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Conversion, which initially emphasised a product’s public display and a
household’s sense of status, is still a concept referring to the process of reconnection
that takes place between household and the outside world, but now
“it involves display, the development of skills, competences, literacies. It
involves discourse and discussion, the sharing of the pride of ownership, as
well as its frustration. It involves resistance and refusal and transformation
at the point where cultural expectations and social resources meet the challenges
of technology, system and content.” (ibid.).
1 I N T R O D U C T I O N
Conversion, therefore, can be seen as part of a “design-domestication interface”
(ibid.), since, during conversion, the tensions between a producer’s configurations
of ideal users, and users’ often conservative desires for perfectly fitting
products become evident (ibid.).
Silverstone paraphrases Michel de Certeau (de Certeau 1984) in finding
that objectification and incorporation are “the tactics of domestication”, which
involve (similarly as in the original formulation) “placing and timing”, by which
“the complexities and instabilities of domestic life […] move to meet the new
arrival” (Silverstone 2006 234). More specifically, objectification is “the location
of information and communications technologies in the material, social and
cultural spaces of the home”, while incorporation is “the injection of media
technological practices into the temporal patterns of domestic life” (ibid. 235).
Both are parts of the everyday domestic infrastructure that exist within and
also transcend the formal household boundaries (ibid.).
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