The growth of small scale manufacturing technologies associated with the "maker movement" has captured the attention of artists, innovators, educators, and policy makers. This paper critically examines how one core technology of the maker movement, a 3D printer, materializes assumptions about makers and their preferred ways of working with machines and materials. We describe how existing designs can be seen as anthropocentric, framing the human maker as visionary and commander of passive machines and materials. We then present an alternative system for 3D printing, called Redeform, which explores how a post-anthropocentric framing of makers as collaborators with machines and materials changes the design of 3D printers. We place our system within a lineage of performances that have explored relationships between humans and nonhumans since the 1950s. In doing so, we explore and speculate on the opportunities for operationalizing post-anthropocentric theories within the specific context of the maker movement.

Emotional biosensing is rising in daily life: Data and categories claim to know how people feel and suggest what they should do about it, while CSCW explores new biosensing possibilities. Prevalent approaches to emotional biosensing are too limited, focusing on the individual, optimization, and normative categorization. Conceptual shifts can help explore alternatives: toward materiality, from representation toward performativity, inter-action to intra-action, shifting biopolitics, and shifting affect/desire. We contribute (1) synthesizing wide-ranging conceptual lenses, providing analysis connecting them to emotional biosensing design, (2) analyzing selected design exemplars to apply these lenses to design research, and (3) offering our own recommendations for designers and design researchers. In particular we suggest humility in knowledge claims with emotional biosensing, prioritizing care and affirmation over self-improvement, and exploring alternative desires. We call for critically questioning and generatively re-imagining the role of data in configuring sensing, feeling, 'the good life,' and everyday experience.

In the Fan Data project, we collected data from online databases that archive media fan production (specifically, fictional fan texts). We developed software and visualization tools to analyze these archives. Digital analysis focused on counting and graphing the rate of the fan fiction production Downloaded from over time in three Hollywood blockbuster movie fandoms: The Avengers, the Batman trilogy, and Inception. We found that audiences grant a great deal of 'mindshare' to media texts and create fan works in response to those texts immediately after viewing a film but that what sustains fan productivity are the attractiveness of specific online archiving platforms and the liveliness of activity in a given fandom. Internet archives have a decisive function in offering the creative and conserving infrarstructure for 'unofficial' communication, art, and knowledge. Today, they are trendsetting organs and their impact verifies the assumption that the Hollywood studios' market strategies are not the sole, or most crucial, predictors or determinants of audience engagement.

Editorial for guest-edited issue, "Fans of Color, Fandoms of Color," Transformative Works and Cultures, no. 29 (March 15, 2019).