Presentation at Design Engaged 2008 of some early thinking on props, prototypes and fiction as frameworks for engaging design activities. Ideas in process.
More at: http://tinyurl.com/45sv3z
This document discusses how design fiction and speculative design can be used to explore possible futures through fictional prototypes and worlds. It provides examples of early speculative design works from Bel Geddes, Superstudio, and Archigram. Design fiction is defined as using diegetic prototypes to suspend disbelief about change and explore potential objects and services rather than entire fictional worlds. Examples are given of how games can also act as a form of speculative design and critical design to allow consideration of alternate presents and futures. The document argues that speculative design works should enable a plurality of futures, be plausible, allow for both showing and telling stories, be iterative processes, avoid reductionism, and remain in a perpetual beta state.
This document provides guidance on identifying high-quality insights for advertising. It discusses that insights should [1] provide a penetrating observation about real human behavior that can drive growth, [2] compel a change in consumer behavior through an astonishing disclosure about people or the world, and [3] defy convention by articulating what consumers intuitively feel but can't express. The document cautions against insights that [1] describe consumers in overly simplistic or unrealistic ways, [2] state shallow surface-level truths rather than deeper drivers of behavior, or [3] present observations about human nature that aren't unique. Effective insights are presented as felt truths that get to the core of human nature and consumer motivations.
This document discusses speculative design and its use in preparing for future challenges. Speculative design imagines possible futures and debates their implications before they happen. It operates on an intellectual level by placing new technologies in imaginary everyday situations. Speculative design can manifest possibilities and facilitate more desirable futures. It triggers designers to think in new environments and systems. Speculative design is presented as an attitude that can be introduced in standard design processes. Examples are given of speculative design projects like DIY surgical robots and designing for an overpopulated planet. The document advocates joining a meetup group to get involved in speculative design.
The opening day's slides and exercises to the two week summer course at IED in Barcelona I'm running. Our project topic this year is the future of food. More details on the course can be found here - http://iedbarcelona.es/en/cursos-info/summer-course-in-innovation-and-future-thinking/
This document discusses how design fiction and speculative design can be used to explore possible futures through fictional prototypes and worlds. It provides examples of early speculative design works from Bel Geddes, Superstudio, and Archigram. Design fiction is defined as using diegetic prototypes to suspend disbelief about change and explore potential objects and services rather than entire fictional worlds. Examples are given of how games can also act as a form of speculative design and critical design to allow consideration of alternate presents and futures. The document argues that speculative design works should enable a plurality of futures, be plausible, allow for both showing and telling stories, be iterative processes, avoid reductionism, and remain in a perpetual beta state.
This document provides guidance on identifying high-quality insights for advertising. It discusses that insights should [1] provide a penetrating observation about real human behavior that can drive growth, [2] compel a change in consumer behavior through an astonishing disclosure about people or the world, and [3] defy convention by articulating what consumers intuitively feel but can't express. The document cautions against insights that [1] describe consumers in overly simplistic or unrealistic ways, [2] state shallow surface-level truths rather than deeper drivers of behavior, or [3] present observations about human nature that aren't unique. Effective insights are presented as felt truths that get to the core of human nature and consumer motivations.
This document discusses speculative design and its use in preparing for future challenges. Speculative design imagines possible futures and debates their implications before they happen. It operates on an intellectual level by placing new technologies in imaginary everyday situations. Speculative design can manifest possibilities and facilitate more desirable futures. It triggers designers to think in new environments and systems. Speculative design is presented as an attitude that can be introduced in standard design processes. Examples are given of speculative design projects like DIY surgical robots and designing for an overpopulated planet. The document advocates joining a meetup group to get involved in speculative design.
The opening day's slides and exercises to the two week summer course at IED in Barcelona I'm running. Our project topic this year is the future of food. More details on the course can be found here - http://iedbarcelona.es/en/cursos-info/summer-course-in-innovation-and-future-thinking/
Technik, Fortschritt, Nutzen & Gefahren der Digitalisierung. Wie alles begann, wichtige Punkte im Internet (Privatsphäre, Datenschutz, Urheberrecht, Wertschätzung). Mehr Details im Artikel "Kinder und die Digitalisierung" auf http://www.tipptrick.com/2016/02/01/claudias-praktischer-ratgeber-zur-digitalisierung/
This document discusses speculative design and how it could be used in government. It provides examples of speculative design projects that envision possible futures. It also outlines some of the techniques used in speculative design, such as rapid prototyping, design ethnography, and data visualization. While speculative design requires envisioning possible rather than probable futures, it can help understand the present and discuss the kinds of futures people want. For government to use speculative design, it would need to ground possibilities in evidence, manage expectations that these are not predictions, and allow time for imagination and following ideas to their conclusions.
Coders speak in code, graphic designers talk in visuals, project managers, business designers and photographers all see the world in different ways. In an ideal world the best practitioners can talk across disciplines; but even then no one can talk across all disciplines.
A boundary object is a ‘thing’ that is both defined enough that several communities can recognize it as the same thing, yet flexible enough that each community can use it according to their own needs.
As designers, we possess the strategic ability to visualize and make ideas tangible. We use prototypes, models, mock-ups, journey maps or sketches as boundary objects for different purposes: from getting feedback from users, to selling ideas to a client or agreeing on the functional requirements of a product.
In this session we explored different types of design boundary objects, what they mean for strategic designers and practiced some strategies for collaboration through prototypes.
How far to prototype an idea? What works best to communicate a product vs a service or a feature vs a concept? What to use for when wanting feedback from users vs presenting a concept to clients? When is it ok to show ‘unfinished’ prototypes?
Speculative Design and Experiential Futures Stuart Candy
Speculative design and experiential futures are practices for influencing what is possible by materialising the imaginary.
This is an edited version of a presentation by design futurist Stuart Candy to the Stanford d.School class "Decay of Digital Things" (http://decay.io) at the invitation of Elizabeth Goodman (@egoodman) on May 1, 2014.
This document summarizes Michel De Certeau's 1984 work "Making Do" which discusses the relationship between work and leisure. It outlines De Certeau's concepts of tactics and strategies, where strategies are how those in power operate and impose spaces while tactics are how everyday users manipulate and divert spaces to their own advantage. Everyday activities like moving, speaking and cooking are tactics used by the weak to operate within systems imposed by the powerful. The document also discusses related concepts like "la perruque" where workers disguise personal work as work for their employer, and how consumption can be a form of production through the creative ways users appropriate and manipulate products.
An overview of key activities in a complete futures / foresight study, with a 'shopper's guide' to relevant tools and methods to suit each activity. Use it to compose an integrated futures research project, soup to nuts.
The document is a transcript of a talk given by Matt Jones about his company Dopplr, which is a social tool for optimizing travel. Some key points:
- Dopplr allows users to share information about upcoming trips which can help users find coincidences and opportunities for serendipitous meetings while traveling.
- It visualizes the "Raumzeitgeist" or spacetime spirit by mapping out all trips taken by users, giving a view of the planet's coverage by travelers.
- The talk discusses concepts like spacetime and how viewing one's own future and past in new ways through models could change interactions and help find "the perfect line through the world."
Jean Baudrillard was a French sociologist and philosopher known for his theories on simulacra and hyperreality. He argued that reality is indistinguishable from simulations of reality in contemporary society due to advancements in media and technology. In a hyperreal system, signs and symbols circulate without reference to an original and it is impossible to distinguish the real from artificial simulations. Baudrillard used examples like Disneyland and photography to show how the proliferation of images and signs has blurred the lines between what is real and what is a copy, to the point that the simulation becomes more "real" than material reality. He believed contemporary society has entered a state of hyperreality where reality is indistinguishable
Speculative Everything: Be a Dreamer with Critical Design and Design FictionMino Parisi
Talk about how be a Dreamer with Critical Design, Design and Ethics. Slides talked about this topics:
- How design will evolve in the Future?
- What's Speculative and Critical Design?
- Who will we design for in the Future?
- What role will design play in the Future of technology?
- How designers will shape the Future?
- Designing futures with Speculative Design Thinking Process
- Who inspires our design mindset?
- What does Ethics mean in design?
Ponencia sobre la obra "El crimen perfecto" del sociólogo francés Jean Baudrillard. Master en Periodismo, Universidad de San Martín de Porres. Lima, Perú, 2008.
"La teoría lazarsfeldiana de los efectos límites"Rodrigo Durán
Paul Lazarsfeld fue un sociólogo austriaco que realizó importantes contribuciones a la metodología de investigación empírica y la teoría de los efectos limitados de los medios de comunicación. Sus estudios mostraron que factores sociales como la clase, ubicación geográfica y relaciones interpersonales influyen en decisiones como el voto y el consumo, más que los medios de comunicación. También demostró que los líderes de opinión solo son creíbles en la medida en que se ajustan a las expectativas de sus seguidores
This document provides an excerpt from slides for a 2-3 day professional training on design thinking and innovation management. The slides cover the basics of design thinking, including its origins and nature, how it is portrayed in the media, and how it relates to strategic thinking. Design thinking is presented as a way to take an outside-in perspective focused on customer needs and experiences to drive value creation and innovation. The training is intended to help participants better understand design thinking and apply it to innovating without unrealistic expectations. The facilitator also provides strategy advisory and training on other topics beyond design thinking.
A Tiny Service Design History | Daniele Catalanotto | Swiss Innovation AcademyService Design Network
We often talk about the future of Service Design. What will AI bring to it? How will machine learning change our practice? But often, we lack the basic understanding of our past. What’s the first service that ever existed in history? How old is really co-creation? In this fun talk, Daniele shares key stories about the history of our field. Starting with 10,000 BC up to 2019. This little journey will show how Service Design stole ideas from psychology, politics and even philosophy.
Become a member!
https://www.service-design-network.org
Follow us on Twitter: https://twitter.com/sdnetwork
Or on LinkedIn: https://www.linkedin.com/company/2933277
Like us on Facebook: https://www.facebook.com/ServiceDesignNetwork/
Behind-the-scenes on Instagram: https://www.instagram.com/servicedesignnetwork/
Industry 4.0: Merging Internet and FactoriesFabernovel
Industrial IoT and connected objects for factories are part of our research at FABERNOVEL OBJET, our activity dedicated to IoT.
The future of industry is at the crossroads of internet and factories. Some call it INDUSTRY 4.0 or FACTORY 4.0 in reference to the upcoming fourth industrial revolution. Governments and private companies in Germany, UK and the USA have acknowledged the importance of industrial IoT and its central role in future industrial transformation.
The adoption of Industrial Internet has both near-term and long-term impacts and will be characterized by the emergence of new models such as the “Outcome Economy” and the “Autonomous, Pull Economy”.
We believe that INDUSTRY 4.0 is a growth opportunity for industrial companies, and have decrypted this very phenomenon in the following presentation.
This document outlines an agenda and presentation on writing effective creative briefs. It discusses why creative briefs are important, the current state of briefs, and five key elements that make a brief successful. These elements include providing the big picture context, clear business and creative objectives, insights about the target audience, and details on the competitive landscape. The presentation also provides five ways to ensure a brief is effective, such as being written concisely in a compelling manner that allows creative freedom. Exercises are included to help attendees practice writing briefs.
Design for Startups - Build Better Products, Not More FeaturesVitaly Golomb
Pre-order Vitaly's book "Accelerated Startup – The New Business School" http://golomb.net/book
Apple owes the title of the world’s most valuable company to its genius in design. Good design is never accidental and at the core of a successful product is an elegant solution to a painful problem. Design has earned a very important seat at the table with today’s companies especially in the world of software and apps. In this highly engaging presentation, Vitaly covers principles and business value of good design, design disciplines, how to hire and work with designers, and the design success formula.
This document discusses design fiction and how design can shape the future through crafting compelling visions of possible worlds. It argues that design should be viewed as a form of storytelling that inserts designed objects into broader social contexts and futures. Well-designed objects can become important props that help tell stories about the future. The document also discusses how science fiction prototypes, or "diegetic prototypes", shown in films can influence public perception of technologies and help bring imagined futures into being.
This document discusses postmodern perspectives on virtual identities and worlds. It explores how in virtual spaces like Second Life, people can take on fluid identities through avatars, blurring boundaries between real and virtual. This challenges traditional concepts of identity and experience. The document also discusses how some view virtual spaces not as an escape from reality but as an extension of ways to express oneself. Businesses are increasingly using virtual worlds for activities normally done in real life, showing how virtual templates can enable serious uses.
Technik, Fortschritt, Nutzen & Gefahren der Digitalisierung. Wie alles begann, wichtige Punkte im Internet (Privatsphäre, Datenschutz, Urheberrecht, Wertschätzung). Mehr Details im Artikel "Kinder und die Digitalisierung" auf http://www.tipptrick.com/2016/02/01/claudias-praktischer-ratgeber-zur-digitalisierung/
This document discusses speculative design and how it could be used in government. It provides examples of speculative design projects that envision possible futures. It also outlines some of the techniques used in speculative design, such as rapid prototyping, design ethnography, and data visualization. While speculative design requires envisioning possible rather than probable futures, it can help understand the present and discuss the kinds of futures people want. For government to use speculative design, it would need to ground possibilities in evidence, manage expectations that these are not predictions, and allow time for imagination and following ideas to their conclusions.
Coders speak in code, graphic designers talk in visuals, project managers, business designers and photographers all see the world in different ways. In an ideal world the best practitioners can talk across disciplines; but even then no one can talk across all disciplines.
A boundary object is a ‘thing’ that is both defined enough that several communities can recognize it as the same thing, yet flexible enough that each community can use it according to their own needs.
As designers, we possess the strategic ability to visualize and make ideas tangible. We use prototypes, models, mock-ups, journey maps or sketches as boundary objects for different purposes: from getting feedback from users, to selling ideas to a client or agreeing on the functional requirements of a product.
In this session we explored different types of design boundary objects, what they mean for strategic designers and practiced some strategies for collaboration through prototypes.
How far to prototype an idea? What works best to communicate a product vs a service or a feature vs a concept? What to use for when wanting feedback from users vs presenting a concept to clients? When is it ok to show ‘unfinished’ prototypes?
Speculative Design and Experiential Futures Stuart Candy
Speculative design and experiential futures are practices for influencing what is possible by materialising the imaginary.
This is an edited version of a presentation by design futurist Stuart Candy to the Stanford d.School class "Decay of Digital Things" (http://decay.io) at the invitation of Elizabeth Goodman (@egoodman) on May 1, 2014.
This document summarizes Michel De Certeau's 1984 work "Making Do" which discusses the relationship between work and leisure. It outlines De Certeau's concepts of tactics and strategies, where strategies are how those in power operate and impose spaces while tactics are how everyday users manipulate and divert spaces to their own advantage. Everyday activities like moving, speaking and cooking are tactics used by the weak to operate within systems imposed by the powerful. The document also discusses related concepts like "la perruque" where workers disguise personal work as work for their employer, and how consumption can be a form of production through the creative ways users appropriate and manipulate products.
An overview of key activities in a complete futures / foresight study, with a 'shopper's guide' to relevant tools and methods to suit each activity. Use it to compose an integrated futures research project, soup to nuts.
The document is a transcript of a talk given by Matt Jones about his company Dopplr, which is a social tool for optimizing travel. Some key points:
- Dopplr allows users to share information about upcoming trips which can help users find coincidences and opportunities for serendipitous meetings while traveling.
- It visualizes the "Raumzeitgeist" or spacetime spirit by mapping out all trips taken by users, giving a view of the planet's coverage by travelers.
- The talk discusses concepts like spacetime and how viewing one's own future and past in new ways through models could change interactions and help find "the perfect line through the world."
Jean Baudrillard was a French sociologist and philosopher known for his theories on simulacra and hyperreality. He argued that reality is indistinguishable from simulations of reality in contemporary society due to advancements in media and technology. In a hyperreal system, signs and symbols circulate without reference to an original and it is impossible to distinguish the real from artificial simulations. Baudrillard used examples like Disneyland and photography to show how the proliferation of images and signs has blurred the lines between what is real and what is a copy, to the point that the simulation becomes more "real" than material reality. He believed contemporary society has entered a state of hyperreality where reality is indistinguishable
Speculative Everything: Be a Dreamer with Critical Design and Design FictionMino Parisi
Talk about how be a Dreamer with Critical Design, Design and Ethics. Slides talked about this topics:
- How design will evolve in the Future?
- What's Speculative and Critical Design?
- Who will we design for in the Future?
- What role will design play in the Future of technology?
- How designers will shape the Future?
- Designing futures with Speculative Design Thinking Process
- Who inspires our design mindset?
- What does Ethics mean in design?
Ponencia sobre la obra "El crimen perfecto" del sociólogo francés Jean Baudrillard. Master en Periodismo, Universidad de San Martín de Porres. Lima, Perú, 2008.
"La teoría lazarsfeldiana de los efectos límites"Rodrigo Durán
Paul Lazarsfeld fue un sociólogo austriaco que realizó importantes contribuciones a la metodología de investigación empírica y la teoría de los efectos limitados de los medios de comunicación. Sus estudios mostraron que factores sociales como la clase, ubicación geográfica y relaciones interpersonales influyen en decisiones como el voto y el consumo, más que los medios de comunicación. También demostró que los líderes de opinión solo son creíbles en la medida en que se ajustan a las expectativas de sus seguidores
This document provides an excerpt from slides for a 2-3 day professional training on design thinking and innovation management. The slides cover the basics of design thinking, including its origins and nature, how it is portrayed in the media, and how it relates to strategic thinking. Design thinking is presented as a way to take an outside-in perspective focused on customer needs and experiences to drive value creation and innovation. The training is intended to help participants better understand design thinking and apply it to innovating without unrealistic expectations. The facilitator also provides strategy advisory and training on other topics beyond design thinking.
A Tiny Service Design History | Daniele Catalanotto | Swiss Innovation AcademyService Design Network
We often talk about the future of Service Design. What will AI bring to it? How will machine learning change our practice? But often, we lack the basic understanding of our past. What’s the first service that ever existed in history? How old is really co-creation? In this fun talk, Daniele shares key stories about the history of our field. Starting with 10,000 BC up to 2019. This little journey will show how Service Design stole ideas from psychology, politics and even philosophy.
Become a member!
https://www.service-design-network.org
Follow us on Twitter: https://twitter.com/sdnetwork
Or on LinkedIn: https://www.linkedin.com/company/2933277
Like us on Facebook: https://www.facebook.com/ServiceDesignNetwork/
Behind-the-scenes on Instagram: https://www.instagram.com/servicedesignnetwork/
Industry 4.0: Merging Internet and FactoriesFabernovel
Industrial IoT and connected objects for factories are part of our research at FABERNOVEL OBJET, our activity dedicated to IoT.
The future of industry is at the crossroads of internet and factories. Some call it INDUSTRY 4.0 or FACTORY 4.0 in reference to the upcoming fourth industrial revolution. Governments and private companies in Germany, UK and the USA have acknowledged the importance of industrial IoT and its central role in future industrial transformation.
The adoption of Industrial Internet has both near-term and long-term impacts and will be characterized by the emergence of new models such as the “Outcome Economy” and the “Autonomous, Pull Economy”.
We believe that INDUSTRY 4.0 is a growth opportunity for industrial companies, and have decrypted this very phenomenon in the following presentation.
This document outlines an agenda and presentation on writing effective creative briefs. It discusses why creative briefs are important, the current state of briefs, and five key elements that make a brief successful. These elements include providing the big picture context, clear business and creative objectives, insights about the target audience, and details on the competitive landscape. The presentation also provides five ways to ensure a brief is effective, such as being written concisely in a compelling manner that allows creative freedom. Exercises are included to help attendees practice writing briefs.
Design for Startups - Build Better Products, Not More FeaturesVitaly Golomb
Pre-order Vitaly's book "Accelerated Startup – The New Business School" http://golomb.net/book
Apple owes the title of the world’s most valuable company to its genius in design. Good design is never accidental and at the core of a successful product is an elegant solution to a painful problem. Design has earned a very important seat at the table with today’s companies especially in the world of software and apps. In this highly engaging presentation, Vitaly covers principles and business value of good design, design disciplines, how to hire and work with designers, and the design success formula.
This document discusses design fiction and how design can shape the future through crafting compelling visions of possible worlds. It argues that design should be viewed as a form of storytelling that inserts designed objects into broader social contexts and futures. Well-designed objects can become important props that help tell stories about the future. The document also discusses how science fiction prototypes, or "diegetic prototypes", shown in films can influence public perception of technologies and help bring imagined futures into being.
This document discusses postmodern perspectives on virtual identities and worlds. It explores how in virtual spaces like Second Life, people can take on fluid identities through avatars, blurring boundaries between real and virtual. This challenges traditional concepts of identity and experience. The document also discusses how some view virtual spaces not as an escape from reality but as an extension of ways to express oneself. Businesses are increasingly using virtual worlds for activities normally done in real life, showing how virtual templates can enable serious uses.
Digital Emotion : How Audiences React to Robots on Screencaijjournal
The experience of interacting with robots is becoming a more pervasive part of our day-to-day life. When considering the experience of interacting with other technologies and artefacts, interaction with robots presents a distinct and potentially unique component: physical connection. Robots share our physical
space; this is a prominent part of the interaction experience. Robots offer a lifelike presence and the Human-Robot Interaction (HRI) issues go beyond the traditional interactions of more passive technologies and artefacts. The attention paid to HRI has grown dramatically as robotic systems have become more capable and as human contact with those systems has become more commonplace [1]. Immediately recognizable, culturally ubiquitous, androids, cyborgs, and robots, need no introduction. Yet their very familiarity obscures their participation in culture and media, and our perennial fascination with
such artificial humans when seen on the screen. While robots are growing more capable of many tasks, people are often hesitant at introducing technology into older, more traditional art forms. However, robots of varying kinds are appearing with increasing frequency in all manner of cinematic productions [2].
Robots and artificial humans have been a staple of our sci-fi screen experiences, however, unlike previous technology such as smartphones or laptops, robots are currently being given more character roles in films. Therefore, like animated characters, audiences are beginning to anthropomorphize and have emotional experiences with the robot characters.
This paper attempts to unpack how humans see these artificial humans and how we interpret their representation in cinema through a discussion of the use of ‘physical’ robots as a natural next stage of cinema performance and drama. The paper presents and experiment involving cyborg performances in a
series of short films. In this study, participants attended a screening where they viewed these films, and their responses to, and feelings about, the films were measured. It was hypothesized that film audiences have become comfortable with seeing robots in sci-fi films over the years. Therefore, it is expected that current and future audiences will begin to give these robot characters human attributes such as gender.
Design Fiction: A short slideshow on design, science, fact and fictionJulian Bleecker
http://cli.gs/DesignFictionEssay
An exploration of the entanglements amongst science fiction and science fact, in order to show how they are not distinct, but infinitely knotted together. Why do this? In order to wonder — what are effective ways of designing the future?
Design fiction is making things that tell stories. It's like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, its ability to speculate about the course of events; all of the unique abilities of science fiction to incite imagination-filling conversations about possible habitable, life-affirming future worlds.
A larger discussion of this slidshow overview is available here: http://cli.gs/DesignFictionEssay
This document provides an overview of design fiction and how it uses science fiction concepts to envision potential futures. It discusses how design fiction examines emerging technologies and positions them for integration into society through speculative design projects. One such project discussed is United Micro Kingdoms, which imagines future scenarios around self-driving cars, large communal bikes, a moving mountain train, and lab-grown "biocars". The document also briefly mentions Hugo Gernsback, considered the "father of modern science fiction", and his envisioning of technologies like TV glasses decades before they were realized.
Share Festival Networked Objects Manufacturing 031508.KeyJulian Bleecker
This document discusses the concept of an "Internet of Things" where physical objects are connected to the internet and able to participate online. It describes how as more "things" are networked, they gain agency and ability to influence our experiences. The document also discusses "blogjects" which are physical objects that disseminate digital content online, and how this blurs the lines between the physical world and digital world. It provides several examples of projects where physical objects are networked and able to interact with people in novel ways.
Bookmarks, Babies, Barack... and other social objectsJyri Engeström
This document discusses social objects and their impact on society, power, stickiness, and relationships. Some key points:
1. Social objects like bookmarks connect people through shared interests and references, even if they don't know each other personally.
2. Successful social objects become "obligatory points of passage" that concentrate power around themselves as more people depend on them.
3. Social objects are "needy" and drive continued engagement through displaying lacks and unfinished aspects that unleash users' imaginations and spark new wants.
4. While social media aims to increase social connections, it risks prioritizing "top pocket relationships" over meaningful bonds if platforms overly limit self-expression and discovery.
Unfinished Business Design Fiction Lecture @ OCADChangeist
Design fiction is a way to provoke and shape possible futures through the creation of artifacts and scenarios that make technological ideas feel realistic and concrete. By materializing speculative concepts through prototypes and stories, design fiction can influence popular imagination and help bring imagined futures into reality. It moves beyond just discussing or envisioning the future to actively designing possible worlds through a combination of design, technology, art, and storytelling. Design fiction aims to expand what people see as plausible and desirable technological outcomes rather than just predict or extrapolate from the present.
!"#
8
D!"#$% &" & S'(# & ) P* &(+#(!
I! "#$ %&'(!) *+ 2010, a social media company in Seattle (Social Strata,
Inc.) o,ered to their workers unlimited vacations. Not only did Social
Strata o,er vacation time without any restrictions whatsoever, they made
it clear that they were o,ering unlimited paid vacations.1 And this com-
pany is not the only one in recent months to do so!
-e logic of the “unlimited paid vacation movement” seems to be
that challenging work is sometimes so meaningful that it can be “addic-
tive” in the best sense of that term. Employees not only enjoy what they do,
they .nd themselves highly, highly motivated to sacri.ce—both in terms
of time and energy—for the joy of keeping on working. So, Social Strata
and others are not really in danger of going bankrupt when employees
take advantage of the new policy. Quite to the contrary, they expect pro.ts
to rise, because their employees will be both jazzed and well rested.
What is it about the nature of these jobs that inspires such loyalty and
labor from the workers? What is it about the nature of these jobs that em-
ployees, becoming hooked, inspire such complete trust from their bosses?
-is isn’t a game of merely exchanging favors: “Give me more vacation and
I’ll work harder.” Rather, the workers inspire trust because they have already
become trusted as dedicated workers. In fact, the very nature of the job has
somehow helped them become increasingly trustworthy the longer they
work there. Something about the nature of the work is morally formative.
I am willing to bet that engineering, under the best conditions anyway, is
one of these morally formative vocations. We will label morally formative
occupations with a philosophically technical term: Practice. Before we can
unpack the .ve marks of a Practice, let’s remind ourselves of something we
learned in chapter 1, namely, the huge role that design language plays in
Design as a Social Practice
!"$
the formation of engineering practitioners. It is language that makes the
di,erence between Og-the-caveman and the modern engineer.
D ! " # $ % # % $ & “S # $ % # , # ( & % + ” W' * ) -
Ethics and design are cousins. To engage in either requires us to participate
in practical reasoning. And skills in both ethics and design are cultivated
as we build /uency in a language. On the one hand, at the core of design is
design discourse. Remember that according to MIT professor Louis Buc-
ciarelli, designers share a world, a world that they talk about. In fact, any
given design team may talk in ways that are entirely unique to the team.2
On the other hand, moral agents also share a world-of-things-that-they-
talk-about. -ey talk perhaps least frequently about whether X is right or Y
is wrong. However, they very frequently talk about a host of non-engineer-
ing things like happiness, friendship, milkshakes, commitments, sports,
cars, marriage, divorce, sickness, weather, su,ering, o0cemates who are
gr ...
This presentation analyzes how science fiction interfaces have influenced and continue to influence interaction design. It discusses how design influences science fiction by setting technological paradigms, and how science fiction then influences design through inspiration, setting expectations, considerations of social context, and proposing new paradigms. Examples are provided of each influence, such as how science fiction films depicted evolving technologies over time or how some designs were directly inspired by interfaces seen in science fiction works. The presentation also cautions that anthropomorphizing interfaces can raise unrealistic expectations if not implemented appropriately.
Carla's recap of CHI2011 in Vancouver includes summaries of talks on topics like interacting in the physical world using touch and 3D projections, home automation technologies, imaging techniques, and research on virtual presence. Speakers discussed encouraging serendipity online, social media literacy in education, and a history of human-computer interaction. Panels covered designing for health care systems, values of interdisciplinary digital arts, and empowering diverse teams. The recap shares links to various projects presented at the conference on touch interfaces, tabletop computing, robotics and more.
These are notes from the Make It So presentation Chris Noessel and I have given at SXSW as well as a few other venues. Because the presentation itself isn't in a format that is easily savable, these notes are a better way to share the content.
The document discusses the shift from designing objects based primarily on their function to designing them to communicate and develop relationships with users. It notes that children now expect all objects to have some means of communication, even if they have no obvious controls or interfaces. Interaction design focuses on an object's behavior and how people interact with and relate to it over time. Designers determine how objects initially communicate but users can then improvise and develop ongoing dialogues.
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Similaire à Design Fiction: Something and the Something in the Age of the Something (20)
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Design Fiction: Something and the Something in the Age of the Something
1. Design Fiction
Something and the Something in the
age of the Something.
[ideas in process. tread lightly.]
Julian Bleecker
Design Engaged 2008
Montreal
October 3, 2008
6. Presentation Schema
1. Representations of the Future
2. Relating the Future and the Present
3. Props and Prototypes
7. 1. Representations of the
Future
How do we imagine what can come to be?
What are the ways the future will be and how does that
shape what we consider reasonable, possible futures?
8. 3 Representations of the Future.
..and
2.5 Provocative Quotes to go
along with them.
9. Quote One.
“You never change things by fighting the existing reality. To
change something, build a new model that makes the
existing model obsolete.” - R. Buckminster Fuller
10. Quote One (and it’s diagram).
“You never change things by fighting the existing reality. To
change something, build a new model that makes the
existing model obsolete.” - R. Buckminster Fuller
Linear
Representation
of the Future
11. Quote Two.
“As I’ve said many times, the future is here. It’s just not
evenly distributed.” - William Gibson
12. “As I’ve said many times, (andfuture is here. It’s just not
Quote Two the its diagram)
evenly distributed.” - WG
“As I’ve said many times, the future is here. It’s just not
evenly distributed.” - WG
Sandwich
Spread
Representation
of the Future
14. Quote Two and a half..a bit more.
“...” - Bruno Latour
“Νέα ως, Knots εκτελέσει Entanglements . Στο
Imbroglios εκδόσεις. Assemblages βγήκε
περισσότερο ας σαν, μην Collectives .” - Bruno Latour
15. Quote Two and a half (and a diagram).
“...” - Bruno Latour
The 3D
Linkages of
Human/Non-
Human
Collectives
Representation
of the Future
16. Two and a half.
“In 50 years, social scientists will be able to visualise the connections between human organisations and
technological objects. Today we know how to visualise technological systems using scientific images and
technical drawings, but we have no idea of how to hook those designs up with the arrays of emails,
spreadsheets, blogs and pieces of paper that organise the people who operate those systems.”
- Bruno Latour
The 3D
Linkages of
Human/Non-
Human
Collectives
Representation
of the Future
Complex knots and linkages between many disparate social practices create thick
representations of human activities, including our projections and imaginations about the
future.
18. Recap..
A planar representation of the
future, it exists in different places
simultaneously and you can smear it
about to get it evenly distributed,
but it is lumpy in bits and doesn’t
get to everyone evenly.
19. A spherical representation of the future, collections/collectives of
conversations & objects, human/non-human agents. There are many
futures, many possible inhabited worlds. A representation that consists
of complex, messy knots/collectives/imbroglios. Some collectives are
better at maintaining themselves. They’ve got strong objects with lots
of attention and adhesion. They have lots of idea-mass that draws other
conversations and objects towards them.
20. 2. Ubicomp + SciFi
An example of a quot;collectivequot; construction of a future world in this third representation; what are the
elements that constitute the collective knot/embroglio? For ubicomp it's telling that it's more than a
linear or planar track because of how much quot;culturequot; is in there, how complicated it becomes because
you start involving people and their pragmatic, everyday lives very richly and thickly; anthropology in on
the ubicomp game early on with Lucy Suchman's involvement at PARC; it's a more complicated, knotty,
thorny, intractable endeavor. (Maybe why it's endlessly deferred.)
22. 2. Ubicomp + SciFi
Considering a response to Bell & Dourish, “Resistance is Futile:
Reading Science Fiction Alongside of Ubiquitous Computing” (pre-
pub)
23. quot;..we are interested in the ways in which science fiction – the literary figuring
of future technologies rather than the practical figuring of much contemporary research –
engages with a series of questions about the social and cultural contexts of technology use
that help us reflect upon assumptions within technological research.quot;
Bell & Dourish, “Resistance is Futile: Reading Science Fiction Alongside of Ubiquitous Computing”
24. The look at:
Five Shows: Dr. Who, Star Trek, Planet of the Apes, Blake's 7, Hitch-
Hikers Guide to the Galaxy
Three Themes: Bureacracy, Technological Breakdown, Frontier and
Empire
Put together to fashion a perspective that tells a story about
ubiquitous computing-y things as they’re projected into various sci-fi
narratives
26. Huh?
Ubicomp ties intricately and plainly to a larger cultural
imaginary; more so than many other “engineering”
practices. It’s fodder for film and, as importantly (maybe
more so?) it provides a reference point for engineers
and scientists in the laboratory!
27. For example: How is the “Minority Report Interface”
Claimed? Who Stakes Out This Idiom? How is this phrase a
Messy Latorian Assemblage?
Ask The Google..
30. Right alongside of “Science”
“Turtle-necked Jeff Hahn”
(friend, so it’s all good)
Whole bunch of links to people who claim
“minority report interface” research
32. More blurry sci-fi science
Text
Realistic dinosaurs as a special-effect, produced to be
visually compelling as a “prop” to help tell a story more
compelling than a dowdy documentary.
34. More blurry sci-fi science
Wow..
cf. David A. Kirby “Science Consultants, Fictional Films, and
Scientific Practice” Social Studies of Science 33/2 (April 2003) pp. 231-268
cf. Julian Bleecker, “The Reality Effect of Technoscience” 2004, unpublished dissertation
http://tinyurl.com/3roy6s
35. Conversation Collectives
Deployment, refraction and idea-mass, a 3D Latourian
representation of the future.
Conversations shaped by human and non-human objects and
their deployment, circulation and potential to draw more agents.
Con: Biggest mouth, and wallet, makes bigger conversations
Pro: Their can be many multiple collectives, with varying degrees
of “idea-mass”
Con: It can be frustrating to have some good stuff that can make
more habitable worlds, and not have the most idea-massive
collective.
Pro: But..you can still have your future, even if it is not everyone
elses.
41. Diegetic Prototypes (“Props”)
Space may be the final frontier but it’s made in a Hollywood basement.
- Red Hot Chili Peppers, “Californication,” 1999
42. Diegetic Prototypes (“Props”)
quot;..cinematic depictions of future technologies are actually “diegetic prototypes”
that demonstrate to large public audiences a technology’s need, benevolence, and
viability. I show how diegetic prototypes have a major rhetorical advantage over
true prototypes: in the diegesis these technologies exist as “real” objects that
function properly and which people actually use.quot;
David A. Kirby, “The Future Is Now: Diegetic Prototypes, and the Cinematic
Creation of the Future” (pre-pub)
43. Diegetic Prototypes (“Props”)
quot;..cinematic depictions of future technologies are actually “diegetic prototypes”
that demonstrate to large public audiences a technology’s need, benevolence, and
viability. I show how diegetic prototypes have a major rhetorical advantage over
true prototypes: in the diegesis these technologies exist as “real” objects that
function properly and which people actually use.quot;
David A. Kirby, “The Future Is Now: Diegetic Prototypes, and the Cinematic
Creation of the Future”
44. Diegetic Prototypes (“Props”)
quot;..cinematic depictions of future technologies are actually “diegetic prototypes”
that demonstrate to large public audiences a technology’s need, benevolence, and
viability. I show how diegetic prototypes have a major rhetorical advantage over
true prototypes: in the diegesis these technologies exist as “real” objects that
function properly and which people actually use.quot;
David A. Kirby, “The Future Is Now: Diegetic Prototypes, and the Cinematic
Creation of the Future”
Wow. Stories matter when designing the future. Maybe
even more than the “real thing” in terms of their ability to
flash-bang the imagination of real people. Ideas are more
powerful than a crappy product that aspires to the idea.
45. Props & Prototypes
Think of design as prop-making for the near future. Design makes objects
(non-humans) around which stories/conversations ensure, and imaginary
worlds come into being.
46. Prototypes/Props are Idea-Mass
Offer ways of telling stories and crafting adhesion to these collectives of
ideas and conversations through an object. Props and prototypes provide
the seeds for evolving conversation-collectives.
They behave as constitutive elements for the collectives/knots/embroglios
— the collectives need material props of some sort, human/non-human
elements to create idea-mass, to collect more attention.
48. Prototypes/Props are Idea-Mass
Design is speculative prototypes; things that are real sci-fi, really curious and orthogonal to the
conventions of technology-market-economies.
Measure of success: “Stupidest fucking idea..EVER!”
Probes into imaginary, peculiar worlds.
49. So..what?
Objects tell stories for people, not scenarios for users.
There are many futures, no inevitabilities.
Make lots of stuff, quickly.
Assume weird (or no) market models; weird imaginary worlds.
Assume you are from a future.