This thesis addresses a problem in the literature on technology transfer of understanding the local appropriation of knowledge. Based on interpretive and analytic traditions developed in Science and Technology Studies (STS) and ethnomethodology, I conceptualise technology transfer as involving communication between discursive communities. I develop the idea of 'performance of community' to argue that explanations of research and technology, and readings of those explanations, are sites for the elaboration of the identity of a discursive community. I explore this approach through a case study in the field of artificial intelligence (AI). I focus on what I call 'explanatory practices', that is practices of describing, identifying and explaining Al, and trace the differences in these practices, according to location, context and audience. The novelty of my thesis is to show the pervasiveness of performance of community within these explanatory practices, through showing the differences in the claimed identity and significance of Al, associated with different locations, contexts and audiences. I draw out some of the implications of my approach by counterposing it to a theory of technology transfer as the passing of neutral units of information, which I argue is implicit in a complaint made by Al vendors that the Al marketplace had been damaged by overselling or hype. In particular, I show that disclaimers of hype (more than the perpetration of it) had always been associated with the marketing of Al. More generally, my claim is that it is politically important to understand that neutral information is not available even as an ultimate standard, and that the local appropriation of knowledge is not an aberration to be controlled, but a component of both successful and unsuccessful communication between discursive communities.

This thesis analyzes Badan Tenaga Atom Nasional (BATAN, the Indonesia National Nuclear Energy Agency and the the Ulama of Pengurus Cabang Nahdlatul Ulama (PCNU, the Islamic scholars of District Branch of Nahdlatul Ulama) Jepara’s different risk assessments of the purposed nuclear power plant in Muria, Indonesia. Using a discourse analysis combined with the social construction of risk from a science and technology studies (STS) perspective, this thesis focuses on the Ulama’s risk assessments, and looks at how the Islamic interpretations of fiqh (Islamic Jurisprudence) and the knowledge of perceived risk of the State’s nuclear inexpertise, environmental degradations, the type of the reactor, and foreign technological dependence are used simultaneously by the Ulama of the PCNU Jepara to construct maslahah (benefits) and mafsadah (disadvantages) on the fatwa to the proposed Muria nuclear power plant. I argue that the different risk assessments converge on the proposed Muria nuclear power plant, which are based on not only scientific and political discourse but also Islamic beliefs. In contrast to alternative forms of knowledge, Islamic belief not only has orientations to the social world but also the afterlife. I found the Ulama’s concerns regarding perceived risk of the State’s nuclear inexpertise did not change whether from the authoritarian regime to the democratic model. Across the contesting political regimes, the Ulama articulated their concerns of perceived risk of the State’s nuclear inexpertise through distrust of the State’s capacities and capabilities in handling a commercial nuclear power plant. Furthermore, the different ways of constructing risk through BATAN and the Ulama depict the contested meaning of national identity after the Indonesia independence. Lastly, this thesis offers a unique view of studying Islam and the social construction of risk from a non-Western context. / Master of Science

The socio-musical practice of sampling is closely associated with the re-use of pre-existing sound recordings and the technological processes of looping. These practices, based on appropriation and repetition, have been particularly common within the genres of hip-hop and Electronic Dance Music (EDM). Yet early digital sampling instruments such as the Fairlight Computer Musical Instrument (CMI) were not designed for these purposes. The technologists at Fairlight Instruments in Australia were primarily interested in the use of digital synthesis to imitate the sounds of acoustic instruments; sampling was a secondary concern. In the first half of the thesis, I follow digital sampling instruments like the Fairlight CMI and the E-mu Emulator by drawing on interviews with their designers and users to trace how they were used to sample the sounds of everyday life, loop sequenced patterns of sampled sounds, and sample extracts from pre-existing sound recordings. The second half of the thesis consists of case studies that follow the users of digital sampling technologies across a range of socio-musical worlds to examine the diversity of contemporary sampling practices. Using concepts from the field of Science and Technology Studies (STS), this thesis focuses on the ‘user-technology nexus’ and continues a shift in the writing of histories of technologies from a focus on the designers of technologies towards the contexts of use and ‘the co-construction’ or ‘mutual shaping’ of technologies and their users. As an example of the ‘interpretative flexibility’ of music technologies, digital sampling technologies were used in ways unimagined by their designers and sampling became synonymous with re-appropriation. My argument is that a history of digital sampling technologies needs to be a history of both the designers and the users of digital sampling technologies.

Le interfacce aptiche, ovvero le tecnologie che trasmettono delle sensazioni tattili digitalizzate, si stanno diffondendo in vari contesti sociali come telerobotica, comunicazione mobile, arte, videogiochi e cinema. Queste tecnologie stanno permettendo agli ingegneri di realizzare qualcosa mai fatto prima: la digitalizzazione del tatto (che ora può quindi essere registrato e mediatizzato). L’obbiettivo di questa tesi è di decostruire il tatto digitalizzato come un artefatto tecnologico socialmente costruito, il quale sta prendendo forma in un sistema di pratiche interrelate performate da attori in campi disparati della conoscenza. Questi attori si muovono all’interno e attorno ad una comunità di ingegneri apticisti. Adottando un approccio ispirato alla grounded theory, sono stati raccolti dati qualitativi attraverso interviste presso un campo etnografico multi-situato composto da laboratori europei e conferenze internazionali, in cui la conoscenza riguardo il tatto è collettivamente creata e condivisa. Due framework teorico-metodologici sono stati presi in considerazione: la tradizione dei Science and Technology Studies (STS) è stata scelta come principale guida metodologica; in seguito, l’intreccio tra pratiche sociali e tecnologie è stato approfondito attraverso una prospettiva practice-based tipica della cosiddetta ‘practice theory’. Al fine di cogliere il processo in corso di costruzione sociale e flessibilità che caratterizzano il tatto digitalizzato, lo studio si è concentrato sull'assenza di standardizzazione che caratterizza gli aspetti sia hardware che software di questa tecnologia emergente. Inoltre, è stata prestata attenzione alla distinzione controversa e scivolosa tra feedback tattile simbolico e realistico usata nel gergo degli apticisti. Infine, sono stati analizzati i diversi significati, o potenzialità d'uso, che gli intervistati attribuiscono a questa tecnologia. Questi significati si collegano a specifici immaginari sociotecnici geograficamente situati, ad ampi discorsi sociali riguardo l’innovazione tecnologica, e a diverse visioni riguardo le pratiche che possono beneficiare dell’implementazione di queste interfacce. / Devices that provide tactile feedback, called haptic interfaces, are spreading in various contexts such as tele-robotics, prosthetics, videogames, mobile communication, and arts. These technologies are allowing engineers to accomplish something never done before: the digitization of touch (which can now be stored and mediatized). This dissertation aims to deconstruct the digitized touch as a socially constructed technological product, emerging from a system of interrelated practices enacted by actors performing in disparate fields which revolve around the community of haptics engineers. Using a grounded-theory inspired approach, qualitative data were collected through interviews in a multi-sited ethnographic field consisting in European laboratories and international conferences, where knowledge about touch is collectively created and shared. Two theoretical-methodological frameworks have been taken into consideration: the tradition of Science and Technology Studies (STS) has been chosen as the main methodological guide; moreover, the interlacements between social practices and technology have been deepened through the adoption of a practice-based perspective proposed by different approaches in social sciences gathered under the umbrella term ‘practice theory’. In order to grasp the ongoing process of social construction and flexibility that characterize digitized touch, the study focused on the absence of standardization involving both hardware and software aspects of this emerging technology. Furthermore, attention has been paid to the controversial and slippery distinction between ‘symbolic’ and ‘realistic’ tactile feedback which is used in engineers’ jargon. Finally, the different meanings or potentialities of use, which respondents attributed to this technology, have been analysed. These meanings are connected to geographically located socio-technical imaginaries, to broad social discourses about technological innovation, and to different visions regarding the practices that can benefit from the implementation of these interfaces.

Cyber attacks by domestic and foreign threat actors are increasing in frequency and sophistication. Cyber adversaries exploit a cybersecurity skill/knowledge gap and an open society, undermining the information security/privacy of citizens and businesses and eroding trust in governments, thus threatening social and political stability. The use of open digital hacking technologies in ethical hacking in higher education and within broader society raises ethical, technical, social, and political challenges for liberal democracies. Programs teaching ethical hacking in higher education are steadily growing but there is a concern that teaching students hacking skills increases crime risk to society by drawing students toward criminal acts. A cybersecurity skill gap undermines the security/viability of business and government institutions. The thesis presents an examination of opportunities and risks involved in using AI powered intelligence gathering/surveillance technologies in ethical hacking teaching practices in Canada. Taking a qualitative exploratory case study approach, technoethical inquiry theory (Bunge-Luppicini) and Weick’s sensemaking model were applied as a sociotechnical theory (STEI-KW) to explore ethical hacking teaching practices in two Canadian universities. In-depth interviews with ethical hacking university experts, industry practitioners, and policy experts, and a document review were conducted. Findings pointed to a skill/knowledge gap in ethical hacking literature regarding the meanings, ethics, values, skills/knowledge, roles and responsibilities, and practices of ethical hacking and ethical hackers which underlies an identity and legitimacy crisis for professional ethical hacking practitioners; and a Teaching vs Practice cybersecurity skill gap in ethical hacking curricula. Two main S&T innovation risk mitigation initiatives were explored: An OSINT Analyst cybersecurity role and associated body of knowledge foundation framework as an interdisciplinary research area, and a networked centre of excellence of ethical hacking communities of practice as a knowledge management and governance/policy innovation approach focusing on the systematization and standardization of an ethical hacking body of knowledge.

This is an ethnographic case-study of research and development practices taking place in an interdisciplinary project between education and computer sciences. The Ensemble-project, part of the Technology Enhanced Learning programme (2008-12), has studied case-based learning in a number of diverse settings in Higher Education, working to develop semantic technologies for supporting that learning. Focussing on one of the six research settings, the discipline of archaeology, the current study has had three purposes. By opening up to scrutiny the practices of research and development, it has firstly sought to understand how a shared research question is answered in practice when divergent research approaches are brought to bear upon it. Secondly, the study has followed the emergence of a piece of semantic technology through these practices. The third aim has been to assess the advantages and disadvantages of Actor-Network Theory (ANT) in studying unfolding, open-ended processes in real time. Through critical ethnographic participation, multiple ethnographic research methods, and by drawing on ANT as theoretical practice, the study has shown the precarious and unpredictable nature of research and development work, the political nature of research methods and how multiple realities can be produced using them, and the need for technology development to flexibly respond to changing circumstances. We have also seen the mutual adoption and extension of practices by the two strands of the project into each others’ domains, and how interdisciplinary tensions resolved, while they did not disappear, through pragmatic changes within the project. The study contributes to the interdisciplinary fields of Science and Technology Studies (STS) where studies on the ‘soft sciences’, such as education, are few, and a new field of Studies in Social Science and Humanities (SSH) which is emerging alongside and from within the STS. Interdisciplinary endeavours between fields pertaining largely to the natural and the social sciences respectively have not been studied commonly within either field.