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We explain the consequences of this status for Turkopticon and how we adapted our approach in response over the long term. We argue for analyses of power in design work that account for and develop counters to hegemonic beliefs and practices about design as high-status labor. Author Keywords Activism; design, ethics, economics, social theory, critical design, human computation; Amazon Mechanical Turk INTRODUCTION: THE POLITICS OF DESIGN IN KNOWLEDGE ECONOMIES HCI works at the gap between technological possibility and human desires, conflicts, and labor. Some work to make things that make new kinds of relating possible. Others advocate for the making of things as a way of bringing people together to provoke and sustain democracies [9, 10, Environmental sustainability, socio-economic development, and pro-social reorganization of technological life animate international HCI communities. But what if the problem is not how we design in a highly unequal world, but the very fact that we are read as designers at all? Designers are more than those who seek to move from current states to preferred ones. Designers also occupy a relatively high rung in hierarchies of “knowledge economy” Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than the author(s) must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from Permissions@acm.org. CHI'16, May 07 - 12, 2016, San Jose, CA, USA Copyright is held by the owner/author(s). Publication rights licensed to ACM. ACM 978-1-4503-3362-7/16/05…$15.00 DOI: http://dx.doi.org/10.1145/2858036.2858592 M. Six Silberman IG Metall 60329 Frankfurt, Germany michael.silberman@igmetall.de projects. The World Bank, for example, cites design as an engine of “new value chains” in the face of global competition that drives existing commodity profit margins to zero [16]. Design is core to economic growth policies in Britain [21], China [49], and India [68]. American economic policy looks to hacking, 3-D printing, and STEAM (Science, Technology, Engineering, Arts, and Math) education to transform workers into citizens who can both generate new sources of financial value and improve material conditions for living. Within such a milieu, designers and HCI practitioners have a privileged place as a research community that self- consciously attempts to generate both the futures of pervasive technologies and methods for generating those futures. We are not simply Herbert Simon’s designers in pursuit of preferred states [77:111], but privileged economic actors. These stories of economic and social progress sustain us institutionally, but they also become complicities and liabilities for those who wish to redistribute power through design practice. We encountered these problems as designers of Turkopticon, an activist intervention into Amazon Mechanical Turk (see [45]). In this paper, we explain how cultural and economic understandings of design shaped how broader publics interpreted our intervention, with problematic consequences for the workers the project sought to support. We describe the conflict between “design” as a cultural position to speak from and the projects’ labor politics. We then describe how we expanded our tactics beyond design itself to sustain the projects’ goals to improve digital microwork. 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