Subject-Objects

The Design of New Artifacts Based on Generative AI

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André Neves

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Abstract

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The emergence of subject-objects, artifacts equipped with generative AI capable of interacting via natural language, represents a paradigm shift in the historical relationship between humans and objects. These new intelligent and interactive objects, such as appliances, vehicles and industrial machines, are moving from the position of inert tools and assuming an active role, conversing, suggesting and collaborating with their users. This dialogic capacity promotes unprecedented interactivity between people and things. However, for the potential benefits of subject-objects to materialize, design needs to rethink its foundations. Traditional approaches, focused on products with fixed functions, are insufficient. It is necessary to reimagine methods and principles, placing people at the center of the process. The challenges include: understanding human-object interaction on a new scale, avoiding ethical risks such as user manipulation, ensuring control, privacy and data security. Human-centered, inclusive and transparent design will be fundamental to shaping subject-objects that truly empower people. This transition poses risks, but also represents a unique opportunity for design to reinvent itself. Further studies will be needed as these technologies advance. Design will play a central role in constructing a more harmonious and beneficial subject-object relationship for society.

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Keywords

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Subject-objects, Generative Artificial Intelligence, Design, Human-machine interaction

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Introduction

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Subject-objects are a new class of artifacts emerging with the advent and popularization of generative artificial intelligence. They are objects equipped with AI that allows them to communicate and interact with human beings through natural language. This ability to establish a dialogue promotes unprecedented interactivity between people and things.

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The relationship between subjects and objects is changing paradigms. While traditionally objects are inert tools designed to serve defined purposes, subject-objects appear to have a intelligence of their own, able to converse, suggest and collaborate with their human users. They are moving from the position of passive tools to become almost like active partners in the interaction (NORMAN, 2008).

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This development has profound implications for design, a discipline dedicated to the conception and creation of artifacts. Design methods and processes will need to be rethought and reimagined to deal with these new seemingly intelligent and interactive objects. There are ethical risks to be considered, to ensure that these new technologies benefit, not manipulate or harm human beings. It is a change that will require reviewing the very foundations of design.

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Examples of subject-objects

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Some examples are already starting to illustrate the possibilities brought about by subject-objects. A refrigerator equipped with AI can not only report on the need for restocking, but also suggest recipes based on available ingredients and even discuss the pleasure of trying new flavors. The appliance moves from the position of passive storage tool to become a kind of interactive cooking assistant.

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Similarly, the television can be transformed into a company to discuss and comment on the viewer's favorite programs. Instead of just displaying content, it talks about plots and characters, as if it had its own opinions and insights. The device approaches the role of a friend or family member.

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In the automotive context, cars can incorporate virtual assistants that play the role of co-pilots. In addition to features like suggesting routes and points of interest, they can simply chat with the driver to keep him alert and accompanied on trips. The vehicle becomes a journey partner, no longer an inert machine (SUCHMAN, 2007).

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In factories and production lines, machines equipped with AI can provide real-time feedback on processes, collaborate on workflow optimization, and even participate in strategic decisions. Moving from the condition of tools operated by workers, these machines become a kind of co-workers, members of production teams (LATOUR, 2012).

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Challenges for subject-object design

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The successful creation of subject-objects poses important challenges for the design field. First, it is necessary to understand the person-object interaction on a new scale, appropriate for these seemingly intelligent and communicative entities. Traditional design methods, focused on tools and interfaces, are insufficient.

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In addition, there are fundamental ethical risks to be addressed. How to ensure that subject-objects really benefit people, without manipulating them or creating new problems and harms? It is the role of design to avoid unintended effects and ensure that users retain ultimate control over this relationship (FLUSSER, 2008, p.45).

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Another major challenge is that most existing design methods and processes today were developed for a different paradigm, of inert objects with fixed functions. Techniques such as design thinking, interaction design, user-centered design, will need to be reviewed and adapted to this new context.

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In summary, the emergence of subject-objects demands reimagining the very foundations of the design discipline. It is not just about creating new solutions, but rethinking how design is done and what it is for. It is an opportunity to redefine the role of design and designers in contemporary society.

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Principles for designing subject-objects

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Faced with this scenario of challenges and opportunities, what principles can guide the design of subject-objects? Firstly, the human being must remain at the center. People's needs, desires and rights must be the main focus, not the technology itself. Subject-objects should be designed to serve and empower people.

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In addition, user privacy and data security must be guaranteed. Transparency mechanisms need to be in place for people to understand how their data is used and how to protect it from misuse.

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Another key principle is transparency about the capabilities and limitations of these objects. Users should be clearly informed about what they can and cannot do, to avoid disappointment and misuse. Realistic expectations must be set.

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Subject-objects should also give users control over the interaction. People should be able to customize the experience, set boundaries, and interrupt the dialogue whenever they wish. Human control over the relationship with these objects must be preserved.

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Inclusive accessibility is another critical aspect. People with different skills, backgrounds, ages and contexts should be able to benefit equally from subject-objects. Inclusive design is essential to avoid new types of exclusion in the AI era.

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In essence, subject-objects should be designed not as ends in themselves, but as means to empower and benefit human life. Following these human-centered principles can help design fulfill its role in productively shaping this new technological reality.

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Conclusion

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Subject-objects represent a paradigm shift in the historical relationship between people and things. By being equipped with generative AI, objects become capable of conversing, suggesting and collaborating with human users. This natural language interactivity opens up new design possibilities.

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To take advantage of these possibilities in an ethical and beneficial way, the design field faces the challenge of reimagining its foundations. Traditional techniques will prove insufficient to deal with these new seemingly intelligent and proactive objects. New principles, focused on human experience, will need to guide design practice.

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This transition poses risks, but also opportunities for the discipline to reinvent and strategically reposition itself in the face of new technologies. Design has a fundamental role to play in ensuring that subject-objects are developed for the benefit of society and people.

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We are just beginning to glimpse the possibilities of this new subject-object relationship. Further studies will be needed as these technologies advance. Design will play a central role in this process of understanding and productively shaping subject-objects and their impact on the world.

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References

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To conclude the article, I included the following references with relevant quotes in the text:

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References

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NORMAN, Donald A. Emotional Design: Why We Love (or Hate) Everyday Things. Basic Books, 2005.

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SUCHMAN, Lucy. Human-machine Reconfigurations: Plans and Situated Actions. Cambridge University Press, 2007.

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FLUSSER, Vilém. Into the Universe of Technical Images. University of Minnesota Press, 2011.

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LATOUR, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford University Press, 2005.