The Visual Thinking
Call for Participation
would be juxtaposed with a particular electrical plug or with other
pairings of models and electrical
plugs. The resulting image not only
provides a conceptual link between
human expressions and electrical
devices, but it also in its methodology situates participants—the
models, in this case—in a relationship between distinctive individual
affective expression and otherwise
neutral forms. The models’ individual expressions distinguish them
as unique individuals independent
of country-specific origins symbolized by the electrical plugs, signifying the issue of diversity.
In Clockwork Moths, Shad Gross
illustrates not only his considerable pyrotechnic Photoshop skills,
but also provides an image that
deeply pushes the limits of the
modern digital commons. The work
is composed mainly of materials
provided by Gross, himself, but is
also derived from parts of images
licensed under creative commons
and other forms of relaxed copyright. Some of the images used in
the composite image may only be
used in derivative work, some of
the images may be used for derivative work with attribution, and
some of the images may be used
for derivative work only if others are free to use the resulting
image—as is the case here with
this Backpage Gallery image.
In A Matter of Accessibility: Caution,
I contribute my own image, which
is simply a whimsical juxtaposition
of simple elements captured opportunistically at a science center in
Ontario. The sign in the lower right
advises caution in both English and
French. This caution sign contrasts
with the vinyl appliqué sign denoting gender, which in its badly damaged state unintentionally advertises the potential consequences of
not being cautious enough.
Expect to see a Visual Thinking
Backpage Gallery image in forthcoming issues of interactions on
the inside back page, and please
see the sidebar for how to contribute your own images.
1. blevis, E. and Stolterman, E. transcending dis-
ciplinary boundaries in interaction design.
interactions 16, 5 (Sep. 2009), 48-51.
2. Winograd, t. and Flores, F. Understanding
Computers and Cognition: a New Foundation for
Design. Addison-Wesley Longman, boston, 1987.
3. Willis, A.M. Ontological designing. Design
Philosophy Papers 2 (2006).
4. Max-Neef, M. A. Foundations of transdisciplinar-ity. Ecological Economics 53, 1 (2005), 5-16.
5. Friedman, b. and Kahn, Jr., p.H. Human val-
ues, ethics, and design. In The Human-Computer
Interaction Handbook, J. A. Jacko and A. Sears,
eds. L. Erlbaum Associates Inc., Hillsdale, NJ,
6. Nardi, b. A. and O’Day, V.L. Information
Ecologies: Using Technology with Heart. MIt press,
cambridge, MA, 1999.
7. truthtable; http://www.truthtable.com/
8. burtynsky, E. Manufactured Landscapes: The
Photographs of Edward Burtynsky. Yale University
press, New Haven, 2003.
9. Jordan, c. Running the Numbers: An American
Self-Portrait. prestel, Munich, 2009.
10. Menzel, p. Material World: A Global Family
Portrait. Sierra club books, San Francisco, 1995.
11. Kingwell, M. the truth in photographs: Edward
burtnysky’s revelation of excess. In Burtnynsky—
China. Steidl, Göttingen, 2005.
12. Alexander, c. The Nature of Order. Volume II.
the center for Environmental Structure, berkeley,
13. cross, N. Designerly ways of knowing: Design
discipline versus design science. Design Issues
(MIT Press) 17, 3 (2001), 49-55.
14. Schön, D. The Reflective Practitioner. temple
Smith, London, 1983.
15. Margolin, V. The Politics of the Artificial: Essays
on Design and Design Studies. University of
chicago press, chicago, 2002.
16. papanek, V. The Green Imperative: Natural
Design for the Real World. thames and Hudson,
New York, 1995.
The purpose of this sidebar is
to invite broad participation in a
new interactions section we call
the Visual Thinking Backpage
Gallery, which will be presented
on the last inside page of each
(or every other) issue. Each
backpage gallery installment
will consist of a single page. The
idea of the backpage gallery is
to highlight and promote visual
thinking, using the medium of
still, possibly post-processed
digital imagery in keeping with
the role of interaction design as a
You are invited to submit
your best visual-thinking
images to the editors-in-chief
or to the curator:
Form of Contributions
We will select the best images
for inclusion in future Visual
Thinking Backpage Galleries.
• a high-resolution image (pref-
• a title for your image
• your name and the name of any
co-contributors (affiliations are
• optionally, a short description
of the genre relating the image
to design process
About the Author
Eli blevis is an associate profes-sor of informatics in the Human-computer Interaction Design pro-gram of the School of Informatics
and computing at Indiana
University, bloomington. His pri-mary area of research, and the one for which he is
best known, is sustainable interaction design. His
research also engages design theory, digital pho-tography, and studio-based learning.
© 2011 AcM 1072-5220/11/09 $10.00
your image may be constructed
or modified in image-processing
applications. It must be of professional quality and you must be the
author and sole copyright holder
of all materials used in your final
image. Appended to this article
are three examples of images that
serve as models for the possible
range of contributions.
September + October 2011