We will be actively developing this list over Summer 2017. To suggest new resources for this list, please add to the reading list Crowdsourced Bibliography under “Suggested Readings.” Under “Topics for Further Exploration,” please include particular topics or fields that you hope are further developed in this bibliography. Otherwise, feel free to explore the readings and annotations already generated.

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Foundational Readings Annotated Bibliography

Bardzell, S. (2010). Feminist HCI: taking stock and outlining an agenda for design. In CHI ’10 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (pp. 1301–1310). Atlanta, GA.

Bardzell uses examples from feminist theories and practices in disciplines that revolve around design and user experience (i.e., architecture, gaming, etc.) as catalysts to think further about how feminist theory can be implemented in and ultimately change HCI, especially in theory, methodology, user research, and evaluation. Bardzell comes up with a “constellation of qualities” to transform how designers think about HCI through a feminist lens, or as she refers to it, “feminist interaction design” (1308).

Billey, A., Drabinski, E., & Roberto, K. R. (2014). “What’s Gender Got to Do with It? A Critique of RDA 9.7.” Cataloging & Classification Quarterly, 52(4), 412–421.

The RDA catalogues gender according to the male/female binary. The authors argue for a removal of gender cataloguing, especially when the controlled vocabulary falls into this binary; part of the problem with labeling gender is the choices are based on physical and name markers. This cataloging which reinforces problematic notions of gender as stable and legible. One potential loss for not cataloguing gender identity is losing the ability to group people by gender. The authors, however, argue that researching groups by gender continues to privilege the gender binary, instead of representing queer identities. Being aware of the complex and fluid nature of gender identities contradicts the need to catalogue gender.

Carter, R. G. S. (2006). “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence.” Archivaria, 61(61).

Useful for succinct synthesis of major strands of thought in historiography, critical theory, and archival science regarding power and silences in the archive. Those interested in an even deeper exploration may explore sources (Derrida, Foucault, Lyotard, etc.) mentioned. Also touches on the tension between records kept in primarily oral cultures versus records recognized as archive-able (i.e., documentary records from primarily literate/print cultures) in the Western European archival tradition. Finally, proposes that some communities may refuse to “be archived” and use silence as a form of resistance — a point important for our work in Design for Diversity.

Christen, K. (2015). Tribal Archives, Traditional Knowledge, and Local Contexts: Why the “s” Matters. Journal of Western Archives, 6(1).

Archivist scholars argue that it is not enough for collections to be inclusive of cultures and voices, but make “structural changes” in which Indigenous people still have ownership over their texts and stories. This notion of ownership, though, becomes less defined when Indigenous cultural artifacts are collected by institutions; when a non-Indigenous culture “owns” Indigenous artifacts, it is crucial to create a system of ownership that empowers the Indigenous communities. Local Contexts has created the Traditional Knowledge (TK) license which renegotiates ideas of ownership and copyright that is flexible and more individualistic the needs of particular cultures.

Fiesler, C., Morrison, S., & Bruckman, A. S. (2016). An Archive of Their Own: A Case Study of Feminist HCI and Values in Design. In CHI ’16 Proceedings of the 2016 CHI Conference on Human Factors in Computing Systems (pp. 2574–2585). Santa Clara, CA.

Fiesler et al. conduct a case study on Archive of Our Own (AO3), an online fan fiction archive website, to demonstrate how to implement Bardzell’s Feminist HCI into practice. Using a series of interviews and exploration of the site, the authors explore how AO3’s design centers around participation, pluralism, advocacy, and more. Although AO3 is not the perfect platform for every user and some of the study’s participants explained why, AO3’s design and careful policy-making reflects feminist values and advocates for empowerment for a diversity of fanfiction writers. This article provides a specific series of design choices that reflect these values.

Nowviskie, B. (2016, April 29). everwhere, every when. Bethany Nowviskie. Retrieved May 16, 2017, from http://nowviskie.org/2016/everywhere-every-when/

Nowviskie begins this talk by asking the question “where and when do Black lives matter?” in information sciences; she looks at Afropolitanism (space) and Afrofuturism (time), focusing on Afrofuturism; it is “self-possesed” and centers around the past, present, and future of blackness and locating/telling stories of the future while never forgetting the past. She advocates the need for digital cultural heritage systems affordance – a White-dominant field – to decolonize archives and “design for agency” so that Black communities and cultures as well as other marginalized communities have control over their stories and archives, their “philosophical infrastructure.” Instead of merely designing for inclusion, design for progress and spaces/places where Black lives are everywhere and every when.

Srinivasan, R., Becvar, K. M., Boast, R., & Enote, J. (2010). Diverse Knowledges and Contact Zones within the Digital Museum. Science, Technology, & Human Values, 35(5), 735–768. https://doi.org/10.1177/0162243909357755

The authors conducted a collaborative research project on how multiple local expert communities interacted with and reacted to objects held within multiple museums. The ethnographic research conducted in this study demonstrates the need for museums to collaborate with local communities as well as a method for implementing this collaboration. The study showed a disconnect between how objects were presented and recorded and the local experts’ experience and knowledge about the objects (this disconnect is visualized on page 753); the two main disconnects were found in the narrative the Zuni communities and museums constructed about these objects as well as an absence of the use and practice of these objects in the museums. The authors advocate for working within this disconnect to find better ways of representing objects, or viewing museums as “contact zones” in which multiple experts – not only the traditional museum “Expert” – can collaborate. One method for negotiating this disconnect is to make visible the different meaning objects have in different contexts; designing digital spaces to host digital objects allow for this visibility (746).