergent, inseparable,and coevolving. Technology affordances offer a relationalperspective on human action, where neither the technol-ogy nor the actor is dominant in the sense that the tech-nology does not define what is possible for the actor todo, nor is the actor free from the limitations of the tech-nological environment. Instead, possibilities for actionemerge from the reciprocal interaction between actor andartifact (Gibson 1979, Zammuto et al. 2007). Thus, anaffordance perspective focuses on the organizing actionsthat are afforded by technology artifacts.

Across the technology industry, rank-and-file employees are demanding greater insight into how their companies are deploying the technology that they built. At Google, Amazon, Microsoft and Salesforce, as well as at tech start-ups, engineers and technologists are increasingly asking whether the products they are working on are being used for surveillance in places like China or for military projects in the United States or elsewhere.

"potentiality" (to graft a concept by Anton Chekov from a literary to a technical context). This is the idea that within the use of every technical tool there is more than just the consciousness of that tool, there is also the possibility to spark something beyond those predefined use

A bias is simply a leaning—a tendency to promote one set of behaviors over another. All media and all technologies have biases. It may be true that “guns don’t kill people, people kill people”; but guns are a technology more biased to killing than, say, clock radios. Televisions are biased toward people sitting still in couches and watching. Automobiles are biased toward motion, individuality, and living in the suburbs. Oral culture is biased toward communicating in person, while written culture is biased toward communication that doesn’t happen between people in the same time and place. Film photography and its expensive processes were biased toward scarcity, while digital photography is biased toward immediate and widespread distribution.