5. METROPOLIS MAGAZINE
THE FICTION EDITION
In January 2003, Metropolis
Magazine asked Sci-fi writers
to use interiors as the starting
point for a piece of fiction.
Above, a student reads Bruce
Sterling’s piece about “grown”
furniture that thinks, feels,
and reacts to it’s owners.
6.
7. Table of contents
ABST RAC T
PART I DESIG N FICT ION
Wha t is it?
PART II FUT URES H ISTORY
Sc i-fi timeli n e s
Futurist Pro je ct io n s
_5
_15
PART III BUILDING SP ECULAT ION
Writing sc ie n ce fict io n a n d t h e d e sig n p r o ce ss
I nterv iew : Po e t C h r ist o p h e r Ke n n e d y
Rela ting 19 50 ’s sci-fi t e ch n o lo g y t o t o d a y
Method : Sc ie n ce F ict io n Ske t ch in g
_3 9
PART IV T HE G LOBA L V ILLAGE
Ma ss c olla bo r a t io n a n d t h e g r e a t e r g o o d
openNASA
Sc i-fi Frid a y co n v e n t io n a t RM SC
Method : Sc ie n ce F ict io n P r o t o t y p in g
Asimov ’s pre d ict io n s o f t h e 201 4 Wo r ld ’s F a ir
1939 World’s F a ir e / 201 3 M a ke r F a ir e
K ic ksta rting a 3D P r in t in g C o m p a n y
I nterv iew : In t e l F u t u r ist B r ia n D a v id Jo h n so n
Rob otHa c ks ch a lle n g e
_43
PART V T HE NEW NAT UR A L
_7 7
E merg ing te ch n o lo g ie s in 20 1 2 & 20 1 3
I nterv iew : In t e r a ct io n A r t ist Lo r n e C o v in g t o n
How c ompu t e r s r e a d o u r b o d ie s
Low b a rriers t o e n t r y cr e a t in g im m e r siv e t e ch n o lo g y
G oog le G lasse s
Method : Rap id p r o t o t y p in g wit h fo u n d m a t e r ia ls
Journov a tio n
PART VI T HE PRO DUCT AS T H E H ER O
_10 3
Cha ra c teriz a t io n
Method : Lo v e le t t e r & b r e a k-u p le t t e r t o t e ch n o lo g y
FUT URES
C REDITS
G LO SSARY
BIBLIO G RA P H Y
IMAG E BIBLIOGR A P H Y
_124
9. 1_
abstract
HOW CAN WE SHAPE THE FUTURE? Science Fiction opens one portal
into our imaginations and curiosities. It gets us to think beyond
our present landscape and extend beyond interactions that are
possible today and tomorrow.
Technological devices have become an inextricable part of our
lives. On the boundaries of our imaginations, technology invites
us to experience alternate worlds.
Our current relationships with technology foreshadow things to
come. To design is to constantly experiment and push technology
into what is now and what could be. As the future becomes
increasingly fantastic, it is the challenge of a designer to consider
and always be mindful of the needs of the human being and how
our efforts can enhance the future lives of generations to come.
_ Katy Jeremko
2013
10. _2
I’ll be with you the
rest of the night, a
vinegar gnat tickling
your ear when you
need me.
RESEARCH METHOD
I read this story to 3 people and
asked them to draw what they
pictured being described in the
story.
Throughout the course of the
research process, Ray Bradbury
was referenced several times as
being an influence for envisioning
potential futures.
11. 3_
RAY BRADBURY
FAHRENHEIT 451
Faber opened the bedroom
door and left Montag into a
small chamber where stood a
table upon which a number of
metal tools lay among a alter of
microscopic wire-hairs, tiny coils,
bobbins, and crystals.
“What’s this?” asked Montag.
“Proof of my terrible cowardice.
I’ve lived alone so many years,
throwing images on walls with
my imagination. Fiddling with
electronics, radio-transmission,
has been my hobby. My
cowardice is of such a passion,
complementing the revolutionary
spirit that lives in its shadow, I
was forced to design this.”
“It looks like a Seashell radio.”
“And something more! It
listens! If you put it in your ear,
Montag, I can sit comfortable
home, warming my frightened
bones, and hear and analyze
the firemen’s world, find drone,
the travelling ear. Eventually, I
could put out ears into all parts
of the city, with my various men,
listening and evaluating. If the
drones die, I’m still safe at hone,
tending my fright with a maximum
of comfort and a minimum of
chance. See how safe I play it,
how contemptible I am?”
Montag placed the green bullet
in his ear. The old man inserted a
similar object in his own ear and
He picked up a small green-metal moved his lips.
object no larger than a .22 bullet.
“Montag!”
“I paid for all this-how? Playing
the stock-market, of course, the
The voice was in Montag’s head.
last refuge in the world for the
dangerous intellectual out of a
“I hear you!”
job. Well, I played the market and
built all this and I’ve waited. I’ve
The old man laughed. “You’re
waited, trembling, half a lifetime
coming over fine, too!” Faber
for someone to speak to me. I
whispered, but the voice in
dared speak to no one. That day
Montag’s head was clear. “Go
in the park when we sat together, to the firehouse when it’s time.
I knew that some day you might
I’ll be with you. Let’s listen to
drop by, with fire or friendship, it
this Captain Beatty together.
was hard to guess. I’ve had this
He could be one of us. God
little item ready for months. But I
knows. I’ll give you things to say.
almost let you go, I’m that afraid!” We’ll give him a good show. Do
you hate me for this electronic
cowardice of mine? Here I am
sending you out into the night,
while I stay behind the lines with
my damned ears listening for you
to get your head chopped off.”
“We all do what we do,” said
Montag. He put the Bible in
the old man’s hands. “Here. I’ll
chance turning in a substitute.
Tomorrow--”
“I’ll see the unemployed printer,
yes; that much I can do.”
“Good night, Professor.”
“Not good night. I’ll be with you
the rest of the night, a vinegar
gnat tickling your ear when you
need me. But good night and
good luck, anyway.”
13. 5_
PA R T I
DESIGN FICTION
DESIGN FICTION IS AN EMERGING DESIGN
P R O C E S S T O D AY. I T L O O K S AT S C I E N C E
F I C T I O N F O R I N S P I R AT I O N A N D F R A M E S O U R
UNDERSTANDING OF POTENTIAL FUTURES.
LEFT
Emerging trends embody the
future. Researching these trends
and understanding new markets
is strategic thinking. Applying
them to everyday life is critical
design.
16. _2
8
what is design fiction?
“It’s the deliberate use of diegetic prototypes
to suspend disbelief about change.”
_ Bruce Sterling
Sci-fi Writer
Design is everywhere and pervasive.
Whether obvious or not, design is
enormously influential on your personal
views, thoughts, and actions. There is
not one object in your world without the
consideration and process of design.
As
the
world
becomes
more
technologically
savvy,
designers
are asked and tasked to produce
useful, functional, user-centered, and
aesthetically pleasing products. Design
Fiction uses emerging technology and
positions it for integration into society.
New products are sometimes most
valued for their ability to influence
society in positive ways.
Lets speculate on tomorrow through a
critical lens of today.
RIGHT
United Micro Kingdoms is
a Design Fiction project by
designers Anthony Dunne
and Fiona Raby.
18. _10
UNITED MICRO KINGDOMS
United Micro Kingdoms (U.M.K.) is “a deregulated
laboratory for competing social, ideological,
technological and economic models.”
Anthony Dunne and Fiona Raby are critical
designers who create design fictions. Their
design pieces discover new territory for other
worlds based on the current trends and fixations
in society today. Four design artefacts are
resultant of potential economic, relational, and
energy-distribution landscapes in our future
based on trends today.
Self-driving cars are thought of as being utopian
ideals. In Walt Disney’s World of Tomorrow,
the people mover was furtive first step.
Driverless cars were a thing of fiction in movies
like Forbidden Planet and This Island Earth.
Technologies that were cutting edge 60 years
ago are finally realized today.
There is travel that is designed for work and the
driverless car concept is a perfect application
for that. In this scenario, Digicars are spaces
for us to efficiently use our time to work while
traveling.
While we recognize that there are constraints,
we allow ourselves to think more wildly about
technology. Designers are faced with constant
pressure to produce something on-time and
under budget using available resources. Design
Fiction eases those boundaries to enable free
thought.
19. 11_
VERY LARGE BIKE
In a world without cars,
transportation
is
human,
wind, or animal powered.
By traveling in groups, the
bikes can travel far distances.
Communities form around
expert storytellers and singers
to entertain the group.
TRAIN
A constantly moving mountain
carriage
which
contains
labs, factories, hydroponic
gardens,
gyms,
dorms,
kitchens, nightclubs, and
anything else needed. The
environment surrounding is a
natural paradise that can be
enjoyed safely from the train.
DIGICARS
Development of an electric
self-drive car that monetizes
and optimizes every square
metre of road surface. Selfdrive cars are possible social
spaces but can function like a
computer.
BIOCARS
Using anaerobic digesters
that produce gas, biocars
run with fuel cells to
produce electricity. Powered
individually, the cars are
made of artificial lab-grown
skin, bone and muscle.
20. _12
50 years ago,
the father
of science
fiction
invented tv
glasses
HUGO GERNSBACK
Inventor, the “father of
modern science fiction”
and the namesake for
the Hugo Award (science
fiction writing). Hugo is the
founder of the pioneering
science fiction magazine
Amazing Stories.
23. 15_
future’s history
PA R T I I
SCIENCE FICTION IS A FIGMENT OF
A FA N TA S I C A L F U T U R E - C R E AT E D BY
YEARNINGS OF OUR UTOPIAN IDEAS AND
U N D E N I A B L E PA N G S O F O U R DY S T O P I A N
NIGHTMARES.
LEFT
Predictions made by
Science fiction authors
and filmmakers of the past
still pertain to the future.
Science fiction can be
understood as in constant
orbit around topics today.
24. _16
sci-fi design history
Suppose, however, that you become
genuinely interested in gadgets-not as
symbols of wonder to be deployed as
symbols of wonder to be depicted as scifi stage props, but as actual, corporeal
physical presences. It may dawn on you
that you are surrounded by a manufactured
environment
_ Bruce Sterling
Shaping Things
Science Fiction has always provided
mankind with a road map to the future.
Certainly not an exact science, the
artistry of science fiction it points design
towards the future.
Just as narratives augment reality
for a purpose, science fiction sets
expectations for the next “big thing”.
RIGHT
In
STANLEY
KUBRICK’S
FILM
2001:
A
SPACE
ODYSSEY , astronauts Dr.
David Boeman and Dr. Frank
Poole watch a newscast on
flat visual displays while
taking a leisure breakfast.
Kubrick introduced us to an
impossible technology in
1965 by understating it in
context.
28. _20
WHEN IS THE FUTURE?
A collection of case studies
Sci-fi, CLOG
1 9 0 0 -1 9 20
MET RO PO LIS
BRAVE NEW WO RLD
1 9 84
T HE JETSO NS
DUNE
2 001: A SPAC E ODYSSEY
PLANET OF T HE APES
SOLYENT G REEN
LOGAN’S RUN
STAR WARS EPISO DE IV
STAR TR E K : T HE MOT IO N PIC T URE
ALIEN
BLADE RUNNER
T RO N
T ERMINATO R
B AC K TO T HE FUT URE
SHORT C IRC UIT
ROBO C O P
BI LL & T ED’S ADVENT URE
TOTAL RECALL
DEMO LIT ION MAN
G HOST IN T HE SHELL
1 2 MO NKEYS
WAT ERWO RLD
T HE FIFT H ELEMENT
EVENT HORIZON
T HE MAT RIX
MINORIT Y REPORT
I, ROBOT
V FOR VENDET TA
AEON FLUX
C HILDREN O F MEN
WALL-E
AVATAR
DIST RIC T 9
SURRO GAT ES
INC EPT ION
AFT ER EART H
ENDER’S GAME
1 9 20-1 9 4 0
1 9 4 0-1 9 6 0
19 6 0 - 19 80
29. r e le a se date
st o r y setti n g
20 1 3
1 9 80- 2000
2000-2 02 0
2 02 0-2 08 0
208 0 -21 4 0
21 4 0-2200
220 0 -226 0
FAR FUTURE
21_
30. _22
1 0 0 Y E A R S U R V E Y:
F I C T I O N T O E V E R Y D A Y A S S I S T I V E D E S I G N [5]
MASS
BROADCASTING
MEDIA-ENABLED
SMART GLASSES
VIDEO PHONE
CALLING
COMPUTER WITH
EYES, EARS, THOUGHTS
SMART
WATCH
1 93 8 -1945
190 0 - 1 9 3 0
1965-1 9 70
1956
1981-
1 9 74
SIMULATED ALIEN
INVASION
FLIP-PHONE MOBILE
COMMUNICATION
31. 23_
DRIVERLESS CAR
TRANSPORTATION TUBE
MEDICAL SELF
SCANNING DEVICE
PERSONAL VISUAL
DISPLAY PANEL
ABILITY TO RAPIDLY
SHAPE OBJECTS
2 001-2 006
1996
20 1 1 -P RESENT
UNIVERSAL
INFORMATION DATABASE
GESTURAL
INTERACTION
FULL BODY
SCANNING
ABILITY TO RAPIDLY
REPLICATE OBJECTS
34. _26
FUTURIST PROJECTIONS
Ray Kurzweil, Futurist
The majority of communication
does not involve a human.
3D virtual reality displays, are
in glasses, contact lenses, and
auditory “lenses”. These are
interfaces for communication
with people, computers, the
web.
Interaction is gestural and
two-way natural language
with computers.
Automated driving systems
are installed in most roads.
Computers are
invisible and
are embedded
everywhere.
_2019
Eye and cochlear
implants provide
input and output
between the human
user and the WEB.
Direct neural pathways have
been perfected for highbandwidth connection to
the human brain. A range of
neural implants is becoming
available to enhance visual
and auditory perception and
interpretation, memory, and
reasoning.
The Turing test is passed by
computers.
Automated devices
_2029 VIEWED AS
are
companions,
teachers,
caretakers, and
lovers.
Holograms create
visual, auditory, &
tactile projections
of people and
objects in reality.
There is a growing discussion
about
the
legal
rights
of computers and what
constitutes being “human”.
Knowledge is being created
by machines with little or no
human intervention.
Machines
claim
to
be
conscious. Claims are largely
accepted.
Nanoproduced food
has the nutritional
composition and
similar taste
and texture
of organically
produced food.
_2049
Nano-engineer machines are
used in manufacturing.
100_
35. 27_
Picoengineering (developing
technology at the scale of
picometers or trillionths of a
meter) becomes practical.
A merger of
human thinking
with machine
intelligence.
There is no longer any clear
distinction between humans
and computers.
Conscious entities do not
have a permanent physical
presence.
Neural-implants
augment human
perceptual and
cognitive abilities.
As information can be
instantly understood, the goal
of education and intelligence
is to discover new knowledge.
_2072
Femroengineering proposals
_2099
are controversial.
Life expectancy
is no longer a
viable term for
intelligent beings.
Intelligent beings
consider the fate
of the Universe.
_DISTANTLY
37. 29_
PA R T I I I
building
speculation
A GOOD STORY IS ABOUT PEOPLE. GOOD
DESIGN IS ALSO ABOUT PEOPLE. THE LINK
BETWEEN DESIGN AND SCIENCE FICTION IS
WITHIN THE PLIGHT OF THE PEOPLE IN THE
N A R R AT I V E .
LEFT
The intersection of belief
demonstrates the existence of
four types of stories. Histories
are factual pasts, myths are
fictional pasts, trends are factual
futures, and scenarios are
38. _30
THE SIMILARITIES BETWEEN
writing and designing
“By combining these approaches, you now
have a framework to begin imagining your
world, the people that live in that world and
the effect that your science will have on
them”
_ Brian David Johnson
Science Fiction Prototyping
Design is a process through which we
create solutions for people. By using the
speculative processes in science fiction,
design has the ability to saturate all
aspects of human imperfection.
A new technology or research project
may inspire, but without application, it
has no tangible substance in our daily
lives. By positioning products within the
context of the future mundane, design
can better form the future.
39. HOW WE EXPERIENCE AND
INTERACT WITH A STORY
READING STORIES
Dr. Oatley and Dr. Mar reported in studies
that fiction readers seem to be better able
to understand other people, empathize with
them and see the world from their perspective.
LISTENING TO STORIES
“I think good radio often uses the techniques
of fiction: characters, scenes, a big urgent
emotional question. And as in the best fiction,
tone counts for a lot.”
_ Ira Glass
Creator, This American Life Podcast Series
WATCHING STORIES
“There is nothing more mysterious than
a tv set left on in an empty room. It is even
stranger than a man talking to himself or a
woman standing dreaming at her stove. It is as
if another planet is communicating with you.”
_ Jean Baudrillard
America
WRITING STORIES
“There is something universal about
approaches to storytelling and it is up to you
to change and mold it however you see fit.”
_ Joseph Campbell
The Power of the Myth
31_
40. _32
CHRISTOPHER KENNEDY
SHORT FICTION PROFESSOR
SYRACUSE UNIVERSITY
HTTP://AS-CASCADE.SYR.EDU
Christopher Kennedy is a graduate-level
writing professor at Syracuse University with
30 years of experience writing poetry.
He teaches a class called “forms” that
encourages serious writers to exercise and
practice new methods to creative writing in
poetry and short fiction.
building
alternate
world lies in
associations
with our
world.
41. Pe op le A re
tt er
nd th em — th e po
th e w or ld ar ou ed by m ud dy re d fin ge rs
cl ay of
Pe op le ar e th e to be m ol de d an d sh ap
e
e m ad e
t of th e C lif fs id
ce lls
Th ey ar
gh th ey gr ew ou bl oo d an d or ga ns , m ad e of
ou
Th at lo ok as th ju st cr ea tu re s w ith
n
Pe op le ar e no t ta ils an d in si de s of th ei r ow er w at ch ed di sa pp ea r
“People Are”
w ith
’v e ev
Ti ny th in gs
tif ul su ns et th ey
on
ar e ev er y be au co lo re d on th e sk y lik e cr ay e ra inby Christopher R. Kennedy
Pe op le
s
d pi nk
ng in th
Re d an d go ld any m in ut e th ey ’v e sp en t w al ki r af te r m is si ng th e sc ho ol bu
er
ot he
Pe op le ar e ev el la w ith th ei r yo un ge r br
st ar m y
ar in g an um br sc en di ng up on WRITING a va DO th e USE SOUND
ShWHAT ELEMENTS DO YOU BRING INTOth em lik e HOW om YOU co ok ie ja r TO CREATE A
k fr
STORY?
e ra in dr op s de pe an ut bu tt
ThSHORT FICTION FROM POETRY? er co ok ie sn uc ze bo
le ar e ev er y
th e ol d ga
Pe op
un de r
e a a greatk
It’s ev er y fir st ki ss sh ar ed es more about There’sfir ew or example of it by Lydia Davis.
A nd very language-driven for me andin to th e ai r lik ei r ey es
ap or at
at ev
ge sound and rhythm - things da you would th
A the nt le on e, th rt an d th eythat re to op en She’sr a fiction writer and all of her inspiration
lip poem. Rather ha s ev er licup d comes ch eesound.eShe used the sound of the
ke th ei from k
ei r withsapa
associate
A ft er th
y do g th at than coming ed at th e lu nc h ta bl
Pe op le ar e ev erfor aha ve it’s er be frworking washing r machine, it’s rhythms being created
with an idea first ey story, ev usually ie nd ou nd af te sc ho ol
r
th
y
t
Ev er of ou tc as tor y on e that catches sh ed ar I was what fu ne her to sitye ar s af te write the
offw el phrase er sound th ey ’v e pu my no t du ri ng th e got ra l, bu down and
ear.
ev
l as
As
dm ot he r,
This
might hear sh ed fo r a gr an pi an o re ci ta l
Ev er y te ar somebody say something and use story.nd thing sort of ticked for me and got me
a
ri ng
what
that y no te st ru ck du th ey pl uc k Because,e gr ou
as a starting, jumping off point. fr om th thinking about on a couple of words sound
Ev er
a dr ag
as s
er y bl ad e of gr writing ey se already know m bl es so da me.ttAnd I ask myself “why do
w hi ch re se interesting to bo le
Ev not interested cl ou d th what I e
I’m
in
a
ey
m ul us
Ev er y to write, I’m gh w hi sp er ed in finding out op en om ac ro ss th e st re et to me and what
I want cu in g si more interested w he n th ngthose words sound interesting
st ra er fr
hi ss
ta l
Ev er yI can write thatsh ar e know consciously.
is inri ve subconscious to trigger interest?” I just
my r
what
I don’t w ith a to
Ev er y sm ile th ey, lik e th e ri pp lin g w at er in a r m os t pr ec io us po ss es si on
, ou
flu id
assume there’s more there.
d bl es si ng
Pe op le ar e
ou r m os t bl es se
Ke nn ed y
A nd ch an ge is
WHAT IS A TYPICAL ASSIGNMENT FOR THE
- C hr is to ph er R.
I wrote a poem based on a comment I heard by
WRITING FORMS CLASS?
I passed on the Quad that said “Oh
a student
In the class, it’s pure creative responses to that happened the day before my violin broke.”
whatever they read. I’m asking them to just And I thought it was the strangest way to frame
write and reflect on what they want to write that, so I used the title to write something new.
after reading that writer. So, how does that Hearing her say that gave me the opportunity
inspire them to write something that you might to write.
have not of otherwise? For the most part, I
think people just write and try to use that as a HOW CONSCIOUS OF THE READER IS THE
starting point. To not worry about it being read FICTION WRITER?
by anyone else.
It’s more so of doing a good job of making
an alternate reality seem interesting enough
HOW OFTEN DO YOU SIT DOWN AND GET INTO
for someone to want to know what’s going to
THE MODE OF WRITING?
happen in that alternate reality. I remember
I try to write everyday. Sometimes I’ll write for a reading Ray Bradbury - what’s interesting about
while, and sometimes I can only write for a short those writers is that they create a world that
time. But, I like to stay in that habit. The hardest you believe. And if you believe that world, you
thing to do is to write when you don’t feel like it. will believe what happens to those characters.
You’re going to make an association to
People have a misconception about the something in this world. That requires an
inspirational aspect of writing. It’s like if you’re understanding of what’s going on in this world,
an athlete. You wouldn’t sit around and wait to as well as the world that you are creating and
be struck by inspiration to throw a football.
the relationship between those two worlds.
ARE THERE ANY MEMORABLE SHORT STORIES
OR POEMS?
They’re all good - there are always good
responses. That’s one of the great things about
teaching classes. They’re all different from each
other. They read the same thing but then what
they write is extremely different than another
person. It’s always interesting to see how they
interpret or how they’re inspired and integrate it
into their own voice when they sit down to write.
I remember when I was a freshman in High
School, I read the Marshain Chronicles by
Bradbury. They go to Mars and they’re setting
up a hot dog stand. He made it seem like what
would be going on here, but it was in a strange
environment. It is a comment on something
going on in your life.
33_
42. _34
SCIENCE FICTION PROTOTYPING:
G U I D E L I N E S W R I T I N G A S T O R Y [8]
_0 1
PIC K YO UR S C IEN C E & B UIL D YO UR WO R L D
Choose the science or
technology
to
explore
and give it an explanation.
Establish the main characters
and the location of the action.
_0 2
THE S C IEN TIFIC IN FL EC TIO N PO IN T
Explore
the
affect
the
technology has on daily life,
governments, and systems in
your story.
_0 3
R AM IFICATIO N S O F THE S C IEN C E O N PEO PL E
What effect does the science
have on the world? How does
it change people’s lives? Does
it create a new danger?
_0 4
THE HUM AN IN FL EC TIO N PO IN T
What did we learn from seeing
technology conceptualized?
Can the technology be
modified to fix the problem?
identify
opportunities
for
experimentation and research.
_05
W H AT D I D W E L E A R N
What can be improved? What
fears are unfounded? How
has your exploration changed
your outlook? How could it
improve your research?
43. DESIGN PROCESS
AND FLOW
U N PAC K
AS S U M P T I ONS
W I T H DATA &
A N E C DOT ES
D E VE LOP
P E RSON AS
B ASE D ON
STA KE HOLD E RS
si m ul ate
stakehol der
ex peri ences
SY NT H E S IZE
RE S E A RC H
P ROP OSE
D E SIG N
D IRE CTION
TO SOLVE THE
P ROB LE M
AT T E M P T
S O LU T I O N
THROUGH
P R OTOT YP I N G
35_
44. _36
1956
FRED M. WILCOX
FORBIDDEN PLANET
When I watched this film for the first time, I
immediately drawn to the questions raised by
the use of the technologies in the story and how
they shaped the flow of the narrative.
When we are first introduced to the MindHarvesting Machine, it is merely presented as
a fantastic machine that allows us the freedom
to shape tangible objects from our minds. Is
it not until we learn about the fate of the Krell
people and expeditioners that we discover
the machine’s implications. While being able
to produce physical objects from the mind and
place them anywhere, this machine created
monsters from our minds and wiped out a
species.
While technology can frighten us with it’s
possibilities, Science Fiction stories like these
provide valuable lessons about how we should
consider a design before setting it loose. Design
cannot be taken lightly, as we come to depend
on it for life.
As the story unfolds, and the power of
technology revealed, character development
occurs. While assistive technologies in the film
are highly imaginative and fantastic, they also sit
in the shadows lurking
CHARACTERS CAN BE
UNDERSTOOD IN THEIR
R E L AT I O N S H I P S W I T H
T E C H N O L O G Y.
45. 37_
1
e
pl
im rs
s
a vo
as urvi
ts
ar r s
st h fo
t
ha rc
W sea
pr Be
od co
uc me
ts s
f a
ge rom n ex
ni
us an plor
sp ext ati
ec inc on
ie t s of
s
up
er
2
-
One of which is a robot with a
personality who inhibits harm
To rational beings
5
“M Cul
on min
st at
e
th r of ing
e
mi the in a
nd Id de
of ” c va
a rea sta
hu t ti
ma ed ng
n fro
m
l
oo t
s t ifes
u
rio an
te o m
ys t ts
r m i n db j e c
e
th e m o
no th ible
a s g
e
d
An t us tan
a
th
4
3
46. _38
R E L AT I N G S P E C U L AT I O N S O F F O R B I D D E N P L A N E T TO TO DAY
ROBBY THE ROBOT
ROTATING
ANTENNA EARS
Robby is
simply a tool.
Tremendously
strong,
of course.
CURVED BLUE
LIGHT ORGAN
SYNTHETIC
VOICE
LASER BEAM
CHEMICAL LAB
SUBSTANCE
REPRODUCER
_ DOCTOR MORBIUS
MECHANICAL
LEGS
[11]
[10]
WIRELESS
3D PRINTING
Technology without a direct
line or connection to a system
is an accordance in most
devices today.
Being able to build almost
product from a computer
drawing is a feat that
embodies the future of how
our world will be shaped.
NATURAL LANGUAGE
PROCESSING
100_
Speech recognition by a
computer or informationprocessing system is a service
available at our fingertips
through
companies
like
GoogleVoice and Apple’s Siri.
These systems use databases
of possible requests and
translate language to data.
47. 39_
THE MIND-HARVESTING MACHINE
In the wrong
hands, mightn’t
such a tool
become a deadly
weapon?
OPERATED BY
ELECTROMAGNETIC
BRAIN IMPULSES
PROJECT
SOLID MATTER
ANYWHERE
SELF-SUSTAINING
AND REPAIRING
_ DOC OSTROW
[13]
[14]
NANOTECHNOLOGICAL
MANUFACTURING
DESIGNING 3D OBJECTS FROM
OUR BRAINS
THE COMPUTATIONAL
SINGULARITY
The scale of manufacturing is
decreasing significantly to the
molecular and cellular level.
At this scale, experimentation
with the reproduction of living
things is being developed.
The “Thinker-Thing” captures
electric brain waves and
converts them into 3D models
that can be 3D printed.
Information processing or “computation” can be done much
faster than we do it. Further, there
appear no obvious physical limits
as to how fast computation may
ultimately be done.
_ Ira Glass
Creator, This American Life
W E R E W E R I G H T A B O U T H O W W E T H O U G H T T H E S Podcast E C T S
E O B J Series
WOULD BE SHAPED?
48. _40
HOW CAN SCIENCE
FICTION FILMS
GALVANIZE DESIGN
THINKING?
THE ACTIVITY
I wondered what elements from
science fiction designers would
pull into their creative work.
By showing a highly imaginative
and visual film such as WALL-E
in the studio space, designers
began to draw by using a
reference design in the film and
progressively adding to it.
51. 43_
THE GLOBAL
Village
PA R T I V
T H E H E R O I C T H E O R Y O F “ M U LT I P L E
D I S C OV E R Y ” H Y P OT H E S I Z E S T H AT M O S T
I N V E N T I O N S A R E M A D E I N D E P E N D E N T LY B Y
M A N Y P E O P L E AT O N C E . T O D AY, W E A R E
S I M U LT A N E O U S LY C O N N E C T E D T H R O U G H
T E C H N O L O G Y T O P A R T I C I P A T E I N A C T I V E LY
C O - C R E AT I N G T H E F U T U R E .
LEFT
Collective future visions
manifested by digital social
networks that enable us
to gather and collaborate
on projects for the greater
good.
52. _44
MASS
COLLABORATION
The truth is out there.
_ Fox Mulder, THE X-FILES
enabled E I G H T M I L L I O N
P E O P L E to stream Felix Baumgartner
jump from the edge of space back onto W H E N W E W O R K
TO G E T H E R , W E H AV E
Earth.
Technology
Mass collaboration is the effort to engage
broad and diverse groups of participants
in generating innovative and relevant
solutions to the world’s most pressing
and complex problems. As accessibility
to technology grows, the demand goes
beyond consuming experiences - it
becomes the desire to participate in
them.
THE ABILITY TO
TA K E M O R E I N TO
C O N S I D E R AT I O N .
53. 45_
VIEW FROM ABOVE
My first job as Designer in
Residence for NASA was to
participate in a hackathon
and build something within
a weekend. Using astronaut
photography, my team
developed an application for
viewing these photos using
ISS coordinates.
55. WE HAVE CHOSEN
TO SEND HUMANS
INTO SPACE FOR A
REASON : TO HEAR
THEIR STORIES
ISS CARRIER
The tools we designed to support
human life outside of our world
had to be considered before
sending a mission into Space.
The design of the International
Space Station focuses on
optimizing
room,
securing
safety, lining the walls with
experimentation chambers, and
marginal room for Astronaut
leisure time.
47_
56. _48
open nasa
NASA
is
expanding
transparency,
participation, and collaboration and creating
a new level of openness and accountability.
We are focusing on embedding open
government into three integrated aspects
of our operations—policy, technology,
and culture. Whether NASA is using social
networks to allow students to interact
directly with astronauts, or creating a Cloud
Computing Platform to give unprecedented
access to scientific data, we have embraced
the Open Government Directive.
_ openNASA Team
open.nasa.gov
I could have never anticipated to learn as
much about the complicated relationship
between government and citizen until I
stepped onto the Johnson Space Center
grounds as open NASA’s Designer in
Residence.
In 1958, NASA formed by principle to
“provide for the widest practicable and
appropriate dissemination of information”.
The Open Government Initiative is a call for
government agencies worldwide to de-pack
the mysteries of their organizations, innovate
policies, infuse new culture internally, and
expose the public to complex data sets
through technology.
58. _50
2013
ROCHESTER AFTER-DARK
SCI-FI FRIDAY EXHIBITION
Science Fiction inspires us to gather around
ideas and like-minded people.
At the Rochester Museum and Science Center,
an exhibit on Alien Worlds and Androids drew a
crowd of all ages together to celebrate the history of science fiction.
The design of the costumes at the event demonstrated how we define science fiction visually. By taking a few basic materials and shaping
them around our bodies, the materials begin to
have a form and a story.
The creation of these “wearables” was a quick,
generative process that suspended our expectations of design and what they do to our bodies.
ABOVE
Event programs for the Sci-fi
Friday exhibition.
59. 51_
SCIENCE FICTION PROTOTYPES
A designed science fiction
costume using a bowl, a jewelry
piece, and different types of
flexible turbing,
THE SINGING TESLA COIL
CONVENTION GOERS
Tesla was an inventor, electrical
engineer, mechanical engineer,
physicist, and futurist.
The Tesla Coil was invented to
provide electricity. This version
of the coil is modified to produce
musical tones.
Our fascination with Science
Fiction is apparent through the
collection of attendees. While
Science Fiction pursues our
imaginations, it also is a way that
we can connect with one another.
60. _52
I don’t know,
but I can guess.
RESEARCH METHOD
I read this story to 3 people and
asked them to draw what they
pictured being described in the
speculative piece about life in
2014.
Isaac Asimov was not only a
science fiction writer, he was also
a futurist and the creator of the 3
Laws of Robotics.
61. 53_
1964
ISAAC ASIMOV
VISIT TO WORLD’S FAIRE
... The scenes, set in or about
1900, 1920, 1940 and 1960,
show the advances of electrical
appliances and the changes they
are bringing to living. I enjoyed
it hugely and only regretted that
they had not carried the scenes
into the future. What will life be
like, say, in 2014 A.D., 50 years
from now? What will the World’s
Fair of 2014 be like?
I don’t know, but I can guess.
One thought that occurs to
me is that men will continue to
withdraw from nature in order to
create an environment that will
suit them better.
Jets of compressed air will also
lift land vehicles off the highways,
which, among other things,
will minimize paving problems.
Smooth earth or level lawns will
do as well as pavements. Bridges
will also be of less importance,
since cars will be capable of
crossing water on their jets,
though local ordinances will
discourage the practice.
Much effort will be put into
the designing of vehicles with
“Robot-brains”*vehicles that can
be set for particular destinations
and that will then proceed
there without interference by
the slow reflexes of a human
driver. I suspect one of the major
attractions of the 2014 fair will be
rides on small roboticized cars,
neatly and automatically avoiding
each other.
For short-range travel, moving
sidewalks (with benches on
either side, standing room
in the center) will be making
their appearance in downtown
sections. They will be raised
above the traffic. Traffic will
continue (on several levels in
some places) only because all
parking will be off-street and
because at least 80 per cent of
truck deliveries will be to certain
fixed centers at the city’s rim.
Compressed air tubes will carry
goods and materials over local
stretches, and the switching
devices that will place specific
shipments in specific destinations
will be one of the city’s marvels.
Communications will become
sight-sound and you will see
as well as hear the person you
telephone. The screen can be
used not only to see the people
you call but also for studying
documents and photographs and
reading passages from books.
Synchronous satellites, hovering
in space will make it possible
for you to direct-dial any spot
on earth, including the weather
stations in Antarctica (shown in
chill splendor as part of the ‘64
General Motors exhibit).
Although technology will still
keep up with population through
2014, it will be only through a
supreme effort and with but
partial success. Not all the world’s
population will enjoy the gadgety
world of the future to the full.
A larger portion than today will
be deprived and although they
may be better off, materially,
than today, they will be further
behind when compared with the
advanced portions of the world.
They will have moved backward,
relatively.
Even so, mankind will suffer badly
from the disease of boredom,
a disease spreading more
widely each year and growing
in intensity. This will have
serious mental, emotional and
sociological consequences, and
I dare say that psychiatry will be
far and away the most important
medical specialty in 2014. The
lucky few who can be involved in
creative work of any sort will be
the true elite of mankind, for they
alone will do more than serve a
machine.
Indeed, the most somber
speculation I can make about
A.D. 2014 is that in a society
of enforced leisure, the most
glorious single word in the
vocabulary will have become
work!
62. _54
1939/2013
C O M PA R I N G PA S T & P R E S E N T
WORLD FAIR(E)S
“Here millions of citizens may visualize the
national life that is to come. That it will be
a memorable and historic Fair, that it will
profoundly influence our national life to years to
come, and that success may attend every phase
of its activities - these are hopes of the people
of the United States.”
_ Franklin D. Roosevelt
Opening Lines of the
1939-40 World’s Faire Souvenir Book
Looking back on the past 75 years, the
innovations brought to the World’s Fair
in 1939 are transcendent to the world we
live in today.
In 1939, large exhibitions were designed
by powerhouse companies such as GE,
IBM, Westinghouse, and Bell Labs to W E W A N T T O B U I L D
showcase their visions of the future.
THE FUTURE
In 2006, MAKE brought back the Fair
to showcase the growing presence of
the Maker Culture and to demonstrate
the possibilities of experimenting with
technology in an open and transparent
way.
63. 55_
FAIR MISSION STATEMENT
“The eyes of the Fair are on the
future; it stresses the necessity
for peace. The Fair says to
it’s millions of visitors: “Here
are the materials, the ideas
and the forces at work in our
world. These are the ingenious
tools with which the World of
Tomorrow might be made.” [17]
FAIR DESCRIPTION
Maker Faire is an event “to
celebrate crafts, engineering,
science projects, and the
Do-It-Yourself (DIY) mindset.”
Sponsored by Disney.
64. _56
_ the map
[18]
NEW YO R K WO RL D’ S FA IR 1 939- 40
In 1939, America was coming off of it’s worst
economic period and tension was mounting
between nations leading up to World War II. To
inspire hope and look forward, a group of New
York City Policemen organized an international
exhibition.
East of New York City, 1,216 acres were allocated
for “Building the World of Tomorrow”.
65. 57_
_ the map
NE W YO RK M AKE R FAI R E 20 13
Since 2006, MAKE magazine has organized
and hosted “The Greatest Show (and Tell on
Earth”, or a celebration of the Maker movement.
Maker Faire sits on the same location as the
original site of the World’s Fair 1939, at the
New York Hall of Science, Flushing Meadows
Corona Park, Queens, New York.
66. _58
PAG E S F R O M T H E 1 9 3 9 - 4 0 N E W YO R K W O R L D ’ S FA I R
COMMUNITY INTERESTS
This section of the Fair
engaged visitors in a “Town
of Tomorrow”, where shelter,
education, religion, recreation,
and art were part of the
discussion.
SCIENCE AND EDUCATION
In order to education and
explain the power of science in
the future, exhibits, movies, and
lectures were tools to explain
how solving problems can be
done through experimentation,
observation, formulation of
hypotheses, and reflection.
67. 59_
COMMUNICATIONS
One of the largest centers
at the Fair speculated man’s
ability to consume knowledge,
sentiments, and ideas from
other men. The prediction
stated was that communication
will be shaped by man’s ability
and desire to communicate his
aspirations to is fellow men and
to posterity.
FARM FACTORIES
Tomorrow was expected to
provide us the ability to produce
food in an efficient, clean, and
convenient way. The image
shown from the souvenir book
demonstrates a future where
cows run through a conveyer
system that mechanically milks
the cows.
HOW MIGHT HAVE WE BEEN RIGHT AND HOW HAVE WE D E S I G N E D?
69. 61_
THE BRAND
THOUGHT-LEADERS
MAKE is a community-driven
company that develops in
relation to the interests of
the “makers”, “hackers”, and
“thinkers”. Despite a reliance
on the community to exist,
the MAKE brand has shaped
a community of their own and
have shaped how we define a
maker.
The main events of Maker Faire
revolve around the people who
speak. Lecturers are given 5 to
20 minutes to talk about their
projects and principles in the
community. Rather than MAKE
presenting, the company acts
as a gravitational force, pulling
in the “thought-leaders” of
today’s generation.
THE BOOTHS
MAKING THE MAKER
OPEN TO NEW EXPERIENCES
At Maker Faire, sponsors are
given an amount of space
to design their booth with.
Booths are grouped according
to category. This year, the 3D
Printing Village was the largest
and most popular collection of
booths.
Maker Faire is not a passive
experience by any means.
The intention of the Fair is
to educate new community
members. This means, all
ages, all races, and all levels of
intelligence have the ability to
walk up to an exhibit and make
something.
At any moment, you might
be struck by an insight or a
new process when visiting
the grounds at Maker Faire.
Not only do the sponsors and
thought-leaders teach us about
the future of their industry, but
a maker or child might ask a
question that was never before
considered.
70. _62
MAKER FAIRE DETROIT 2012 INSPIRED
KICKSTARTING A 3D
PRINTING COMPANY
In the summer of 2012, I was beginning to learn
about the world of making, sharing, data, and
communication between government and citizen at NASA. Many of the discussions within the
walls of NASA led to a group discussion on the
exciting promises of 3D printing.
When 3D printing was displayed at Maker Faire
Detroit, the industry was in it’s infancy. The prospects of being able to find a real purpose for the
technology led to the formation of a group of
friends who wanted to make a change.
Building a 3D printer from scratch starts with the
Rep-Rap wiki, an Open-Source framework and
set of guidelines calling for mass collaboration.
In order to build capacity and educate the masses from our perspectives, we decided to build
the technology.
From there, we launched on Kickstarter and
were funded $250,000 in 60 days.
73. W H AT I S 3 D P R I N T I N G?
HOW TO BUILD A 3D PRINTER
EXTRUDER WITH A FACE
DEMONSTRATING THE PROCESS
The barriers to entry are
increasingly lower for new
makers in the 3D printing
industry. Rep Rap is the forum
in which one can learn how
to build a machine that can
“replicate” itself by producing
the parts that it uses. In design,
this would be design for repair.
A 3D printer is a tool that
pulls plastic filament through
a heated port. With the use of
computer programming, the
device distributes successive
layers to form a shape.
The market for 3D printing is still
fairly new, so demonstrations
become
opportunities
to
build capacity. To capacity
build is to educate new
markets about the adaptive
power
of
implementing
new technologies in their
communities.
[21]
WHERE TO FIND A MARKET, THE
PRICE-POINT, AND COMMUNITY
Kickstarter is another example
of a company built around
community. This company
provides the space for new
businesses to test and market
a product they want to bring to
the world.
SHOWCASE PIECES
COMPARATIVE FICTION
Building a brand in a new
market involves understanding
how the user sees the product
in his or her life. Tangible
objects create conversation.
The Green Lantern is a hero.
When encountering a foe, his
imagination projects through
the lantern to produce a
tangible solution. In the above
image, the Green Lantern
projects a solar furnace to
avoid harm from harsh sun
rays.
65_
74. WHEN WE COME
FROM CONSUMER
CULTURE TO
MAKER CULTURE,
WE HAVE TO
START EVEN
THOUGH WE DON’T
KNOW HOW
75.
76. _68
MAKErs
Make it so.
_ Jean Luc Picard
Star Trek
With the advent of mass collaboration,
data combined with creativity allows for
the transcendence limitations imposed
by culture, time, and space.
When we started to share information
on a mass level with Google, Wikipedia,
Government websites, and community
forums, a shift began in our physical
worlds.
Makers emerge. Social network inclusion M A K E R S C R E A T E
gave way to publishing things from a S O L U T I O N S .
physical world - and soon projects that
were too big for one person.
in ____, MAKE began to document and
connect the people who wanted to grow
their network in building. Now, people
are gathering to meet and collaborate on
solutions never before explored.
RIGHT
Jimmy the Robot was
imagined by an Intel Futurist,
sketched by an illustrator, and
3D modeled and printed by
a maker for New York Maker
Faire 2013. [22]
78. _70
BRIAN DAVID JOHNSON
FUTURIST | INTEL
ROBOTS21.COM
Brian David Johnson is a futurist for Intel. At
New York Maker Faire 2013, Johnson gave a
talk titled, “Imagining the Future and Building
It”, simultaneously launching a global call
for hackers and makers to build their own
personal robot. Johnson envisions that we will
be imagining the future of robotics through his
flagship exploration “The Tomorrow Project”.
Two weeks later, I caught up with Johnson
about the project he’s launching and his
perspective on the role Science Fiction plays
in design thinking.
Robots can
facilitate the
relationships
shared
between
people.
79. 71_
WHAT IS THE ROBOTS21.COM PROJECT?
The 21st century robot platform is a project
through which we create social machines.
Unbounded, these robots start in the
imagination and move from the 3d file to the
mechanics. It’s a fiercely collaborative and
open source platform. Not just one group is
solving the problem, but it is intensely inclusive.
WHAT ROLE DO YOU SEE DESIGN PLAYING IN
THE PROJECT?
HOW HAS THE SCOPE OF ROBOTS21.COM
CHANGED SINCE IT’S LAUNCH?
With the launch of Maker Faire, Robot Hacks
has had a huge echoing effect. The illustrator
can’t keep up, he literally is overwhelmed with
positive attention.
HOW WOULD YOU DEFINE A ROBOT?
Design Science and Technology are merging
and I’m here to get people imagining and
designing robots in a different way. You don’t
have a wall anymore to learn the skills and
tools, but you still need trained designers and
people to do it.
I’m using human behavior to design higher
level AI. By using computers and AI, Robots
will exist, making their own good and bad
decisions. By looking at humans, we adapt
to situations. Instead of creating machines as
handicaps, we should be designing rational
robots.
We’ll begin to draw and design anything which
allows a level of hyper-personalization. Maybe
we’re not going to be building one robot, but
really, designing many.
In the world of Science Fiction, robots are
making rational and irrational decisions. When
you look at something like Jimmy, you don’t
know what’s going on in his head.
80. _72
HOW HAS SCIENCE FICTION INFLUENCED THE
PROJECT?
ARE YOU INVOLVING ETHICS IN THE
DISCUSSION AROUND YOUR PROJECT?
The project was nested around the notion of
Fiction first. So what I really want to do is say,
“Tell me a story of your robot”. When you say
“tell me what your robot would do different from
other robots”, you have a better understanding
of what you would want to create. Seeing and
hearing about robots the size of cars indicates
that there’s nothing he cannot do.
Technology is just a tool and tools are just
machines that do human work and this is what
I’ll take off my shoe and pound about. There
is no line to draw. If technology is a tool and if
tools do the work of humanity, then there is a
level of humanity in all tools.
In the role of what computational systems do,
they are just expressions of ourselves. Maybe
our better angels, our better selves, without
the dilemma of having an ego. Computational
systems are only programmed to do what
they’re meant to do.
AS A FUTURIST, WHERE DO YOU SEE ROBOTS
PLAYING A CRITICAL ROLE?
When you look at something like health care,
there is a huge potential for assistive robotics.
What if you begin to think about how you
care about a person. Robots can facilitate the
relationships shared between people.
Then, these robots become more of a social
network. They’re not just our servants folding
clothes, but they’re something more.
This will allow us to approach thinking about
robots in a different way. This way would be
more like, “oh yeah! we think about robots”. It
will not be a relationship based technology.
We have a fascination with the notions of
emotions and computing. To better serve
human life, robotics should be more about
the relationship and less about command and
control.
81. CONCLUSIONS
THE FUTURE IS STILL IN OUR
HANDS
A PHYSICAL OBJECT SUSPENDS
OUR BELIEF
Yes, the future is a scary and
haunting place. However, we
have not designed it yet. It
is still lingering, awaiting our
hands and minds. If we train
ourselves to consider before
we design, we might not have
much to fear in the future.
Jimmy the Robot was simple
a 3D modelled shell, but the
craft of his construction and his
life adventures have made us
believe.
THE PERSONALITY OF AN
INANIMATE OBJECT CAN BE
DEVELOPED IN FICTION
The decisions that were made
about who Jimmy was as a
character were determined by
writing speculative fiction about
him. Rather than developing
the technology to race the
market, Johnson believes
half the battle is crafting the
narrative of the design.
73_
82. _74
2013
MEET
Jimmy the robot
Ask yourself: Who do you want your robot
to be? Science fiction stories, comics, and
movies are powerful tools to imagine your
robot first. We can use science fiction
based on science fact to design robots
and then share those stories as a technical
requirements document.
_ Brian David Johnson
21st Century Robot
By initiating the project, Johnson is not
only forecasting the future, actively
making it happen. By engaging the crowd
at Maker Faire, Johnson is leveraging
the burgeoning maker community.
Compared to the 20th century, today
electronics are easy to learn and
computers are compact and as fast as
thought itself. By combining the quick
building tools we have at our fingertips,
robots are merely a hybrid of all of the
pieces.
83. DESIGNING SOMETHING WITH LIFE REQUIRES GUIDELINES
FROM A STORY
Johnson cited many popular
Science Fiction authors and
stories as the backbone for
the project. Johnson describes
the guiding principles for the
project.
ASIMOV’S
ROBOTICS
FIRST
LAW
OF
“1. A robot may not injure
a human being or, through
inaction, allow a human being
to come to harm.”
ASIMOV’S
ROBOTICS
SECOND
LAW
OF
“2. A robot must obey the
orders given to it by human
beings, except where such
orders would conflict with the
First Law.”
ASIMOV’S
ROBOTICS
THIRD
LAW
OF
“3. A robot must protect its
own existence as long as such
protection does not conflict
with the First or Second Law.”
75_
85. 77_
PA R T V
THE NEW NATURAL
TECHNOLOGY IS NOT DEVELOPED IN A
VAC U U M . A S I T ’ S C R E AT E D A N D T E S T E D
THROUGH IT’S USE, EXTRAORDINARY
DESIGNS BECOME COMMON PLACE AND
SOON IN INVISIBLE IN OUR LIVES.
LEFT
The human body is
becoming a model and mold
for technology development.
By building around our
bodies, we are becoming
one with our gadgets.
86. _78
MACHINES WITH
HUMAN SENSES
“The new technologies, with their new
machines, new images and interactive
screens, do not alienate me. Rather, they
form an integrated circuit with me. Video
screens, televisions, computers and
Minitels resemble nothing so much as
contact lenses in that they are so many
transparent prostheses, integrated into the
body to the point of being almost part of its
genetic make-up: they are like pacemakers
-- or like Philip K. Dick’s “papula”, a tiny
implant, grafted onto the body at birth as
a “free gift”, which serves the organism as
an alarm signal. All our relationships with
networks and screens, whether willed or
not, are of this order. Their structure is one
of subordination, not of alienation -- the
structure of the integrated circuit. Man or
machine? Impossible to tell.“
_ Jean Baudrillard
Xerox And Infinity
[26]
87. S O M E O F O U R C H A R AC T E R I ST I C S T H AT S H O U L D
BE WORKED WITH AND MIMICKED
INF ORMATI O N
PROCE SSI N G,
RE F LE CT IO N ,
PAT T E RNDE CIPHE R I N G,
DE CISION -M AK I N G
SIGHT
SOUND
SME LL
TAST E
HAPT IC
TOUCH
79_
88. THINGS OF THE
FUTURE SHOULD
COMPLIMENT
HUMAN TRAITS.
THEY SHOULD
NEVER DISABLE
HUMAN
CHARACTERISTICS.
89.
90. _82
THE SHAPE OF EMERGING
TECHNOLOGY
The transformative potential of Utopia
depends on locating it in the future, on thinking
through the process of transformation from
the present, and identifying the potential
agents of transformation
_Ruth Levitas
Dark Horizons: Science Fiction and the
Dystopian Imagination
It has never been easier to find new
knowledge and to string the connections
between ideas than it is right now.
New technology is conceptualized as
solutions that will build a happier, more
productive, and beautiful life.
Films present us with props, which are
is merely physical conceptual shelled
forms. These photos may appear as
fictional props, but are actually just a
small collection of designs in the last 2
years.
92. _84
lorne covington
INTERACTIVE PARTICIPATORY ARTIST
NOIRFLUX.COM
Lorne Covington is an independent interaction
artist who develops projects for science and
technology museums in New York State. By
using technology such as Kinect, projectors,
screens, and programming, Lorne has been
able to envision new experiences through
gestural and skeletal tracking.
I visited Lorne’s studio to see his environment
and learn more about what has brought him to
the work he’s involved with today. Lorne has
not only worked in participatory art, but is also
a software developer, worked in high tech,
robotics, and has studied animal behavior as
an oceanographer.
INTERACTIONS
SHOULD BE
NATURAL
the first
time made.
93. 85_
WHAT KIND OF WORK DO YOU DO?
WHAT WORK HAVE YOU DONE IN THE PAST?
About 4 years ago, I moved to Syracuse about
and became a reclusive artist in my studio. I
want everything to be ideally interactive from
the first interaction. This goes into a lot of user
experience and psychology.
I was working in the high tech industry
and spent many years managing product
development. I was also an oceanographer
for 4 years exploring the world. About 5 years
ago, I got back into art and became interested
in large, participatory art.
WHAT GOT YOU STARTED?
HAS SCIENCE FICTION INFLUENCED YOU IN
OTHER WAYS?
In 1981, I took a 3 year stint to start an
interactive video company. This is a time
when multimedia meant synchronized slide
projectors. We thought we were 5 years ahead
of our time. We did things called video disc
players before they came out.
I was working with producer Michael Phillips
from Close Encounters of the Third Kind. His
production studio was interested and wanted
to use it. Then the PC came out and we lost to
the new competition, IBM. Then, the only party
interested was the government for military
training so we pulled the plug. We wanted to
make interactive films.
I used to do 16millimeter films as a teenager
and the key thing for me was that I grew up
across the street from a large theatre with
a huge screen. I would go and see movies
that were larger than anything else and it felt
like you were inside. That was a tremendous
influence.
94. _86
WHAT IS YOUR APPROACH TO INTEGRATING
NEW TECHNOLOGY?
From the beginning, I have always been
interested in the development of a narrative in
the process not for storytelling but for exploratory
learning. I want something with great personal
involvement. Particularly if it touches you in your
personal space. That has a hook - that has an
emotional, visceral hook to it. I’ve been thinking
a lot about how to allow someone to explore a
situation on their own based on it’s own merits.
WHAT DO YOU HOPE TO DO IN THE FUTURE
WITH THIS TECHNOLOGY?
We’re talking about doing a memorial for PAN
AM flight 103 using virtual reality. You might walk
through the plane, say who is this and know
their story. It will personalize what happened
and will help you explore the backstory and
impact it had.
WHAT PROJECTS ARE YOU WORKING ON?
There’s one exhibition about the sun, and
the other about quasi controlling a robot
with your body. It’s not just an avatar, but
he’ll become bored with you. The idea of
this is to teach about space exploration and
guided autonomy. The rovers on mars cannot
be under direct control and make their own
decisions due to the lag in communication.
95. CONCLUSIONS
HOW YOU SEE ME
The Oculus Rift Head-Mounted
Display is an immersive digital
technology piece. However,
while it immerses you in one
digital environment, it isolates
you in a physical world.
WHAT I SEE
Using powerful information
networks, such as Wikipedia,
Oculus Rift can be used to
navigate pure visualizations
of information.
When I took off the Rift, it was
disjointing to re-enter reality.
WHAT THE COMPUTER SEES
To position itself in space,
Oculus Rift makes judgements
about where it is based on the
direction that your head is in
and where your head moves.
Covington attached an infared
camera to the top of the Rift
to locate the wearers hands
in space for an interactive
information space.
87_
97. LEADING MOTION SENSING
D E V E LO P I N G P L AT F O R M TO O L S
X B OX
KINECT
KINECT DESIGN CONSTRAINTS
Kinect is a great tool for
designers and engineers to
play with interactive full-body
projects. However, the device
was designed for a living room
environment and therefore
functions best at a 6FT range.
6FT
2FT
LEAP INTERACTION AREA
LEA P MOT ION
2FT
2 FT
This desktop design is capable
of being able to read our hands
from 2FT above and on either
side of the device. Therefore,
the Leap device is intended for
individual use.
89_
98. _90
“ M O O R E ’ S L AW ” - F U T U R I ST S P E C U L AT I O N
LOW E R C O ST S O F H A R DWA R E TO DAY
For a developer, technologies that we
can build things with are lowering in
costs significantly every year. The lower
the cost, the lower the barrier to building,
and the closer we are to having idealized
interactions that almost disappear into
our everyday.
Coupled with our online interactions
and information sharing, the low costs
of hardware are allowing more and more
people to participate in building things.
$5 00
$20 0 0
20 0 8
PR OJEC TOR
2013
H E AD - MO UNT ED
DISPLAY
201 3
2005
I NTEG RAT ED
C IRC UITS
2013
3 D PRINT ER
2013
2010
MOTI ON SENSING
TE CHNOLO GY
2013
100_
99. 91_
“MOORE’S LAW” SPECULATION
Intel
co-founder
Gordon
Moore predicted famously that
the number of transistors on an
integrated circuit will double
every two years.
This
speculation
is
a
cornerstone in discussions on
lower barriers to technology
and can be applied to other
innovations.
$ 2 0,000
1990
2 01 0
100. _92
GOOGLE GLASSES
“Google Glass has the vision allowing us to
continue to be in the world but also have
access to the digital things that we need
and love.”
_Tom Chi
TEDYouth 2012
101. 93_
THE USER INTERFACE
THE SIZE OF THE DISPLAY
A whole new interaction
occurs when you put on a pair
of Google Glasses. Saying
“OK Glass”, tilting your head
up, and a touch surface on
the side brim to scroll are
main interaction points.
The Google Glass display
occupies a small quadrant
of your eye, towards the
peripheral. This just enough
room for one display at a time.
COMPARATIVE FICTION
HISTORY’S ROLE
The Google X prototyping
team cited Minority Report as
the inspiration for designing
an interaction we desire with
technology.
This technology is viewed
as “disruptive” to the market
today, but has a history of
being imagined by authors of
futurist speculations.
102. _94
LESSONS LEARNED FROM
RAPID prototyping a
wearable computer
“I spent two years of my life building the user
experience team for the google x division
of google, and it’s a place I affectionately
call the Department of Science Fiction
because of the futuristic nature of the types
of project we take on: self-driving cars,
google glass, and other things that you’ll
see soon enough.”
_Tom Chi
TEDYouth 2012
Google X’s explorer program is an open
invitation for early adopters of the product
to imagine and design software or hardware
solutions for the Google Glass family.
Tom Chi spoke at TEDYouth to educate the
masses that building a product like Google
Glass can happen with just a couple of quick
building experiments using materials available
at your fingertips.
When a powerful corporation like Google or
Intel asks outsiders to design for and with their
product, it’s an indication of a new movement
where the citizen is the participant and designer.
103. 95_
FIND THE QUICKEST PATH TO
EXPERIENCE
DOING IS THE BEST KIND OF
THINKING
Within one day, you want to
be able have the experience
that you are designing.
Problems come up when you
start to imagine what it looks
like to have a digital display in
your physical world.
Using hairbands, chopsticks,
binder clips, and fishing
line, the team prototyped
an experience like seen in
Minority report.
In 45 minutes, the team was
able test and move past the
idea of a design.
USE MATERIALS THAT MOVE
AT THE SPEED OF THOUGHT
TO MAXIMIZE YOUR RATE OF
LEARNING
RAPID PROTOTYPING IS AN
ACTION AVAILABLE TO ALL OF US
To figure out how to design
something for comfort, use
materials with similar physical
properties as the final material.
What was discovered was
that ears can carry more
weight than your nose. When
weight is placed on the back
of your glasses, they sit more
comfortably on your face.
Expansive learning is the
action of using paper, clay,
and tape to find a new insight
in an ancient technology.
Through the process of rapid
prototyping, you are able to
do the learning that you do on
behalf of humanity.
104. _26
9
A N A P P L I C AT I O N F O R G O O G L E G L A S S
JOURNOVATION
“It’s our over arching belief that the future
for journalists is bright as long as they
focus on how best to meet the needs of the
audiences they seek to inform. Individual
success stories abound, but they are often
drowned out by the larger discussion about
how to save the news industry and practices
of the last century.”
_ Journovation.syr.edu/about-us/
Google Glass is a technology being currently
explored by journalism students in the
Newhouse School of Communications at
Syracuse University. Professors and advocates
are pursuing “Civic Media” as a way to capture
stories, engage participants, and provide an
experience of the story to the consumer.
105. 97_
PROFESSOR DR4WARD
Through the Google Glass
explorer program, Professor
DR4WARD created a class to
envision future products that
would be designed for and by
Journalists.
106. _98
EXPERIENCING
STORIES
CREATES
EMPATHY
dan pacheco
NEWHOUSE | SYRACUSE UNIVERSITY
CIVICMEDIA.SYR.EDU
Pacheco is the Peter A. Horvitz Endowed Chair
in Journalism Innovation at the Newhouse
School and publishes Journovation Central.
Dan Pacheco is a digital journalist with 18 years
of experience in news and information startups
and new product development. He joined
the launch team for Washingtonpost.com in
1994, where he produced its first business,
technology and community sections.
I met Pacheco visiting the Newhouse building
to learn about how Google Glass is being
integrated into the program. Pacheco believes
in constant innovation and reinvention for
individuals and industries.
107. TELL ME MORE ABOUT WHAT YOU DO.
My role is chair of Journalism Innovation
and my job is to explore the intersection
of journalism and technology. Also, I teach
some entrepreneurial skills to people who
are interested in being journalists. More and
more, jobs that they would have had are
fewer because they are detracting in the
field of journalism alone. The legacy world is
subtracting and they’re trying to stabilize.
HOW DOES ENTREPRENEURSHIP ASSIST
JOURNALIST STUDENTS?
There are new technologies showing up
everyday for the individual journalist that
creates a lot of opportunities for them.
I’m all about preparing students for future
growth so that they have permission to dream
big and also thinking beyond the industries
that were created in the early industrial
revolution.
WHAT SORTS OF PROJECTS AND WHAT TYPES
OF SKILLS ARE BEING DEVELOPED?
WHAT WAS YOUR FAVORITE PROJECT TO
EXPERIENCE?
We have found that there are people who are
interested in filling the information gaps that
these struggling legacy firms can’t fill even if
they wanted to.
The best project was with a whole bunch
of sensors around a room while wearing a
head-mounted display. The head-mount had
x,y,z coordinates which allowed anyone to
be and placed into an alternate world. While
you’re in that space, the computer will feed
you information as you experience this other
environment.
Understanding the impact fracking has on
groundwater. You could create a game where
people experience this with their hands and
understand those a lot letter if they read it in a
40 inch piece of paper. Engage people around
gesture-based technology in ways they’re not
interested.
99_
108. _100
WHOSE PROJECT WAS THAT AND HOW MUCH
DID IT COST TO PRODUCE?
The technology was 100,000 dollars a year
ago. We set this room up into a holodeck.
Nonny de la Peña is using the technology for
documentary film-making. Her project “Hunger
in Los Angeles” has audio from an event in
the setting and she re-created the event with
avatars. You are in a food line when a person
falls to the ground in a diabetic coma. You feel
like you’re there because you hear the audio
and you’re seeing things in 3D, some people
end up crying. It makes people experience
the story rather than just reading it. There
are so many tragic stories everyday. We read
about these things everyday but we tune it out
because we can’t relate to it.
WHAT IS THE BIGGEST RESULT YOU’VE SEEN
FROM OVERLAYING TECHNOLOGY AND
JOURNALISM?
When you read or hear about the stories the
next time, you feel empathic towards them
because you feel like you were there in a
way. This technology can be used to facilitate
experiences.
109. CONCLUSIONS
GOOGLE GLASS IS THE FUTURE
IT IS A SEAMLESS INTERACTION
The first interaction I had
with Google Glasses were
when I stepped into Professor
DR4WARD’s office and met
him wearing them. While
skeptical at first, once I put
them on for myself, I began to
feel as though my life could
be enhanced using them.
To learn how to use Google
Glasses, I had to be instructed
how to move my hands and
my head in coordination with
the product. Once then, I was
aware of how I was interacting
with it.
TECHNOLOGICAL DISTRACTIONS
FADED INTO THE BACKGROUND
GOOGLE GLASS IS A TOOL, NOT A
PRODUCT
The display sits in the corner of
my eye, and while I’m talking
to someone one-on-one, the
prism will be lit if I am using
it. However, if not in use the
device will automatically turn
off and slip away to reveal the
world you’re actually in.
The Google explorer program
for Glass says something
about how the company
wants the product to develop.
Rather than being told what
it should or should not be,
the Glasses are made to be
designed with.
101_
110.
111. 103_
CONCLUSIONS
the product
as the hero
STORIES ARE A DESIGNER’S PORTEND TO
THE FUTURE. OFTEN TIMES, THE PRODUCT
IS THE PROTAGONIST AND SHAPER OF
P E O P L E I N T H E S T O R Y.
LEFT
Products play a role in
our lives. Bruce Sterling
writes, “just as we shape
things, they also shape us”.
In this model, a feedback
loop between human and
machine is established.
112. _104
PRODUCTS CAN BE
CHARACTERIZED
“The individual has to find an aspect of
myth that relates to his own life.”
_Joseph Campbell
The Power of Myth
Contextualization is an activity where
the background of a main character or
product is highlighted and analyzed. In
the process of analyzation, humans have
the unique ability to have an honest
perspective on the technosocial.
The technosocial is the social life of
technology. We can no longer ignore
that technology has a life in ours. It
wishes to breathe as we breathe, and
we will design it that way to immortalize
ourselves.
As we design this technology, we need
to have an understanding of the dialect
we design into it, and it’s personification
as a hero or villain.
JUST AS A CHARACTER IS THE
P R O D U C T O F I T ’ S E N V I R O N M E N T,
A PRODUCT IS SHAPED THROUGH
IT’S EXPERIENCES.
116. _108
THE LOVE LETTER
& BREAK-UP LETTER
“The Breakup Letter is a design research tool
that Smart Design uses to understand the
emotional connection between people and
their products, services, and experiences.”
_ Smart Design
Smart Design: The Breakup Letter
http://vimeo.com/11854531
When we interact with a story, we are
leaning about the character and growing
to love and empathize with their plight.
Some of the most interesting stories are
where things are imperfect. Learning
about why that is, reflecting on the
moments that didn’t work, and finding a
replacement is in the hands of the user.
Inanimate devices that we depend on for
certain things in our lives can either play
hero and villain - saving or breaking our
lifestyles.
To de-pack some of the mysteries of
these relationships, I asked three very
different people to write a love letter
and break-up letter to a cornerstone
object in their lives.
126. _118
PATA
PATA
PAT ( i )
POTIOR
to have a
share in and take
possession of
PHYSICAL
PHYSICA
PHYSIC
relating to the body,
contact, or the operation
of natural forces generally
PHYSICAL
127. 119_
50 GIRLS 50
AL WILLIAMSON
a reader today looks at a
piece of speculative fiction in
comic-strip form.
This particular comic is
adapted from William Gibson
Science Fiction. In this story,
space suits are a lifeline for
the characters.
128. _120
CHARACTERS CAN BE
UNDERSTOOD IN THEIR
R E L AT I O N S H I P S W I T H
T E C H N O L O G Y.
WHEN WE WORK
TO G E T H E R , W E H AV E
THE ABILITY TO
TA K E M O R E I N TO
C O N S I D E R AT I O N .
129. 121_
WE WANT TO BUILD
THE FUTURE
M A K E R S C R E AT E
SOLUTIONS.
JUST AS A CHARACTER
IS THE PRODUCT OF
I T ’ S E N V I R O N M E N T, A
PRODUCT IS SHAPED
THROUGH IT’S
EXPERIENCES.
130. _122
A merry little surge
of electricity piped by
automatic alarm from
the mood organ beside
his bed awakened
Rick Deckard.
RESEARCH METHOD
I read this story to 3 people and
asked them to draw what they
pictured being described in this
excerpt from the story.
Before bed every night, I would
listen to a new chapter in this
book. When I listened to the
stories, I found myself forming
images in my head of the
speculative technology.
131. 123_
PHILLIP H. DICK
do androids dream of
electric sheep?
He sighed, defeated by her
threat. ‘I’ll dial what’s on my
schedule for today.’ Examining
the schedule for 3 January
1992, he saw that a businesslike
professional attitude was called
for.
‘If I dial by schedule,’ he said
warily, ‘will you agree to also?’
He waited, canny enough not to
commit himself until his wife had
agreed to follow suit.
‘My schedule for today lists a sixhour self-accusatory depression,’
Iran said.
‘What? Why did you schedule
that?’ It defeated the whole
purpose of the mood organ. ‘I
didn’t even know you could set
it for that,’ he said gloomily. ‘I
was sitting here one afternoon,’
Iran said, ‘and naturally I had
turned on Buster Friendly and
His Friendly Friends and he was
talking about a big news item
he’s about to break and then
that awful commercial came on,
the one I hate; you know, for
Mountibank Lead Codpieces.
And so for a minute I shut off the
sound. And I heard the building,
this building; I heard the - ’ She
gestured.
‘Empty apartments,’ Rick said.
Sometimes he heard them at
night when he was supposed to
be asleep. And yet, for this day
and age a one-half occupied
conapt building rated high in the
scheme of population density;
out in what had been before the
war the suburbs one could find
buildings entirely empty … or
so he had heard. He had let the
information remain second hand;
like most people he did not care
to experience it directly.
‘At that moment,’ Iran said, ‘when
I had the TV sound off, I was in a
382 mood; I had just dialled it. So
although I heard the emptiness
intellectually, I didn’t feel it. My
first reaction consisted of being
grateful that we could afford
a Penfield mood organ. But
then I realized how unhealthy
it was, sensing the absence of
life, not just in this building but
everywhere, and not reacting –
do you see? I guess you don’t.
But that used to be considered a
sign of mental illness; they called
it “absence of appropriate affect”.
So I left the TV sound off and I
sat down at my mood organ and I
experimented. And I finally found
a setting for despair.’
Her dark, pert face showed
satisfaction, as if she had
achieved something of worth. ‘So
I put it on my schedule for twice a
month: I think that’s a reasonable
amount of time to feel hopeless
about everything, about staying
here on Earth after everybody
who’s smart has emigrated, don’t
you think?’
‘But a mood like that,’ Rick said,
‘you’re apt to stay in it, not
dial your way out. Despair like
that, about total reality, is self.
Perpetuating.’
‘I programme an automatic
resetting for three hours later,’
his wife said sleekly. ‘A 481.
Awareness of the manifold
possibilities open to me in the
future; new hope that -’
‘I know 481.’ he interrupted. He
had dialled out the combination
many times; he relied on it
greatly. ‘Listen,’ he said, seating
himself on his bed and taking
hold of her hands to draw her
down beside him, ‘even with an
automatic cut-off its dangerous
to undergo a depression,
any kind. Forget what you’ve
scheduled and I’ll forget what
I’ve scheduled; we’ll dial a 104
together and both experience
it, and then you stay in it while
I reset mine for my usual
businesslike attitude.
132. _124
futures
We human beings are time-bound entities. SO are all our creations.
_Bruce Sterling
Shaping Things
W H E N W E L A N D O N M A R S , I ’ L L LO O K B AC K U P AT T H E
S TA R S A N D W O N D E R . . .“ W H AT ’ S N E X T ? ”.
I believe that compelling stories can be both real and fictive. It’s
easy to forget about realities we are far removed from. Ideas are
sometimes bigger than us. When an idea widens our atomized
view of the world, we are released with a jolt into the alternative.
Making sense of the future is a process of synthesizing what is
here now and how deeply it is rooted.
Our science fiction indulgences have allowed us to de-mystify
some of the most complex needs of human kind. Ideas do not
end and begin at the same point. By openly sharing our own
designs and ideas with one another, we can better design for the
consideration of the greater good by understanding their needs.
What lives beyond a frontier which has long been considered
fictional?
It is not the suspension of belief that matters, nor a nostalgia for
the future - it is the critical understanding of how we will sustain
humanity and God-given life in the design of assistive technologies.
134. _GLOSSARY
_H
_A
ADJACENCY
HERO
the attribute of being so near as to be touching
a person, typically a man, who is admired
or idealized for courage, outstanding
achievements, or noble qualities.
ASSISTIVE TECHNOLOGY
an umbrella term that includes assistive,
adaptive, and rehabilitative devices for
people with disabilities and also includes the
process used in selecting, locating,
_C
_J
JOURNEY
Lorem ipsum dolor sit amet, consectetur
adipiscing elit. Curabitur posuere ultricies
orci, vitae vulputate nisi dignissim ut.
C H A R AC T E R I Z AT I O N
the way a writer makes a person in a story,
book, play, movie, or television show seem
like a real person.
CRITICAL DESIGN
To use designed artifacts as an embodied
critique or commentary on consumer culture.
_D
DESIGN FICTION
The deliberate use of diegetic prototypes to
suspend disbelief about change.
_F
FUTURIST
a person who studies the future and makes
predictions about it based on current trends.
FORESIGHT
the ability to predict or the action of predicting
what will happen to be needed in the future.
_M
MYTH
a traditional story, esp. one concerning the
early history of a people or explaining some
natural or social phenomenon, and typically
involving supernatural beings or events.
135. GLOSSARY_
_P
_S
PATA - P H Y S I C S
SCIENCE FICTION
the science of imaginary solutions
fiction based on imagined future scientific or
technological advances and major social or
environmental changes, frequently portraying
space or time travel and life on other planets.
PROTOTYPE
a first, typical or preliminary model of
something,
SINGULARITY
the state, fact, quality, or condition of being at
a singular state between man and machine.
As a result, machine enables immortality.
_R
ROBOT
S P E C U L AT I V E
a machine capable of carrying out a complex
series of actions automatically, esp. one
programmable by a computer.
the forming of a theory or conjecture without
firm evidence.
_T
TECHNOLOGY
An evolving process of toll creation to shape
and control the environment.
TECHNOPHILIA
enthusiasm for new technology
_#
3D PRINTING
a process for making a physical object from
a three-dimensional digital model, typically by
laying down many successive thin layers of a
material.
136. _CREDITS
LUCINDA
HAVENHAND
is a interior
designer and
professor who
has been an
incredible mentor and friend
throughout this process.
Without her support and
constant reflection, connecting
my paths wouldn’t have been
possible.
ANTHONY
DUNNE ,
industrial and
interaction
designer
whose voice
has been prominent in the
field of design fiction. His
term, “critical design” deals
with designing possible future
systems using current trends.
ISAAC
ASIMOV
is a popular
science fiction
writer and
futurist of the
past. His writing, the Three
Laws of Robotics is a base
guideline of ethical concerns
for future robotics designers.
BRUCE
STERLING
is a science
fiction writer
well-regarded
by the design
community and is known
for his term, “design fiction”.
His book, Shaping Things is
about the future of designed
products and consumerism.
DONALD
NORMAN
is a strong
voice in
the design
community
and has published his
thoughts on future design in
“The Design of Future Things”.
NATHAN
SHEDROFF
is a
designer
whose book
“Make It
So” looks at science fiction
interaction design media
to mine lessons for design
professionals.
137. CREDITS_
DAN
PACHECO
BRIAN
DAVID
JOHNSON
is the chair for
is Intel’s
the Journalism
futurist.
Innovation
Johnson
program
also writes science fiction
in Newhouse School of
and is leading an open call
Communications at Syracuse
for makers to build personal
University.
robots, under the title
RobotHacks.
SEBA
RODRIGUEZ
is the Digital
product
manager
for Google
Argentina and is a thoughtleader in the world of
emerging technology.
ALI
LLEWELLYN
is a
community
manager for
NASA. I met
Ali working for NASA’s open
government initiative, which
focuses on new technology,
sharing data, and engaging
citizen participation.
RAY
KURZWEIL
is one of
the most
well-known
futurists in
the world, not only for his
precognitive abilities but
also for his advancements
in assistive technology
development.
JEAN
BAUDRILLARD
is a theorist
and
philosopher
whose
book, “America” and “The
System of Objects” discusses
consumerism and
138. _BIBLIOGRAPHY
Baudrillard, Jean. America. London: Verso,
19891988. Print.
Bradbury, Ray. Fahrenheit 451. [Book Club ed.
New York: Simon and Schuster, 1967. Print.
Dunne, Anthony, and Fiona Raby. “UMK.”
UMK. N.p., n.d. Web. 10 Dec. 2013. <http://
www.unitedmicrokingdoms.org/>.
Forbidden planet. Dir. Fred M. Wilcox. Perf.
Walter Pidgeon, Anne Francis, Leslie Nielsen.
Warner Home Video, 1965. Film.
“Google.” Google. N.p., n.d. Web. 9 Dec.
2013. <http://www.google.com/>.
“Hugo Gernsbeck.” Wikipedia. Wikimedia
Foundation, n.d. Web. 9 Dec. 2013. <http://
www.wikipedia.org/>.
Johnson, Brian David, Cory Doctorow, Chris
Warner, and S. Perkowitz. Science fiction
prototyping designing the future with science
fiction. San Rafael, Calif.: Morgan & Claypool,
2011. Print.
“MAKE | DIY projects, how-tos, and inspiration
from geeks, makers, and hackers.” MAKE.
N.p., n.d. Web. 10 Dec. 2013. <http://makezine.
com/>.
Mau, Bruce, and Jennifer Leonard. Massive
change. London: Phaidon, 2004. Print.
May, Kyle. Sci-fi. New York, N.Y.: CLOG, 2013.
Print.
Minority report. Dir. Steven Spielburg. Perf.
Tom Cruise. Twentieth century fox home
entertainment, 2002. DVD.
Segal, Stephen H.. Geek wisdom the sacred
teachings of nerd culture. USA: Segal, 2011.
Print.
139. BIBLIOGRAPHY_
Shedroff, Nathan, and Christopher Noessel. Make it so
interaction design lessons from science fiction. Brooklyn,
N.Y.: Rosenfeld Media, 2012. Print.
Sterling, Bruce. “The Grow Thing.” Metropolis Jan. 2013: 7475. Print.
“The Power of Hackathons.” openNASA. N.p., n.d. Web. 10
Dec. 2013. <http://open.nasa.gov/>.
The hitchhiker’s guide to the galaxy. Dir. Alan J. W. Bell. Perf.
Simon Jones. BBC Video ;, 2002. DVD.
Wells, H. G.. The war of the worlds. Raleigh, N.C.: Alex
Catalogue, 199. Print.
Williamson, Al, and Frank Frazetta. 50 girls 50: and other
stories. Seattle, Wash.: Fantagraphics Books ;, 2013. Print.
“reddit’s stories are created by its users.” reddit: the front
page of the internet. N.p., n.d. Web. 8 Dec. 2013. <http://www.
reddit.com/>.
140. _IMAGE BIBLIOGRAPHY
UMK Exhibit
http://www.domusweb.it/content/dam/
domusweb/en/design/2013/06/28/united_
micro_kingdomsadesignfiction/dunneraby_united-micro-kingdoms9.jpg
UMK Map
http://www.unitedmicrokingdoms.org/
wp-content/themes/unitedmicrokingdom/_/
img/web-map.png
Very Large Bike
http://www.unitedmicrokingdoms.org/wpcontent/uploads/2013/04/L1004266-01.jpg
Train
http://www.phaidon.com/resource/train460x307.jpg
Digicars
http://static.guim.co.uk/
sys-images/Observer/Pix/
pictures/2013/5/1/1367412701977/UnitedMicro-Kingdoms-Row-010.jpg
http://blogs.smithsonianmag.com/
paleofuture/files/2013/02/jetsons-spacelypneumatic-tube.jpeg
Full Body Scanner
http://media.komonews.com/
images/091231_body_scanner.jpg
The Star Trek Communicator
http://www.oddballdaily.com/wp-content/
uploads/2011/07/cell-phones-bluetoothcommunicators-star-trek-ideas-technologyinventions-came-true.jpg
Leap Motion
http://www.newscientist.com/blogs/
onepercent/assets_c/2013/02/Screenshot-2013-02-28-at-12.24.27-thumb600x460-173914.jpg
2001: A Space Odyssey iPad
http://cdn0.tnwcdn.com/files/2011/08/
Screen-shot-2011-08-23-at-8.55.01-AM520x234.png
iPad in Context
http://iknowrusty.com/wp-content/
uploads/2010/08/apple-ipad-tablet-ebook420x0.jpg
Hal9000
http://images1.wikia.nocookie.net/__
cb20130429232306/dinos-vs-robots/imag
es/6/6c/6a0120a65319a8970b0147e12ed3
84970b-800wi.jpg
Nike Fuelband
http://images.freshnessmag.com/wpcontent/uploads//2012/01/nike-plus-fuelband-03.jpg
Star Trek Medicinal Scanner
http://www.editinternational.com/images/
gallery/04a-trekmed_low.jpg
Biocars
http://www.domusweb.it/content/dam/
domusweb/en/design/2013/06/28/united_
micro_kingdomsadesignfiction/dunneraby_united-micro-kingdoms_8311.jpg
Replicator Star Trek
http://static3.wikia.nocookie.net/__
cb20050917222913/memoryalpha/en/
images/d/d6/Coffee_replicates_then_mug.
jpg
Hugo Gernsbeck
http://cache.gawkerassets.com/
assets/images/gizmodo/2009/09/
cdbf49b0a4076157_large.jpg
Total Recall : Body Scanner
http://consumertraveler.com/wp-content/
uploads/total_recall.gif
War of the Worlds
http://news.bbc.co.uk/nol/shared/spl/hi/
pop_ups/03/sci_nat_mars_mania/img/4.
jpg
Hitchhiker’s Guide to the Galaxy :
BabelFish
http://mjmobbs.com/wp-content/
uploads/2010/08/babel1.jpg
Metropolis
http://retrothing.typepad.com/.a/6a00d834
52989a69e2013485c32be4970c-800wi
Minority Report: Gestural Interaction
http://www.cinemablography.org/
uploads/1/1/7/6/11768862/2494667_orig.
jpeg
War of the World’s Radio Broadcast
http://upload.wikimedia.org/wikipedia/
en/4/4a/WOTW-NYT-headline.jpg
StarTac Phone
http://cdn10.mixrmedia.com/wp-uploads/
ziggytek/blog/2009/08/startak1.jpg
Futurama
http://heckeranddecker.files.wordpress.
com/2008/08/futurama-21.jpg
Apple Earbuds
http://img.ibtimes.com/www/data/images/
full/2012/09/13/304425-apple-earpods3-major-benefits-of-the-new-earbudsredesign-as-explaine.jpg
Dick Tracy
http://www.lifelounge.com.au/resources/
IMGRELATED/040510114115_LG8.jpg
Forbidden Planet Driverless Car
http://www.imcdb.org/i254017.jpg
Hans Hollien Glasses
http://criticundertheinfluence.files.
wordpress.com/2009/03/austriennale.
jpg?w=590
The Jetsons
Wikipedia
http://upload.wikimedia.org/wikipedia/
commons/5/53/Wikipedia-logo-en-big.png
Skype
http://phandroid.s3.amazonaws.com/wpcontent/uploads/2013/02/Skype-Androidtablet.png
twitter.com
Siri
http://www.sirifunny.com/wp-content/
uploads/2011/10/siri-hal.png
Google Driverless car
http://techyyouth.com/wp-content/
uploads/2013/01/Driverless-Car1.png
Pebble Watch
http://i.i.cbsi.com/cnwk.1d/i/tim/2013/04/01/
Pebble_Watch_35567496_01_620x433.
jpg
4D Printing
http://cdn.physorg.com/newman/gfx/
news/2013/architectunv.jpg
Google Glass
http://cdn1.sbnation.com/entry_photo_
images/7614815/googleglassbrin_large_
verge_medium_landscape.jpg
Scanadu http://asset1.cbsistatic.com/
cnwk.1d/i/tim/2013/01/10/Scanadu_Scout_
temple_2_610x342.jpg
Tesla Hyperloop
http://www.occupycorporatism.
com/wp-content/uploads/2013/07/
susanne_posel_news_-elon-musksdream-is-coming-true-vacuum-tubecompany-is-building-a-3-mile-hyperlooptransport-system.jpg
FORBIDDEN PLANET
Setting
http://4.bp.blogspot.com/X4BjZVRPzd4/UBH1Akvu1nI/
AAAAAAAAJc0/3984cb3HCxk/s640/
Forbidden+Planet-Hillinick-small.jpg
Robby the Robot
http://comicbookcollectorsclub.com/wpcontent/uploads/2012/06/Robby-the-Robot.
jpg
141. IMAGE BIBLIOGRAPHY_
Wireless Technology
http://cdn.ubergizmo.com/photos/2010/7/
iphone-4-antenna.jpg
Natural Language Processing
http://www.imore.com/sites/imore.com/files/
styles/large/public/field/image/2013/07/
ios_7_siri_hero.jpg?itok=5jiYzJHj
Nanotechnological Manufacturing
http://www.ralphmag.org/1/amoeba-micropos383x371.gif
Thinker-Thing
http://www.3ders.org/images/ThinkerThing-3d-objects-in-mind-3.jpg
GLOBAL VILLAGE
open.nasa.gov
http://www.nasa.gov/images/
content/571702main_4-5_working_
outside_box_jsc_2_full.jpg
1939-40 World’s Fair Map
http://www.worldsfairphotos.com/nywf39/
images/map_1940_small.jpg
rep-rap logo
http://reprap.org/mediawiki/images/1/1b/
RepRap-Logo.jpg
Kickstarter
http://www.forbeck.com/wp-content/
uploads/2013/05/2228832-2203520_
kickstarter_badge_funded.png
Jimmy in shop
http://3dprintsoftheworld.com/sites/default/
files/styles/medium/public/Jimmy-theRobot9_0.jpg?itok=Yu0Ru1Dx
Brian David Johnson
http://esof2012.org/wp-content/
uploads/2012/07/Brian_David_
Johnson-e1341361971176.png
robot in google chat:
http://treetrunkdings.files.wordpress.
com/2013/11/robot-hacks-inmoov-demo-00.
png
Manifesto
http://makezineblog.files.wordpress.
com/2013/11/21st-century-robot-draft.pdf
drawing of jimmy :
http://venturebeat.files.wordpress.
com/2013/09/intel-robot-jimmy.jpg?w=558
jimmy 3d model
http://www.entrepreneur.com/dbimages/
article/intels-futurist-robot.jpg
Jimmy unassembled
http://makezineblog.files.wordpress.com/2
013/09/1209134_10202046445741322_210
5934242_n.jpg
Leap Motion
http://www.adxportland.com/wp-content/
uploads/2013/10/Volt2.png
Eye tribe
http://www.digitaltrends.com/wp-content/
uploads/2013/10/Eye-Tribe-tracker.jpg
robto21.com
http://robots21.com/
Bruce Sterling
http://xark.typepad.com/my_weblog/
images/bruce_sterling_2_1.jpg
Isaac Asimov
http://www.notablebiographies.com/
images/uewb_01_img0047.jpg
Google Glass with Map
http://resources3.news.com.au/
images/2012/04/05/1226319/350419google-glasses.jpg
Anthony Dunne
http://sociablemedia.
ensadlab.fr/wp-content/uploads/2012/11/00maxmollon2012-ensalab-IXDA-02.jpg
Driverless Car
http://www.funfus.com/wp-content/uploads/
driverless_car_interior1-420x0.jpg
Donald Norman
http://johnnyholland.org/wp-content/
uploads/DonaldANorman.jpg
3Doodler
http://www.ascandalouslyfabulouslife.com/
wp-content/uploads/2013/04/3doodlerDrawing-in-thin-air-Image-VentureBeat.png
Joseph Campbell
http://www.elephantjournal.com/wpcontent/uploads/2009/03/picture-360.png
XBOX Kinect
http://www.technobuffalo.com/wp-content/
uploads/2010/11/kinect_post.jpg
Jawbone UP
http://i2.wp.com/pick.mydesy.com/wpcontent/uploads/2012/12/Jawbone-UP-4.
jpg
Siri
http://static1.businessinsider.com/
image/4eaafd3e6bb3f7561c000029/
ex-apple-insider-people-are-embarrassedby-siri.jpg
Scandu 2:
http://www.inc.com/uploaded_files/
image/575x270/scanadu-pano_22204.jpg
Oculus Rift
http://f2p.su/wp-content/uploads/2013/10/
EVE-Valkyrie-550x343.jpg
Thinker-Thing
http://www.designboom.com/wp-content/
uploads/2013/05/3d-printing-with-the-minddesignboom01.jpg
Google Glasses Large
http://www.v3.co.uk/IMG/313/274313/googleglass-ear-bud-update-man-green-shirt370x229.jpg?1383134619
Display
https://storage.googleapis.com/supportkms-prod/SNP_3082137_en_v2
FILES
Manifesto
http://makezineblog.files.wordpress.
com/2013/11/21st-century-robot-draft.pdf
Nathan Shedroff
http://uxmas.com/images/uploads/nathanshedroff-186x186.jpg
Ali Llewellyn
http://b.vimeocdn.com/
ts/213/323/213323368_640.jpg
Dan Pacheco
http://suagazine.syr.edu/2013summer/
images/Horz_sum13/pacheco37.jpg
Jean Baudrillard
http://imago.yolasite.com/resources/
Baudrillard.gif
Seba Rodriguez
http://www.socialice.cl/wp-content/
uploads/2013/04/Camila-paredes-y-SebaRodriguez-.jpg
Ray Kurzweil
http://images.ted.com/images/
ted/1328_253x190.jpg
Lucinda Havenhand
http://vpa.syr.edu/sites/default/
files/imagecache/vpa_3col/profile/
Havenhand,Lucinda.jpg
xerox & infinity
http://insomnia.ac/essays/xerox_and_
infinity/