In addition to moments of the expression of civic imagination, I am attentive to failure — times where conceptual roadblocks were encountered, spectacles failed, and cultural reproduction turned ugly. Being attentive to failure is necessary because civic hackathons tend to be universally celebrated as successes in popular literature. As Anne Balsamo noted in the case of Xerox PARC (p. 55), sites of technological production tend to also be involved in their own hype and myth-making (Also see: Balsamo, 1996). It is necessary to see what is entangled with the fiction.

Dunne and Raby’s (2013) notion of speculative design helps outline how future-oriented thought works at civic hackathons. They suggest that speculative design on “wicked problems” creates “spaces for discussion and debate about alternative ways of being, and to inspire and encourage people’s imaginations to flow freely” (Dunne & Raby, 2013, p. 2). They find merit in dreaming, as the future is an “aid imaginative thought” (p. 3). Materialities assist development of ideas and approaches to collectively thinking about possible futures. For them, critique has a place in design, particularly humor. Designers can “pull new technological developments into imaginary but believable everyday situations so that we can explore possible consequences before they happen” (p. 57). Speculative design is a helpful bridge to the civic imagination.

By integrating feminist legacies of craftwork with the centrality of failure — exposing personal failures and failures to transform hacker cultures — members not only energize new modes of hacking activity but also hack the very ontology of hacking.

Interactions through things, and perceptions about their potential, were ways to negotiate between seemingly conflicting imperatives of the individualism and communalism (A. L. Toombs, Bardzell, & Bardzell). Members would deliberately design activities that were incomplete to encourage a playful material improvisation. In these ways, the “material sensibilities” of members were particularly important. Similarly, reading a history of craft into software hacking, Lingel and Regan (2014) found that software hackers identified their work with craft as process, embodiment, and community. These sensitive readings of interactions with stuff seemed to more accurately capture the genre of hackerspaces, more so than action was guided by culture.

if stopped in their development and reified too early, are potential sources of hacks in the derogatory sense. The latter is, according to their stories, exactly what happened when, 40 years ago, the prototypes left the labs too soon, and entered the world of Apple, IBM, and Microsoft, producing the accumulation of bad decisions that led to a world where people stare at smartphones.

If you are lucky, you have the conditions and abilities to work all this through in a long, non-linear process also known as bootstrapping, where you go through many iterations of hacking apart and hacking together, all the while creating fundamentally different ideas about what technologies should do, and could do, matched by a succession of devices and practices that help shape these ideas, and “demo” to yourself and others that some utopias might not be out of reach. This is what radical engineers do.

The black boxes will most likely also contain ideas about the roles of the different types of engineers, programmers, designers, managers, and so on. If you take all this apart, you might look at the elements, throw away a lot of them, twist others, add stuff from elsewhere, and grow some on your own. You will look into different, often historical, technological paradigms, other ideas about what will become technologically possible (and when), different ideas of social order, the good life and problems that need addressing, other books to be read, alternative uses of the forces of media, and different ideas about the kind of people and the nature of their professions or non-professions, who should take charge of all this.

That future is not given, but depends on the medium the group is imagining. It thus depends on the properties of the medium that the group is exploring, selecting, and practicing. On the one hand, technology enables a new medium, which is imagined as shaping the future, on the other hand the future is imagined as shaping the new medium, which then should drive technology.

Some key themes arise from the two NNG reports on iPad usability: App designers should ensure perceived affordances / discoverability There is a lack of consistency between apps, lots of ‘wacky’ interaction methods. Designers should draw upon existing conventions (either OS or web) or users won’t know what to do. These are practical interaction design observations, but from a particular perspective, that of perceptual psychology. These conclusions are arrived at through a linear, rather than lateral process. By giving weight to building upon existing convention, because they are familiar to the user, there is a danger that genuinely new ideas (and the kind of ambition called for by Victor Bret) within tablet design will be suppressed. Kay’s vision of the Dynabook came from lateral thinking, and thinking about how children learn. Shouldn’t the items that we design for this device be generated in the same way?

A deeper look into the historical record, though, reveals a different story: The web in its current state was by no means inevitable. Not only were there competing visions for how a global knowledge network might work, divided along cultural and philosophical lines, but some of those discarded hypotheses are coming back into focus as researchers start to envision the possibilities of a more structured, less volatile web