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SpeculativeEdu | Superflux: Tools and methods for making change
"Anab Jain and Jon Ardern of Superflux (“a studio for the rapidly changing world”) talk to James Auger about their approach, their recent projects, and their educational activities.

Superflux create worlds, stories, and tools that provoke and inspire us to engage with the precarity of our rapidly changing world. Founded by Anab Jain and Jon Ardern in 2009, the Anglo-Indian studio has brought critical design, futures and foresight approaches to new audiences while working for some of the world’s biggest organisations like Microsoft Research, Sony, Samsung and Nokia, and exhibiting work at MoMA New York, the National Museum of China, and the V&A in London. Over the last ten years, the studio has gained critical acclaim for producing work that navigates the entangled wilderness of our technology, politics, culture, and environment to imagine new ways of seeing, being, and acting. The studio’s partners and clients currently include Government of UAE, Innovate UK, Cabinet Office UK, Red Cross, UNDP, Mozilla and Forum for the Future. Anab is also Professor at Design Investigations, University of Applied Arts, Vienna.

[Q] You practice across numerous and diverse fields (education, commercial, gallery). Does your idea of speculative design change for each of these contexts? How do you balance the different expectations of each?

We don’t tend to strictly define our work as “Speculative Design”. Usually we say we are designers or artists or filmmakers. Speculative Design is gaining traction lately, and we might have a client of two who knows the term and might even hire us for that, but usually they come to us because they want to explore a possible future or a different narrative, or investigate a technology. We think our work investigates a potential rather than speculating on a future. Speculation is an undeniable part of the process but it is not the primary motivation behind our work. Our work is an open-ended process of enquiry, whilst speculation can at times feel like a closed loop.

[Q] There is a tendency, in many speculative design works, towards dystopian futures. It seems that as with science fiction, apocalyptic futures are easier to imagine and tell as stories. Focusing on your CCCB installation, Mitigation of Shock, how would you describe this project in terms of its value connotation? What is the purpose of such a project?

For us, Mitigation of Shock is actually not apocalyptic at all, but instead a pragmatic vision of hope, emerging from a dystopian future ravaged by climate change. On a personal level, it can be difficult for people to imagine how an issue like global warming might affect everyday life for our future selves, or generations to come. Our immersive simulation merges the macabre and the mundane as the social and economic consequences of climate change infiltrate the domestic space.

The installation transports people decades into the future (or perhaps even closer on the horizon), into an apartment in London which has been drastically adapted for living with the consequences of climate catastrophe. Familiar, yet alien. A domestic space alive with multispecies inhabitants, surviving and thriving together in an indoor microcosm. Climate projections from the beginning of the century have unfurled into reality, their consequences reverberating across the globe. Climate catastrophes shatter global supply chains. Economic and political fragility, social fragmentation, and food insecurity destabilise society.

Rather than optimistically stick our heads in the sand, or become overwhelmed with fear, we decided to catapult ourselves and others directly into a specific geographical and cultural context to experience the ripple effects of extreme weather conditions. Hope often works best alongside tools for proactively tackling future challenges. Which is why, in this year-long experimental research project, we explored, designed and built an apartment located in a future no one wants, but that may be on the horizon. Not to scare, or overwhelm, but to help people critically reflect upon their actions in the present, and introduce them to potential solutions for living in such a future. The evidence in the apartment may reflect a different future, but all the food apparatus was in fully working condition, no speculation there. We wanted to demonstrate that we have the tools and methods we need to make the change today.

[Q] We are living in complicated times – politically, environmentally, culturally. After several years of speculative and critical design evolution, do you think that it can have a more influential role in shaping futures/alternatives beyond the discussions that typically take place in the design community?

We wrote a little bit about this here: https://medium.com/superfluxstudio/stop-shouting-future-start-doing-it-e036dba17cdc.

[Q] Could it adopt more political or activist role? If so, how could this aspect be incorporated into education?

Yes definitely. Our latest project Trigger Warning explores this very space: https://mod.org.au/exhibits/trigger-warning. And then a completely different project: http://superflux.in/index.php/work/future-of-democracy-algorithmic-power/#temp.

[Anab] Also my students at the Angewandte will be exploring the theme of “futures of democracy” in the upcoming semester.

[Q] Coming from India but educated at the RCA, what was your take on the “privilege” discussion via Design and Violence? More specifically, what can we learn from this debate? How can it push speculative design forwards?

[Anab] I sensed an underlying assumption in that debate that anybody from the West was seen as “privileged” and anyone from any other colonised country is not. Whilst there is a long and troubling history to colonisation in India, I do bear in mind that India was always a battleground for clans and dynasties from other countries long before the West came and colonised it. These issues are very complex, and I think the only way we can attempt to understand them is by avoiding accusations and flamewars, but instead opening up space for everyone’s voice to be heard.

As things stands today, even though I come from India, a lot of people would argue that, within India, I am privileged because I had the opportunity to choose my education path and the person I want to marry. On the other hand, I know lots and lots of people in the West (white/male even) who are disempowered because of systemic privilege within the West. So discussions of race, gender expression and privilege are much more granular than simplistic accusations, and I strongly believe that designers who address complex issues, whilst battling student loans and rents, should be applauded, not condemned.

[Q] How can we resist or overcome the situation where avant-garde design practices, established as a resistance to the dominant system, ultimately become appropriated by the system?

If we successfully overturn capitalism, the rest will follow."
superflux  2019  anabjain  jonardern  jamesauger  design  designfiction  speculativefiction  speculativedesign  capitalism  democracy  climatechange  education  marrtive  film  filmmaking  art  artists  potential  inquiry  open-ended  openendedness  hope  globalwarming  future  politics  activism  india  colonialism  colonization  complexity  privilege 
february 2019 by robertogreco
Refiguring the Future Conference | Day One - YouTube
The Refiguring the Future conference convenes artists, educators, writers, and cultural strategists to envision a shared liberatory future by providing us with ideas that move beyond and critique oppressive systems. Participants in the conference will address concepts of world-building, ecologies, disability and accessibility, biotechnology and the body.

The conference kicks off the opening weekend of the Refiguring the Future, a new exhibition offering a politically engaged and inclusive vision of the intersection of art, science, and technology, organized in partnership with the REFRESH collective and Hunter College Art Galleries,

The Refiguring the Future conference is curated by Eyebeam/REFRESH Curatorial and Engagement Fellow Lola Martinez and REFRESH member Maandeeq Mohamed.

10:00 AM – 10:15 AM | Opening Remarks

Dorothy R. Santos and Heather Dewey-Hagborg, Co-Curators of Refiguring the Future

10:30 AM – 11:30 AM | World-building

Exploring the settler ontologies that govern technoscientific inquiry, this panel will engage technology towards a liberatory, world-building politic.

shawné michaelain holloway, Artist

Rasheedah Phillips, Artist and Co-Creator of Black Quantum Futurism

Alexander G. Weheliye, Professor, Northwestern University

Moderated by Maandeeq Mohamed, Writer


11:30 AM – 12:30 AM | Keynote Lecture


12:30 PM – 02:00 PM | Lunch


02:00 PM – 02:30 PM | Keynote Performative Lecture

In this performative lecture, artist Zach Blas offers critical investigations on issues of the internet, capitalism, and state oppression.

Zach Blas, Artist

Keynote Introduction by Heather Dewey-Hagborg, Artist


02:30 PM – 03:30 PM | Symbiotic Ecologies

Narratives of colonial legacy, migration, and extinction have shifted our cultural imagining of ecologies. Beginning by acknowledging our existence in unsustainable climates, this panel brings forth artistic and activist practices which provoke and foster symbiotic relationships for new understandings within environmental predicaments.

Sofía Córdova, Artist

Jaskiran Dhillon, Associate Professor, The New School

Sofía Unanue, co-founder and co-director of La Maraña

Moderated by Kathy High, Artist.


03:30 PM – 04:00 PM | Coffee Break

04:00 PM – 05:00 PM | Speculative Bodies: A Shell to be Surpassed

Technological biases categorize individuals according to markers such as race, gender, sexuality, and citizenship, and in turn undermine how we live and navigate our present and future worlds. This panel collectively examines how the fields of health, genomics, and technology are reinforced by Western scientific discourses and speculate new insights for alternative systems of knowledge.

Ruha Benjamin, Associate Professor, Princeton University

micha cárdenas, PhD, Assistant Professor, University of California, Santa Cruz

Dr. Pinar Yoldas, Artist

Moderated by Dr. Kadija Ferryman, Researcher at Data and Society.

05:00 PM – 06:00 PM | Keynote Lecture

In this Keynote lecture, Keeanga Yamahtta-Taylor examines the politics of social liberation movements. Author of #BlackLivesMatter to Black Liberation, Taylor offers an examination of the history and politics of Black America and the development of the social movement Black Lives Matter in response to police violence in the United States.

Keeanga Yamahtta-Taylor, Assistant Professor, Princeton University

Keynote introduction by Dorothy R. Santos, Curator and Writer"

[See also:
Refiguring the Future Conference | Day Two
https://www.youtube.com/watch?v=oCa36fWJhyk

"The Refiguring the Future conference convenes artists, educators, writers, and cultural strategists to envision a shared liberatory future by providing us with ideas that move beyond and critique oppressive systems. Participants in the conference will address concepts of world-building, ecologies, disability and accessibility, biotechnology and the body.

The conference kicks off the opening weekend of the Refiguring the Future, a new exhibition offering a politically engaged and inclusive vision of the intersection of art, science, and technology, organized in partnership with the REFRESH collective and Hunter College Art Galleries,

The Refiguring the Future conference is curated by Eyebeam/REFRESH Curatorial and Engagement Fellow Lola Martinez and REFRESH member Maandeeq Mohamed.

See the full schedule here: https://www.eyebeam.org/events/refiguring-the-future-conference/

In the Annex:

Talks | Refiguring Planetary Health, Building Black Futures

We cannot have a healthy planet that sustains all human beings as long as the systemic oppression of Black and Indigenous peoples continues. And yet, prominent environmental science institutions concerned with conservation and climate change often fail to address this oppression or their role in perpetuating it. In this talk, we will explore how histories of scientific racism and eugenics inform current scientific policies and practice. Cynthia Malone will work with various forms of freedom practice, from hip hop to science fiction to scholarship in the Black Radical Tradition, to consider alternative visions for planetary health that advance both environmental stewardship and liberation from oppressive ideologies and systems.

Cynthia Malone, Activist, Scholar, and Scientist
---
The Spirit of the Water Bear

In this talk, Claire Pentecost will give an introduction and reading of Spirit of the Water Bear, a young adult novel set in a coastal town in the Carolinas. The novel’s protagonist, Juni Poole, is a 15-year-old girl who spends much of her time exploring the natural world. Inevitably, she finds herself confronting the urgency of a crisis that has no end, namely climate change and the sixth great extinction. Through experiences of activism, she finds comrades who feel environmental and political urgency much as she does, and learns that she has a place in the ongoing struggle for environmental justice. The book is a work of “Cli-Fi” or climate fiction, featuring Juni’s adventures, but it is also a work of “Cli-Phi” or climate philosophy, featuring conversations and musings on the nature of our existential predicament.

Claire Pentecost, Artist

Speaker Introductions by Lola Martinez, Eyebeam and REFRESH Curatorial and Engagement Fellow
---
Roundtables and Talks | Visible networks: Community Building in the Digital Arena

As notions of accessibility are being rendered visible on networks and digital medias, disability and chronic illness communities are utilizing networks to provide resources and representations. Yet what does it mean to build community within these platforms? This roundtable discussion offers reflections by artists working to provide new insights into biomedical discourses which reinforce apparent and unapparent representations of disabled bodies.

Hayley Cranberry, Artist

Anneli Goeller, Artist

Yo-Yo Lin, Artist
---
#GLITCHFEMINISM

Legacy Russell is the founding theorist behind Glitch Feminism as a cultural manifesto and movement. #GLITCHFEMINISM aims to use the digital as a means of resisting the hegemony of the corporeal. Glitch Feminism embraces the causality of ‘error’ and turns the gloomy implication of ‘glitch’ on its ear by acknowledging that an error in a social system disturbed by economic, racial, social, sexual, cultural stratification, and the imperialist wrecking-ball of globalization—processes that continue to enact violence on all bodies—may not be ‘error’ at all, but rather a much-needed erratum. The digital is a vessel through which our glitch ‘becoming’ realises itself, and through which we can reprogramme binary gender coding. Our ‘glitch’ is a correction to the machine—f**k hegemonic coding! USURP THE BODY—BECOME YOUR AVATAR!

Legacy Russell, Curator and Writer

Speaker Introductions by Lola Martinez, Eyebeam and REFRESH Curatorial and Engagement Fellow"]

[See also:
"Eyebeam presents Refiguring the Future: an exhibition and conference organized by REFRESH, produced in collaboration with Hunter College Art Galleries."
https://www.eyebeam.org/rtf/

EXHIBITION
Curated by REFRESH collective members Heather Dewey-Hagborg and Dorothy R. Santos, the exhibition title is inspired by artist Morehshin Allahyari’s work defining a concept of “refiguring” as a feminist, de-colonial, and activist practice. Informed by the punk ethos of do-it-yourself (DIY), the 18 artists featured in Refiguring the Future deeply mine the historical and cultural roots of our time, pull apart the artifice of contemporary technology, and sift through the pieces to forge new visions of what could become.

The exhibition will present 11 new works alongside re-presented immersive works by feminist, queer, decolonial, anti-racist, and anti-ableist artists concerned with our technological and political moment including: Morehshin Allahyari, Lee Blalock, Zach Blas*, micha cárdenas* and Abraham Avnisan, In Her Interior (Virginia Barratt and Francesca da Rimini)*, Mary Maggic, Lauren McCarthy, shawné michaelain holloway*, Claire and Martha Pentecost, Sonya Rapoport, Barak adé Soleil, Sputniko! and Tomomi Nishizawa, Stephanie Syjuco, and Pinar Yoldas*.

Names with asterik denotes participation in the conference. ]
eyebeam  dorothysantos  lolamartinez  maandeegmohamed  liberation  art  events  2019  heatherdewey-hagborg  shawnémichaelainholloway  rasheedahphillips  alexanderwehelive  zachblas  ecology  ecologies  sofíacórdova  sofíaunanue  jaskirandhillon  lamaraña  speculativefiction  designfiction  keeangayamahtta-taylor  michacárdenas  blacklivesmatter  gender  race  sexuality  citizenship  future  inclusions  inclusivity  health  genomics  speculativedesign  design  arts  pinaryoldas  kadijaferryman  glitchfeminism  feminism  clairepentecost  heyleycranbery  anneligoeller  yo-yolin  cyntihiamalone  climatechange  globalwarming  eugenics  racism  science  scientificracism  oppression  systemsthinking  activism  climatefiction  junipoole  accessibility  legacyrussell  technology  digital  disability  worldbuilding  bodies  biotechnology  morehshinallahyari  queer  decolonization  anti-racist  ableism  abti-ableism  leeblalock  abrahamavnisan  virginiabarratt  francescadarimini  marymaggic  lauranmccarthy  marthapentecost  sonyarapoport  barakadésoleil  sputniko!  tomominishiz 
february 2019 by robertogreco
Solarpunking Speculative Futures — Cultural Anthropology
"Here is a map of Eneropa, a vision of the continent of Europe in 2050. Reorganized by renewable energy production, the new states—Hydropia, Solaria, Biomassburg, Geothermalia, Vrania, Tidal States, and the Isles of Wind—are connected by a centralized European energy grid. The grid serves to redistribute renewable energy across the continent by season, with the predominant energy supply from strong winterly winds in the north replaced by solar summers in the south. Europe’s carbon emissions have dropped by (at least) 80 percent from 1990s levels, and the continent is almost entirely energy-independent. The new, post-transition Europe is a safer, happier, and more politically stable place to live.

[image]

This is not an exercise in speculative fiction, but an example of backcasting: a policy technique of detailing a desirable future and then reverse-engineering solutions to achieve it. This map was featured in a 2010 vision document entitled “Roadmap 2050: A Practical Guide to a Prosperous, Low-Carbon Europe,” which was funded by the European Climate Foundation. It is only one in a series of eye-catching visuals that present a case for a European energy grid that would have made the inventor and scientist Buckminster Fuller proud. Others include snapshots of what each of these regions will look like; often, renewable energy production is integrated with holiday-like leisure activity, from surfing to sunbathing and general frolicking in the sea.

If the imagery seems fantastical, it is nonetheless informed by a mass of technical data: grid engineering and design, plausible costs, investment plans, in-depth modeling of system balancing requirements, and analyses of the macroeconomic impacts of large-scale decarbonization. The Office for Metropolitan Architecture gave the project visual form. Head architects Rem Koolhaas and Rainer de Graaf, among others, worked in conjunction with experts at the Energy Futures Lab at the Imperial College London, the technical grid consultancy Kema, management consultants McKinsey and Company, the climate change think tank E3G, and Oxford Economics. The aesthetic might be fantasy, but the genre is very much policy.

Many have written about the synergistic, mutually constitutive relationship between speculative fiction and technological innovation. Less attention has been paid to the more mundane work of policy, which serves to bridge speculative imagination and mass adoption of a new way of life. One way to address this might be to extend the aforementioned analyses, comparing themes across a sampling of publications to determine the influence of speculative fiction on the genre of the vision document, or vice versa. Another would be to eschew the reading of one genre alongside another in favor of reading such policy documents as speculative literature in themselves. This is what “Roadmap 2050” challenges us to do. Far from being facetious, its purpose in employing codes of fantasy is to engage us in an act of genre generosity. The fantastical elements empower us to approach the document with a willingness to suspend disbelief and to go beyond our usual attunement to limits and conservative assumptions.1

But what does reading policy as a speculative genre achieve? To begin with, it forces us to acknowledge that fiction as conventionally defined no longer has a monopoly over speculative narratives. As an act of world-making, speculation is present in several contemporary professional contexts, with climate change–related policymaking as only one of them. Design fiction, for instance, is a speculative world-building methodology that employs so-called diegetic prototypes to explore how new inventions hold up both socially and technically in multiple future scenarios (see Sterling 2005). However, while design fiction accounts for a variety of futures, both desirable and dystopian, policy backcasting must always project an optimistic future. This makes it somewhat unique, read against the pantheon of speculative subgenres.

Within academia, optimism is often adopted self-consciously as an ethics, or is tied back into an overarching analytics from within which it is rendered either “cruel” (Berlant 2011), naive, or a symptom of selling out. Reading policy not only for its proffered content but speculatively for its form might prompt anthropologists to take optimism seriously—not (just) as an ethics, but as a form of labor that we encounter in the field. We know the plight of climate scientists all too well (see Clayton 2018), but how can we make sense of the obligatory optimism of policymakers as they work to promote so-called global solutions?

To diagnose optimism as an object, we might take inspiration from an analytic device in the environmental humanities: close reading for narrative aesthetics grounded in contemporary petrocultural forms (e.g., Szeman 2017). While we are far from disembedding ourselves from the petrocultural, a new subgenre coalescing around the term solarpunk might serve as a starting point to engage with the labor of optimistic speculation. Described by Elvia Wilk as wishing to “wrench science fiction from both steampunk’s magical tech fantasies and cyberpunk’s tech-gone-wrong,” solarpunk locates itself in a near future of feasible tech that often already exists in some form. Its worlds are fueled not by coal or oil (as were steam- and cyberpunk respectively), but solar energy, as a way to access a postpetro social. In its best moments the genre is not engaged in utopianism, but acts of dislocation.

If the point of speculative anthropology is not simply to recognize the speculative in contexts we encounter but also to adopt the speculative in the manner by which we engage them, then reading policy documents (with some indulgence) as solarpunk might constitute one such act of dislocation. It may even allow us to punk the relationship between our modes of critique and the dominant energy form. Perhaps Bruno Latour (2004) was more prescient than he knew when he declared that critique had run out of steam. Perhaps it is in need of some solar instead."
solarpunk  speculativefiction  speculation  speculative  designfiction  anthropology  nanditabadami  2018  speculativeanthropology 
december 2018 by robertogreco
Speculative Anthropologies — Cultural Anthropology
"At the intersection of speculative fiction and anthropology, we find a sense of epistemological humility about the kind of worlds we could or should inhabit. Yet epistemological humility should not be confused with futility: possibilities and potentialities still matter. We do not know what we are capable of, and yet that need not keep us from the pursuit of what ifs. Through the imaginative interpellations of speculative fiction (SF), the contributors to this Theorizing the Contemporary series gravitate toward new localities and means of presence: ecological, technological, Afro-futuristic. Facing the imminent prospect of both disaster and discovery, they call us to resist despair and to craft tangible ways of shaping and repairing the worlds we still hope for.

Posts in This Series

Introduction: Speculative Anthropologies
by Ryan Anderson, Emma Louise Backe, Taylor Nelms, Elizabeth Reddy and Jeremy Trombley

The Unstable Edge: Anthropology, Speculative Fiction, and the Incremental Threat of Sea Level Rise
by Ryan Anderson

Our Present as the Past’s Fictitious Future
by Sally A. Applin

Solarpunking Speculative Futures
by Nandita Badami

Thinking Parabolically: Time Matters in Octavia Butler’s Parables
by Priya Chandrasekaran

Looking for Humanity in Science Fiction through Afrofuturism
by David Colón-Cabrera

Planeterra Nullius: Science Fiction Writing and the Ethnographic Imagination
by William Lempert (Open author orcid page in new window)

Fieldnotes from the Twilight Zone
by Patricia Markert and Jeremy Trombley

Invisible City: A Speculative Guide
by Taylor Nelms

First Contact with Possible Futures
by Michael Oman-Reagan (Open author orcid page in new window)

Speculative Fiction and Speculating about the Social
by Elizabeth Reddy

Evidently SF
by David Valentine

Anthropology’s Latent Futures
by Samuel Gerald Collins

Unbounding the Field/Note
by Valerie Olson

The Necessary Tension between Science Fiction and Anthropology
by Matthew Wolf-Meyer"
speculative  anthropology  speculativeanthropology  speculativefiction  designfiction  speculation  afrofuturism  ecology  technology  immigration  climatechange  ryananderson  emmalouisebacke  taylornelms  elizabethreddy  jeremytrombley  sallyapplin  nanditabadami  priyachandrasekaran  davidcolón-cabrera  williamlempert  patriciamarkert  michaeloman-reagan  samuelgeraldcollins  davidvalentine  valerieolson  matthewwolf-meyer 
december 2018 by robertogreco
Critical Design Fictions CSPL 225
"Design fiction involves the deliberate use of diegetic prototypes to suspend disbelief about change. Through practices of estrangement and defamiliarization, and through the use of carefully chosen design methods, this course experiments with the creation of provocative scenarios and imaginative artifacts that can help us envision different ways of inhabiting the world. The choices made by designers are ultimately choices about the kind of world in which we want to live--expressions of our dreams, fantasies, desires, and fears. As an integrated mode of thought and action, design is intrinsically social and deeply political. In conversation with science fiction, queer and feminist theories, indigenous discourses, drag and other performative interventions, this course explores speculative and critical approaches to design as catalysts for imagining alternate presents and possible futures. We examine a number of environmental and social issues related to climate change, incarceration, gender and reproductive rights, surveillance, emerging technologies, and labor."



"Readings include: Anthony Dunne & Fiona Raby, SPECULATIVE EVERYTHING: DESIGN, FICTION, AND SOCIAL DREAMING and Patrick Parrender (ed.) LEARNING FROM OTHER WORLDS: ESTRANGEMENT, COGNITION, AND THE POLITICS OF SCIENCE FICTION AND UTOPIA, along with selections from Carrie Lambert-Beatty, Julian Bleeker, Paul Preciado, Bruce Sterling, Darko Suvin, Samuel Delany, Elizabeth Grosz, José Esteban Muñoz, Ursula LeGuin, and Octavia Butler, among others.

Examination and Assignments:
Participation and collaboration, short assignments in conversation with readings, midterm and final projects. Students will design and prototype a series of objects, scenarios, and characters as devices to explore alternate presents and possible futures."

[see also:
https://www.are.na/barbara-adams/
https://www.are.na/barbara-adams/channels
https://www.are.na/barbara-adams/speculative-design-1519962911
https://www.are.na/barbara-adams/misc-design-1519956499
https://www.are.na/barbara-adams/sensory-ethnography
https://www.are.na/barbara-adams/ethnographic-design-films
https://www.are.na/barbara-adams/design-methods-1519961030

http://www.wesleyan.edu/academics/faculty/baadams/profile.html
http://newsletter.blogs.wesleyan.edu/2017/10/23/taylor-07-teaches-design-thinking-workshop-at-wesleyan/
http://wesleyanargus.com/2018/02/02/fellow-barbara-adams-talks-design-ideas-minor/
http://www.wesleyan.edu/ideas/faculty.html
http://www.wesleyan.edu/ideas/index.html
http://www.gidest.org/barbara-adams/
https://www.bloomsbury.com/uk/design-as-future-making-9780857858399/
https://nssr.academia.edu/BarbaraAdams ]
barbaraadams  design  designfiction  2018  classes  anthonydunne  fionaraby  patrickparrender  carrielambert-beatty  paulpreciado  brucesterling  darkosuvin  samueldelany  elizabethgrosz  joséestebanmuñoz  ursulaleguin  octaviabutler  speculativefiction  speculativedesign  scifi  sciencefiction  utopia  julianbleecker  dunne&raby  wesleyan 
may 2018 by robertogreco
Impakt Festival 2017 - Performance: ANAB JAIN. HQ - YouTube
[Embedded here: http://impakt.nl/festival/reports/impakt-festival-2017/impakt-festival-2017-anab-jain/ ]

"'Everything is Beautiful and Nothing Hurts': @anab_jain's expansive keynote @impaktfestival weaves threads through death, transcience, uncertainty, growthism, technological determinism, precarity, imagination and truths. Thanks to @jonardern for masterful advise on 'modelling reality', and @tobias_revell and @ndkane for the invitation."
https://www.instagram.com/p/BbctTcRFlFI/ ]
anabjain  2017  superflux  death  aging  transience  time  temporary  abundance  scarcity  future  futurism  prototyping  speculativedesign  predictions  life  living  uncertainty  film  filmmaking  design  speculativefiction  experimentation  counternarratives  designfiction  futuremaking  climatechange  food  homegrowing  smarthomes  iot  internetofthings  capitalism  hope  futures  hopefulness  data  dataviz  datavisualization  visualization  williamplayfair  society  economics  wonder  williamstanleyjevons  explanation  statistics  wiiliambernstein  prosperity  growth  latecapitalism  propertyrights  jamescscott  objectivity  technocrats  democracy  probability  scale  measurement  observation  policy  ai  artificialintelligence  deeplearning  algorithms  technology  control  agency  bias  biases  neoliberalism  communism  present  past  worldview  change  ideas  reality  lucagatti  alextaylor  unknown  possibility  stability  annalowenhaupttsing  imagination  ursulaleguin  truth  storytelling  paradigmshifts  optimism  annegalloway  miyamotomusashi  annatsing 
november 2017 by robertogreco
EyeMyth
"Exploring present and future cases of immersive storytelling and new media, EyeMyth brings together pioneering artists, performers and experts at the forefront of these fields. 

EyeMyth’s 2017 edition, Future As Fiction, traversed multiple locations in Mumbai to create, discover and engage with new elements in the digital space. The festival featured an array of exhibitions, workshops and performances that explored various forms of expression through new media."

[via: "Cool to see our comrades in Mumbai doing strange and interesting things in the futures/fiction/festival space: https://eyemyth.unboxfestival.com/ "
https://twitter.com/justinpickard/status/914105328266022912 ]
mumbai  designfiction  speculativefiction  future  futurism  storytelling  newmedia  technology  vr  ar  augmentedreality 
september 2017 by robertogreco
Radical Ocean Futures
[via: https://twitter.com/Oniropolis/status/871030625855307778 ]

"INTRODUCING RADICAL OCEAN FUTURES...A COLLABORATIVE #ARTSCIENCE INITIATIVE

Welcome intrepid explorer of the future oceans....

This project is founded on the belief that sometimes science fiction might succeed where scientific papers fall short. It blends art and science and merges scientific fact with creative speculation. The heart of the project is four short 'Radical Ocean Futures.' These are scientifically grounded narratives of potential future oceans. Each narrative is supported by both a visual and a musical interpretation to allow multiple entry points and stimulate the imagination. The purpose of this project is to explore tools that can help us to think creatively and imaginatively about our future oceans and assess how unexpected changes, along with human responses to those changes, may play out in a complex world that is, at its heart, surprising.

This project was financed through a science communications grant from The Swedish Research Council Formas and was featured online in WIRED."



"
Scenarios can help individuals, communities, corporations and nations to develop a capacity for dealing with the unknown and unpredictable, or the unlikely but possible. A range of scientific methods for developing scenarios is available, but we argue that they have limited capacity to investigate complex social-ecological futures because: 1) non-linear change is rarely incorporated and: 2) they rarely involve co-evolutionary dynamics of integrated social-ecological systems. This manuscript intends to address these two concerns, by applying the method of Science Fiction Prototyping to develop scenarios for the future of global fisheries. We used an empirically informed background on existing and emerging trends in marine natural resource use and dynamics to develop four ‘radical’ futures in a changing global ocean, incorporating and extrapolating from existing environmental, technological, social and economic trends. We argue that the method applied here can complement existing scenario methodologies and assist scientists in developing a holistic understanding of complex systems dynamics. The approach holds promise for making scenarios more accessible and interesting to non-academics and can be useful for developing proactive governance mechanisms."



"Sci-fi narratives - Science-based stories about our future oceans

Oceans back from the brink

FISH Inc

Rime of the last fisherman

Rising tide

Scenario building via science fiction prototyping

The four scenarios are built on a robust foundation of scientific knowledge, including:

1) Technological frontiers

2) Marine ecology, ocean and fisheries science

3) The global fishing and seafood industry

4) Marine management, governance and socio-economic shifts

The scenarios were developed following the method of Science-Fiction Prototyping, developed by Brian David Johnson when he was the futurist at Intel Corporation. Mr Johnson is now the futurist in residence at Arizona State University, Center for Science and the Imagination. This method is described in detail in the scientific paper currently under review at the journal Futures.

We have linked key elements in each of the narrative scenarios to relevant peer-reviewed academic papers, news articles from reputable publications and credible websites to give you the opportunity to explore beyond Radical Ocean Futures. We wish you well on your explorations into the future oceans and the scientific work that helps us to imagine them."



"The beautiful and engaging artworks that are a feature of the Radical Ocean Futures #artscience project were created by the world renowned Swedish concept artist and illustrator Simon Stålenhag. His work has been featured in; The Verge, Gizmodo, Booooooom.com and The Huffington Post among others. He has also successfully kickstarted collections of his work and has a number of exciting new projects in development. He is currently working on his third book.

Right from the beginning, this was a true creative collaboration and the original pieces of concept art that you see on this site, so vividly supporting the narrative scenarios of the future oceans, are the result of this collaboration. Below is a small sampling of his other work. If you would like to have the opportunity to work with Simon or see his iconic body of work, please head over to his website."
oceans  future  scifi  sciencefiction  classideas  designfiction  briandavidjohnson  prototyping  science-fictionprototyping  simonstålenhag  klaluna  kaitlynrathwell  andrewmerrie  patriciakeys  marcmetian  henrikösterblom 
june 2017 by robertogreco
An Ikea Catalog From The Near Future – Design Fictions – Medium
[Never bookmarked?]

"In September, the Near Future Laboratory conducted a workshop with the Mobile Life Center and Boris Design Studio in Stockholm. Our workshop brief was to consider an Internet of Things future, but with a twist: the Internet of Things seen through an Ikea Catalog.

Why did we chose an Ikea catalog? Because it is one of the more compelling ways to represent normal, ordinary, everyday life in many parts of the world. The Ikea catalog contains the routine furnishings of a normative everyday life. It’s a container of life’s essentials and accessories which can be extrapolated from today’s normal into tomorrow’s normal.

The process of our workshop was to use Design Fiction, a practice we’ve developed at the Near Future Laboratory that combines pragmatic hands-on production of material assets — in this case, graphic design production of a print catalog — with micro-scale science, technological and social fictions contained in the product descriptions, ancillary texts, disclaimers, footnotes and annotations.

The Design Fiction approach requires one to follow a series of claims about the world through as deeply as possible. For example, our claims to say that the near future world we were representing would have ‘smart’ ‘connected’ technologies needed to be as thorough as possible given our 1-day schedule. We needed to propose dozens of representations of such, throw out most, iterate on the one’s we found compelling and then find a plausible, visually engaging way to represent them with all of the constraints and rules one applies to catalog production. Each proposition from each of the working groups had to ‘stand up’ to our own scrutiny. Names of things weren’t enough. Each group had to describe the artifact or service as if they were pitching a new product. This is the work that seems to be rarely done when an IoT future is trumpeted in vague, hyperbolic press releases, keynotes and ‘reports.’ A bad PowerPoint slide with some loose text about ‘a future of connected kitchens’ and $1 trillion market for IoT simply would not work.

For example, our extrapolation of an Ikea kitchen has the things you might imagine (and have been “demo‘d”) in a near future IoT world. Cooking instructions appear dynamically on countertops, complete with anecdotes meant to keep the cooking experience lively — and likely complete with subtle opportunities to make a purchase of a fancy cutting knife, or book a reservation to the country from which the recipe is derived. The micro-fictions embedded in the catalog are where our Design Fiction makes subtle suggestions about how the near future may be a bit different from today.

For example, implying new economic contexts that were an aspect of the design brief can be done in subtle ways, such as peculiar regional disclaimers, odd explanatory iconography, subscription pricing models for furniture as the ‘new normal’ — in our near future, an Ikea kitchen is ‘self-subscribing’, a peculiar, eyebrow-raising neologism meant to suggest a new weird context of exchange dreamed-up by some near future product people in which our near future selves are comfortable with smart technologies that somehow know what’s best for us.

In the end, our Design Fiction Ikea catalog is a way to talk about a near future. It is not a specification, nor is it an aspiration or prediction. The work the catalog does — like all Design Fictions — is to encourage conversations about the kinds of near futures we’d prefer, even if that requires us to represent near futures we fear. While we’re fans of the ‘catalog’ as a Design Fiction Archetype (cf TBD Catalog), we’ve also done Quick-Start Guides, Newspaper Supplements, Reports on Modern Life & Rituals, bespoke Design Fiction Field Reports for clients, all as ways to enter into a discussions about our future."

[available here: http://mobilelifecentre.org/sites/default/files/Design_Fiction_IKEA_2015.pdf ]
2015  ikea  designfiction  speculativedesign  speculativefiction  internetofthings  iot  nearfuturelaboratory 
february 2017 by robertogreco
UCSD, Parsons and the Cooper Hewitt: Institutions of education and culture making a commitment to design's intellectually-oriented practice - Core77
"Last week we mentioned how governments were dabbling in discursive design, and this week three major educational and cultural institutions weighed in with different forms of support for this intellectual arm of design practice.

Perhaps the biggest news was the announcement by the University of California San Diego (UCSD) starting a new undergraduate major, Speculative Design. Within the Department of Visual Arts, known for an emphasis on experimental art and the resistance of commercial art and even commercial fine art, the inclusion of design to its offerings was not without some initial resistance. As its Chair, Jack M. Greenstein reflected upon the genesis of the program three or four years ago: with "design so closely related to product and marketing…we couldn't really foresee how this would work."

This rejection of design due to its relationship with commerce has long been a point of tension within schools of art, sometimes resulting bad blood, formal schisms, and even banishment. The same reason that UCSD eventually found that speculative design made sense for them—that it is ultimately idea-based and shares many of the same goals as experimental art—is precisely why it can be discounted by mainstream design.

Just as it has taken the good part of a century for schools of design to emerge (rather than having industrial design, for example, located in schools of architecture, schools of engineering, and schools of art) discursive design has not found a singular home in academia. But similar to corporate product development processes where design is seen as the link between marketing, manufacturing, and engineering, discursive design can be the bridge between art, technology, and more traditional design education.

As opposed to UCSD's seeming emphasis on discursive design's more artistic capacities, the MIT Media Lab stresses its value in the technological sphere. Their Design Fiction Group, under the leadership of Hiromi Ozaki (a.k.a. Sputniko!) is particularly interested in prospective students "with a strong interest in emerging technologies" and with "backgrounds in synthetic biology, bioengineering, and electronics." And certainly many industrial design programs are looking at discursive design projects and courses as a way to extend the cultural reach of design as part of an expanded notion of 21st century practice.

As part of UCSD's launch event for the program, Fiona Raby gave the keynote speech, presenting the many and influential projects of her co-run studio, Dunne and Raby. This occurred just a day after The New School's Parsons School of Design publicly announced that she and Anthony Dunne were beginning a "new gig" within their School of Design Strategies.

In moving from their celebrated positions at the Royal College of Art, Parsons can offer them a broader collaborative community. Raby says, "In joining The New School, I will be able to not only work with faculty and students to explore new forms of socially engaged practice in relation to emerging technology, but also collaborate with some amazing people in disciplines like anthropology and political theory, which Anthony and I haven't been able to connect with before."

While their positions include teaching, they are also going to be driving collaborations with other universities, notably the MIT Media Lab. The hope, says Tim Marshall, The New School's provost, is that "their inspiration and insight will help our students to not only prepare for but also help shape our social and technological futures."

And it is this question of social and technological futures that Forbes contributor Johnathon Keats questions in, "Can the Cooper Hewitt Design Triennial Save Us from the Next Global Die-Off?" Published a day after Raby's keynote and in anticipation of the Triennial's February 12th opening, Keats discusses several discursive design projects to be exhibited that deal with synthetic biology and questions of its relationship to how we might (have to) live our lives. Designers Daisy Ginsberg, Neri Oxman, and Ana Rajcevic exhibit objects and images of hypothetical creatures, synthetic organs, and animal-inspired prosthetics for humans.

These uses of current and future synthetic biology and bioengineering are of course not predictions, but provocations. As UCSD professor, Benjamin Bratton stated in his insightful (and perhaps incite-ful) lecture just prior to Raby's keynote: "These technologies are Pharmakon [Socrates' term]: remedy and poison. Any perspective that emphasizes their positive or negative potential without assuming the inverse is incomplete or dishonest." The Cooper Hewitt as a cultural institution is trying in this way to keep us a little more honest.

In regard to this week's events from the UCSD program announcement, to Dunne and Raby's gig at Parsons, to the kickoff of the Triennial, we turn to Keats' for a helpful summation: "While more frequently found in art, this philosophical turn belongs equally in the realm of design, where it can problematize product development before manufacturers remake society in their own image. Moreover, design is the universal language of the modern world. Using design speculatively brings philosophy to everyone."

The "everyone" is certainly an ethnocentric oversight, given that discursive design is currently a product of and for the privileged world. But all of this is a start. In order to responsibly, substantively, and extensively deliver on this promise, we need even further academic emphasis, even more visionary practitioners, and even greater public engagement in discursive design's future.
Designers! Help future a future."

[via: https://twitter.com/annegalloway/status/705497337502642176

See also discussion here: https://twitter.com/annegalloway/status/705497387586842624 ]
speculativedesign  design  ycsd  cooper-hewitt  parsons  brucetharp  stephanietharp  jackgreenstein  discursivedesign  benjaminbratton  mitmedialab  hiromiozaki  designfiction  designfictiongroup  sputniko!anthonydunne  fionaraby  dunne&raby  newschool  speculation  daisyginsberg  nerioxman  anarajcevic  medialab 
march 2016 by robertogreco
Digital Manifesto Archive: Design Fiction's Odd Present vs. Science Fiction's Near Future
"Julian Bleecker's "Design Fiction's Odd Present vs. Science Fiction's Near Future" proposes that Design Fiction supplant typical Science-Fiction narratives with diegetic prototypes--actual objects that test an idea."



"If there is anything to be gained from these Design Fiction practice it is the playful optimism that comes from "making things up." Making things up is playful and serious at the same time. It's playful in that one can speculate and imagine without the "yeah, but," constraints that often come from the dour sensitivities of the way-too-grown-up pragmatists. It's serious because the ideas that are "made up" as little design fictions - formed into props or little films or speculative objects - are materialized things that hold within them the story of the world they inhabit. There is the kernel of a near future, or a different now, or an un-history that begins the mind reeling at the possibilities of what could be. When an idea is struck into form we have learned to accent that as proof - a demonstration that this could be possible. The translation from an idea into its material form begins the proof of possibility. Props help. Things to think with and things to help us imagine what could be.

This is how the world around us is made, by people who imagine what could be and then go forth and make it material. Wheels did not suddenly appear on luggage, but they are and its hard to imagine that it didn't happen sooner.

Playfully, seriously making things up is how the world around us comes to be. Don't sit around and wait. Make up the world you want. Believe it. Tell its story. Inhabit it and it will become.

Design Fiction strides alongside of Science Fiction, obligating itself to fashion representation of what could be - whether that's a different present, a reassessment of the recent past, or a future likely to be obtained, it may be a reaction to a sense that Science Fiction has given up on the future, or ceded its remit to imagine the future. Perhaps Science Fiction has shifted to envisioning the differently present or the recently past. Ridley Scott recently said, "We have done all we can for Science-Fiction. After 2001 A Space Odyssey, Science-Fiction is dead."

Design Fiction mucks around in this odd present in which we live. Every year the future is held aloft in the hand at widely publicized consumer electronics trade shows. The press eats it up. It's the new science fiction. This is how we imagine the future. Through 100 million dollar trade shows. Through the trade's hand-held technologies and their odd mash-ups of telephone fitness devices brain wave TV remote controls. (No wonder the science-fiction literary has thrown in the towel. They'd do better as consulting engineers. What a great idea.) Our future is shown to use as made things - prototypes, or evocative objects that suggest, MacGuffin like, what they do. Objects that take batteries and have screens that goad us to massage them. Objects that cycle every 12-18 months and thence end up in a discard drawer or in a closet under last year's crap. Or on the Internet's close, Craigslist.

Design Fiction's commitment is to create a legible, tangible, material representation of alternatives. it uses designed objects - props, prototypes, fakes, punks, speculative consumer electronic objects, evocative ingots of color, material and precision manufacturing, prompts, provocations, little films, atmospheres and visual moments - to start conversations about the future. Design Fiction embraces the cycles of obsolescence, that banal next-new-thing - but it does so in order to find chinks in the iron-clad cycle and find innovative alternatives to the mediocre experiences they inevitable deliver.

The emphasis of Design Fiction is on alternative world as represented through the things. These props are called diegetic prototypes." They are objects that test an idea. The fact that they exist as material objects imply their existence in the same way an objects existence in a movie or play makes the object come to life. In some cases, those props spread ideas more effectively than could a laboratory prototype. Diegetic prototypes serve to tell a story about an object and start conversations, sometimes even before technical possibility has been considered. Diegetic prototypes implicate themselves as things that people would live with, rather than operating solely as technological, scientific or engineering possibility. They are designed, evocative, desirable, ineffable and imbued with a sense of imminent possibility, even necessity. They come across as things that actually make sense.

Design Fiction creates these things because they can help tell the stories about the worlds they occupy, without the stories being told in a typical narrative - and because telling good stories is hard. Making suggestive, evocative, compelling, curious objects is a designer's way of telling stories about worlds that could or should become."
manifestos  designfiction  speculativefiction  speculativedesign  design  sciencefiction  scifi  julianbleecker  optimism  making  play  playfulness  prototyping  tinkering  criticalmaking 
february 2016 by robertogreco
Digital Manifesto Archive
"This collection aggregates manifestos concerned with making as a subpractice of the digital humanities."



"This archive is an academic resource dedicated to aggregating and cataloging manifestos that fall under two basic criteria. 1) The Digital Manifesto Archive features manifestos that focus on the political and cultural dimensions of digital life. 2) The Digital Manifesto Archive features manifestos that are written, or are primarily disseminated, online.

The manifesto genre is, by definition, timely and politically focused. Further, it is a primary site of political, cultural, and social experimentation in our contemporary world. Manifestos that are created and disseminated online further this experimental ethos by fundamentally expanding the character and scope of the genre.

Each category listed on the archive is loosely organized by theme, political affiliation, and (if applicable) time period. While the political movements and affiliations of the manifestos archived in each category are not universal, each category does try to capture a broad spectrum of political moods and actions with regard to its topic.

This site is meant to preserve manifestos for future research and teaching. The opinions expressed by each author are their own.

This archive was created by Matt Applegate. Our database and website was created by Graham Higgins (gwhigs). It is maintained by Matt Applegate and Yu Yin (Izzy) To
You can contact us at digitalmanifestoarchive@gmail.com.

This project is open source. You can see gwhigs' work for the site here: Digital Manifesto Archive @ Github.com"
manifestos  digital  digitalhumanities  archives  making  mattapplegate  yuyin  designfiction  criticalmaking  engineering  capitalism  feminism  hacking  hacktivism  digitalmarkets  digitaldiaspora  internetofthings  iot  cyberpunk  mediaecology  media  publishing  socialmedia  twitter  ethics  digitalculture  piracy  design  bigdata  transhumanism  utopianism  criticaltheory  mediaarchaeology  opensource  openaccess  technofeminism  gaming  digitalaesthetics  digitaljournalism  journalism  aesthetics  online  internet  web  technocracy  archaeology  education  afrofuturism  digitalart  art  blogging  sopa  aaronswartz  pipa  anarchism  anarchy 
february 2016 by robertogreco
Smart Pipe | Infomercials | Adult Swim - YouTube
"Everything in our lives is connected to the internet, so why not our toilets? Take a tour of Smart Pipe, the hot new tech startup that turns your waste into valuable information and fun social connectivity."
adultswim  designfiction  2014  data  bigdata  privacy  smartcities  internetofthings  iot  information  connectivity 
december 2015 by robertogreco
Creating Fictional Data Services and Their Implications — Design Fictions — Medium
"When conceptualizing a service or product based on data, I first transform visions into a tangible visualization, or prototype that anyone in a multi-disciplinary team can feel and understand. Additionally, I generally create Design Fictions that explore possible appropriations of the envisioned data service along its life. Taken together, prototypes and fictions present tangible concepts that help anticipate opportunities and challenges for engineering and user experience before a project gets even founded. These concepts give a clearer direction on what you are planning to build. They are a powerful material to explain the new data service to others and they act as a North Star for a whole team has a shared vision on what they might to want build.

Taken together, prototypes and fictions present tangible concepts that help anticipate opportunities and challenges for engineering and user experience before a project gets even founded.

This is the approach I aimed to communicate last week in a 5-days workshop at HEAD design school in Geneva to an heterogeneous group of students coming from graphic design, engineering, business or art backgrounds.

Part 1: Sketching with Data



Through the manipulation of a real dataset participants apprehended its multiple dimensions: spatial, temporal, quantitative, qualitative, their objectivity, subjectivity, granularity, etc.

Part 2: Creating implications



Writing a fictional press release forces to use precise words to describe a thing and its ecosystem. Quite naturally it leads to listing Frequently Asked Questions with the banal yet key elements that define what the data service is good for.

Take Aways

Data visualizations, prototypes and design fiction are ‘tools’ to experiment with data and project concepts into potential futures. They help uncover the unknown unknowns, the hidden opportunities and unexpected challenges.

Data visualizations help extract insights, and prototypes force to consider the practical uses of those insights. Design fictions put prototypes and visualization in the context of the everyday life. They help form a concept and evaluate its implications. The approach works well for abstract concepts because it forces you to work backward and explore the artifacts or the byproducts linked to your vision (e.g. a user manual, an advertisement, a press release, a negative customer review …). It encourages a global thinking with the ecosystem affected by the presence of a data service: What do people do with it over time? Where are the technical, social, legal boundaries? Some answers to those questions give a clearer direction on the data product or service you are planning to build."
fabiengirardin  speculativefiction  designfiction  data  fictionaldataservices  2015  prototyping  dataviz  datavizualiation  visualization  systemsthinking  ecosystems 
december 2015 by robertogreco
Design Futures in Sub-Saharan Africa: Post-Western Perspectives
"Design Futures in Sub-Saharan Africa: Post-Western Perspectives is a forum for pioneering technologists, curators and scholars from Accra, Nairobi, Cape Town, London and New York to discuss developments in digital design – robotics, gaming and computer imaging - on the African continent.

We tend to think about our world’s future as being discovered in the high-tech laboratories of American scientific research institutes, or debated in elite business and political forums held in the Alps - but less often in the West, do we think about our future as being designed by local tech communities in Sub-Saharan Africa.

In what is being called a transformative Digital Revolution, the African continent now hosts one of the fastest growing tech hubs in the world (the East African ‘Silicon Savannah’), a Pan-African robotics network (AFRON), burgeoning space programmes and a proliferation of digital innovation hubs.

The symposium analyses two major forces shaping the 21st century – innovations in digital technology and the ‘rise of Africa’ – through the lens of material culture and its interpretation. It also marks the official launch of an international network ‘Design Futures in Sub-Saharan Africa’ lead by Cher Potter, developed through a core partnership between London College of Fashion and the Victoria and Albert Museum.

Some of the questions that will be examined are:

• What challenges and opportunities do a ‘digital revolution’ combined with unprecedented city and population growth on the African continent present for designers today?

• How is the combination of computer coding and digital fabrication resulting in new typologies of design in Sub-Saharan Africa?

• What composite communities are organising themselves around these new digital models?

• Are gaming environments based on local history and folklore heralding a wider move from European/US-centric worldviews to local ones?

• How might technology open up new ways for reading and categorising objects, both ancient and contemporary?

• How might we describe and test the term ‘postwestern’ in the context of design and curating?

Speakers:

Cher Potter
Cher Potter is V&A/LCF Senior Research Fellow. Her research interests include contemporary design on the African continent, and ‘post western’ models of curating and research. Prior to joining the V&A, she curated the 2013 European Impakt Arts Festival which explored ‘post western’ futures; and lead global cultural research at WGSN, the world’s largest design and fashion trends bureau, coordinating research into design tendencies across 22 countries including 8 African capitals. She was recognized as one of twelve ‘Future Visionaries’ by the 2013 Wellcome Trust Visioneers series.

Jonathan Ledgard
Jonathan Ledgard is Director of the Afrotech Initiative at the Swiss Federal Institute for Technology, Lausanne, established to help pioneer advanced technologies in Africa. He is a leading thinker on risk, nature, and technology in near future Africa and spent the last decade as the Africa correspondent for The Economist, reporting extensively on Africa's mobile phone revolution. A founder of The Economist's Baobab blog, covering politics, economics and culture on the continent of Africa, he continues to contribute to the paper as well as to The New Yorker and other journals.

Ayorkor Korsah
Dr Ayorkor Korsah is Head of the Computer Science Department at Ashesi University College and Co-founder of the African Robotics Network, a community of institutions, organisations and individuals engaged in robotics in Africa. She is also a member of the Carnegie Mellon Robotics Institute and a TED Global Fellow. Her research interests include design at the intersection of algorithm design, artificial intelligence, and robotics; educating technologists for development in Africa; exploring the potential for participatory design in Africa; information, computing, and communications as keys to sustainable global development.

Kristina Van Dyke
Kristina Van Dyke is an independent scholar and curator. She was Director of the Pulitzer Arts Foundation in St. Louis from 2011 to 2015 and Curator for Collections and Research at the Menil Collection in Houston from 2005 to 2011. She curated the exhibition ‘Kota: Digital Excavations in African Art’ currently on display at the Pulitzer Arts Foundation, which examines nearly 50 Kota guardian figures using a new digital database created by Belgian computer engineer Frederic Cloth to study and reveal the hidden histories of Kota reliquaries.

Wesley Kirinya
Wesley Kirinya is one of the first games developers in Africa and founder of Leti Arts gaming studio in Nairobi and Accra. As such, he operates within one of the world’s fastest growing tech and design hubs, the East African ‘Silicon Savanah’. He is pioneering the use of local African history in digital gaming environments, and developing a toolbox of African superheroes based on characters from African mythology – heralding a potentially wider move from European/US-centric worldviews to local ones.

Paula Callus
Paula Callus is a Senior Lecturer in Computer Animation at Bournemouth University and is completing her PhD at SOAS on Digital Animation in Sub-Saharan Africa. As an advocate for the role of Sub-Saharan animators within the broader history of ‘moving’ image, she has delivered papers on ‘Reading Animation through the eyes of anthropology’ at the Animation Studies Symposium 2010; ‘Locating Sub-Saharan African Animation within the ‘moving’ image’ at the Film and Television Screen Studies Conference 2013; and curated the Africa in Motion animation programme in Edinburgh.

Mugendi M’Rithaa
Mugendi M’Rithaa is Professor of Industrial Design at Cape Peninsula University of Technology and the President of the International Council of Societies of Industrial Design (Icsid) - the world organisation for Industrial Design. His research interests include Participatory Design which incorporates the needs of end-users/clients; Universal/Inclusive Design; Design for Social Innovation and Sustainability; and design's potential in promoting equity and quality of life in Africa and beyond. He has coordinated workshops on ‘Designing a Prosperous Nation’ (Gaborone, 2004), and ‘Designing for New Realities’ (Helsinki, 2012).

Elvira Ose
Elvira Ose is Lecturer in Visual Cultures at Goldsmiths, and curator of the Göteborg International Biennial for Contemporary Art 2015. She was Curator International Art at Tate Modern (2011 – 2014). At Tate, she took a leading role in developing Tate’s holdings of art from Africa and its Diaspora and working closely with the Africa Acquisitions Committee. She was responsible for Across the Board (2012–2014), a two-year interdisciplinary project that took place in London, Accra, Douala and Lagos. She recently co-curated Ibrahim El-Salahi: A Visionary Modernist (2013).

Chairs:

David Pratten
Dr David Pratten is a Professor at the University of Oxford, specialising in the Social Anthropology of Africa. He was Director of the African Studies Centre from 2009-2013, one of the world’s leading centres for African Studies. His research interests include West African issues of youth, democracy and disorder; contemporary models of sociality, and colonial history. He is Co-Editor of ‘AFRICA: Journal of the International African Institute’ Cambridge University Press, which is the premier journal devoted to the study of African societies and culture.

Bill Sherman
Professor Bill Sherman is Head of Research at the Victoria and Albert Museum and Professor of Renaissance Studies at the University of York. He has published widely on the history of books and readers, the interface of word and image, and the relationship between knowledge and power. At the V&A, he is leading the development of the V&A Research Institute (VARI), which is testing new models for collaborative research that draws on history, theory and practice, and new ways of using collections to bring together the museum, the university and the creative industries.

Jane Harris
Dr Jane Harris is Associate Dean of Research at London College of Fashion, University of the Arts London and Professor of Digital Design and Innovation. An advocate for the role that creative and transdisciplinary research in HE can play in the development and advance of design, science and industry, her own practice navigates physical material and technology interfaces. A recipient of the National Endowment for Science Technology and the Arts Fellowship (NESTA) her pioneering CGI work has been internationally exhibited and publications include the co-authored book Digital Visions for Fashion+Textiles: Made In Code. "
designfuturism  speculativedesign  adrica  via:anne  designfiction  africa  2015  cherpotter  jonathanledgard  ayorkorkorash  kristinavandyke  wesleykirinya  paulacallus  mugendim'rithaa  elviraose  davidpratten  billsherman  janeharris  future  speculativefiction  design  robotics  gaming  comuterimaging  digital 
november 2015 by robertogreco
Livraison vingt-quatre : PK, pagers, iPod Touch et feature phones + Lee Scratch Perry
"2. Pagers, iPod Touch et feature phones

Dans son ouvrage "Quoi de neuf ?" publié en 2006, l’historien anglais David Edgerton observait la persistance, la "résistance" ou la ré-introduction de "vieilles techniques". Il citait notamment la résurgence de la télévision par cable dans les années 1980s (après avoir été en vogue dans les années 1950s) ou l’acupuncture (à son paroxysme au XIXème puis de retour depuis trente ans).

Un autre exemple historique marquant dans son livre est celui l'importance du cheval durant la Seconde Guerre mondiale:
"L’armée allemande, si souvent décrite comme reposant sur des formations blindées, eut bien plus de chevaux durant la Seconde Guerre mondiale que n’en eut l’armée britannique durant la Grande Guerre. Le réarmement de l’Allemagne, dans les années 1930, passa par un achat massif de chevaux, au point qu’en 1939 cette armée en possédait 590 000, et en avait 3 millions d’autres en réserve dans l’ensemble du pays. […] Début 1945, la Wehrmacht disposait de 1.2 millions de chevaux ; on estime à 1.5 millions les pertes en chevaux accumulés durant la guerre."

Avec ces exemples, Edgerton nous rend attentif au fait que "le temps technologique ne va pas uniquement vers l’avant"; et qu’il n’y a donc pas un bel ordonnancement chronologique. En adoptant le point de vue des usages des objets techniques, on peut regarder différents “mondes technologiques” et s’apercevoir de la diversité des pratiques. C’est un sujet qui intéresse votre correspondant dans le cadre d’un projet d’enquête sur les téléphones mobiles. En cherchant dans mes notes de terrain je suis tombés sur quelques cas de ce genre (( dans l’app Notes sur mon téléphone, j’ai une Note nommée "Livefieldnotes" dans laquelle je consigne mes observations concernant les usages des téléphones mobiles. C’est écrit à la volée sur le terrain donc avec des fautes d’orthographes et un certain laconisme ))

Voici les notes en questions:
23.08.2015 - train Genève - Lausanne Un homme regarde son pager Motorola, une technologie que je pensais disparue... Mais qui semble encore exister à ce que je lis sur le site de sigmacom.ch et qui sert des "besoins professionnels" avec des èchanges de messages alphanumeriques. Il dit mystérieusement l'utiliser du fait de sa fiabilité : "ça marche partout meme dans les zones a faible reseau de telephone, le fabricant me dit que ca joue a 99% partout dans le pays"

11.08.2015 - Genève, square Chantepoulet Rencontre avec J. un chercheur suisse-allemand, qui sort ses deux telephones (un iPod Touch et un vieux Nokia), il n'a pas de data plan et dit aussi utiliser cette combinaison d’appareils "pour se proteger des distractions". Il me dit utilise le Nokia (un feature phone noir) pour les appels, et le iPod Touch pour l’accès aux apps. Et s’il a besoin d’être connecté au Web mobile pour browser ou certaines apps, il le fait dans les lieux où il y a du Wifi

8.08.2015 - Geneve, marché aux puces Discussion avec un vendeur de telephone mobile genre nokia 3210 d'occasion (30chf), se vend bien, pour les gens qui n'arrivent pas bien a utiliser les smartphone "c trop complique", par exemple me dit le vendeur dans son francais approx: "par exemple une dame qui vient et dit que son fils lui a offert un iphone et elle comprend rien... Elle m'achete ce nokia [3310] et elle sait faire, elle recoit l'appel elle appuie sur le bouton et c bon; donc j'en vends toujours un peu"

Ces exemples, pris parmi d’autres, sont intéressants à plusieurs niveaux. D’abord parce qu’il montre la persistance et la diversité des usages d’objets techniques généralement considérés comme moins à la page (sans jeu de mot aucun sur le premier). Ensuite car ils renvoient à un autre aspect discuté par Edgerton : celle de la prétendue “résistance aux techniques nouvelles”, problèmes parfois abordés par psychologues ou historiens. Or, comme il l’explique, “il est absurde de parler de résistance à la technique ou à l’innovation dans un monde dont les individus ou les sociétés n’acceptent pas nécessairement toute innovation – ou, en fait – tout produit qui leur est proposée. De toute façon, il y a résistance. En adoptant une technique, la société résiste nécessairement à de nombreuses techniques substitutives ‘anciennes’ et ’nouvelles’.” Les pagers très fiables, les features phones en sont de bons exemples. Et l’usage des iPod Touch, à la manière de J., était d’ailleurs précisément proposé dans un article récent de la revue Wired comme l’un des système de communication les plus sécurisé à l'heure actuelle. Même si ces usages ne sont pas majoritaires – tout dépend où ! – ils existent et nous rappellent que différents critères influent sur les choix d'utilisation.

Cette combinaison d'objets techniques est d'ailleurs ce qui pêche souvent dans les vidéos prospectifs des grandes sociétés technologiques. On ne voit que des appareils rutilants, les dernières interfaces, alors que la réalité des pratiques correspond davantage à une grande diversité. C'est certes moins glorieux (un téléphone non-tactile ferait-il tâche à côté d'Hololense ?) mais bien plus plausible. Mon collègue du Near Future Laboratory Nic Foster utilisait dans cet article de Core77 une métaphore géologique pour ce phénomène : celui de l'accrétion qui lui permettait d'en discuter les enjeux deson point de vue de designer:
"In order to communicate our vision, it may be helpful to incorporate the existing designed space in parallel with the new. On a very practical level, we should embrace legacy technologies when conceiving new ones. Ethnographic studies constantly highlight technology accretion: the drawer full of cables, the old interaction behaviors, the dusty hard drives, the mouse mats and inherited hardware. Rather than avoid this complexity, good science fiction embraces accretive spaces, where contemporary design and technology sits side by side with older artifacts. In some cases, this technique can be used to show potential disconnects between the new and established, places where technology sticks out like a sore thumb. This is a useful tool for all designers and using it well can help us depict a more tangible future."

Comme il l'exprime ici, cette prise en compte de la diversité des pratiques peut stimuler la rechercher de voies originales. Dans le cas des mobiles, c'est la raison pour laquelle on voit toujours des produits pertinents basés sur des pagers aujourd'hui (c'est d'ailleurs le cas par exemple avec de la géolocalisation indoor) ou des téléphones servant uniquement à téléphoner... avec des propositions loin d'être inesthétiques, absurdes ou curieuses."
nicolasnova  davidedgerton  technology  time  chronology  nicfoster  designfiction  future  futures  mobilephones  cv  fieldnotes  diversity  tools  mobile  phones  smartphones  complexity  design  novelty  earlyadopters  lateadopters  difference  ipodtouch  innovation 
october 2015 by robertogreco
It’s Not Climate Change — It’s Everything Change — Matter — Medium
"Two writers have recently contributed some theorizing about overall social and energy systems and the way they function that may be helpful to us in our slowly unfolding crisis. One is from art historian and energetic social thinker Barry Lord; it’s called Art and Energy (AAM Press). Briefly, Lord’s thesis is that the kind of art a society makes and values is joined at the hip with the kind of energy that society depends on to keep itself going. He traces the various forms of energy we have known as a species throughout our pre-history — our millennia spent in the Pleistocene — and in our recorded history — sexual energy, without which societies can’t continue; the energy of the body while hunting and foraging; wood for fire; slaves; wind and water; coal; oil; and “renewables” — and makes some cogent observations about their relationship to art and culture. In his Prologue, he says:
Everyone knows that all life requires energy. But we rarely consider how dependent art and culture are on the energy that is needed to produce, practice and sustain them. What we fail to see are the usually invisible sources of energy that make our art and culture(s) possible and bring with them fundamental values that we are all constrained to live with (whether we approve of them or not). Coal brought one set of values to all industrialized countries; oil brought a very different set… I may not approve of the culture of consumption that comes with oil… but I must use [it] if I want to do anything at all.

Those living within an energy system, says Lord, may disapprove of certain features, but they can’t question the system itself. Within the culture of slavery, which lasted at least 5,000 years, nobody wanted to be a slave, but nobody said slavery should be abolished, because what else could keep things going?

Coal, says Lord, produced a culture of production: think about those giant steel mills. Oil and gas, once they were up and running, fostered a culture of consumption. Lord cites “the widespread belief of the 1950s and early ’60s in the possibility of continuing indefinitely with unlimited abundance and economic growth, contrasted with the widespread agreement today that both that assumption and the world it predicts are unsustainable.” We’re in a transition phase, he says: the next culture will be a culture of “stewardship,” the energy driving it will be renewables, and the art it produces will be quite different from the art favored by production and consumption cultures.

What are the implications for the way we view both ourselves and the way we live? In brief: in the coal energy culture — a culture of workers and production — you are your job. “I am what I make.” In an oil and gas energy culture — a culture of consumption — you are your possessions. “I am what I buy.” But in a renewable energy culture, you are what you conserve. “I am what I save and protect.” We aren’t used to thinking like this, because we can’t see where the money will come from. But in a culture of renewables, money will not be the only measure of wealth. Well-being will factor as an economic positive, too.

The second book I’ll mention is by anthropologist, classical scholar, and social thinker Ian Morris, whose book, Foragers, Farmers, and Fossil Fuels: How Human Values Evolve, has just appeared from Princeton University Press. Like Barry Lord, Morris is interested in the link between energy-capture systems and the cultural values associated with them, though in his case it’s the moral values, not only the aesthetic ones — supposing these can be separated — that concern him. Roughly, his argument runs that each form of energy capture favors values that maximize the chance of survival for those using both that energy system and that package of moral values. Hunter-gatherers show more social egalitarianism, wealth-sharing, and more gender equality than do farmer societies, which subordinate women — men are favored, as they must do the upper-body-strength heavy lifting — tend to practice some form of slavery, and support social hierarchies, with peasants at the low end and kings, religious leaders, and army commanders at the high end. Fossil fuel societies start leveling out gender inequalities — you don’t need upper body strength to operate keyboards or push machine buttons — and also social distinctions, though they retain differences in wealth.

The second part of his argument is more pertinent to our subject, for he postulates that each form of energy capture must hit a “hard ceiling,” past which expansion is impossible; people must either die out or convert to a new system and a new set of values, often after a “great collapse” that has involved the same five factors: uncontrolled migration, state failure, food shortages, epidemic disease, and “always in the mix, though contributing in unpredictable ways–- climate change.” Thus, for hunting societies, their way of life is over once there are no longer enough large animals to sustain their numbers. For farmers, arable land is a limiting factor. The five factors of doom combine and augment one another, and people in those periods have a thoroughly miserable time of it, until new societies arise that utilize some not yet exhausted form of energy capture.

And for those who use fossil fuels as their main energy source — that would be us, now — is there also a hard ceiling? Morris says there is. We can’t keep pouring carbon into the air — nearly 40 billion tons of CO2 in 2013 alone — without the consequences being somewhere between “terrible and catastrophic.” Past collapses have been grim, he says, but the possibilities for the next big collapse are much grimmer.

We are all joined together globally in ways we have never been joined before, so if we fail, we all fail together: we have “just one chance to get it right.” This is not the way we will inevitably go, says he, though it is the way we will inevitably go unless we choose to invent and follow some less hazardous road.

But even if we sidestep the big collapse and keep on expanding at our present rate, we will become so numerous and ubiquitous and densely packed that we will transform both ourselves and our planet in ways we can’t begin to imagine. “The 21st century, he says, “shows signs of producing shifts in energy capture and social organization that dwarf anything seen since the evolution of modern humans.”"
climate  climatechange  culture  art  society  margaretatwood  2015  cli-fi  sciefi  speculativefiction  designfiction  capitalism  consumerism  consumption  energy  fossilfuels  canon  barrylord  coal  anthropology  change  changemaking  adaptation  resilience  ianmorris  future  history  industrialization  egalitarianism  collapse  humans  biodiversity  agriculture  emissions  environment  sustainability  stewardship  renewableenergy  making  production  makers  materialism  evolution  values  gender  inequality  migration  food  transitions  hunter-gatherers 
july 2015 by robertogreco
Tomorrow Today: Design, Fiction and Social Responsibility | DisegnoDaily
"Here they seemed to allude to criticisms of critical design – or the acronym SCD (speculative critical design) by which it has also become widely known – in the sixteen years since the term first appeared in Dunne’s 1999 book Hertzian Tales. If at its best, critical design is held to spark public debate about the ramifications of science, technology and policy, the field has also been lambasted for its limited reach and efficacy. John Thackara, for instance, recently mounted an attack on what he termed its “infantile science fictions” and Susan Yelavich, Associate Professor at Parsons School of Design charged it for ‘only preaching to the choir’.

At the symposium, keynote speaker, design curator Paola Antonelli – who has spent much of the past decade promoting Critical Design to a wider audience through exhibitions at MoMA in New York – diagnosed the moment in her presentation. In the evolution of movements she outlined “a tendency where pioneers are doubted; after a period of drunkenness, the boat capsizes and follows with fatigue.” Antonelli used the online exhibition she co-curated on Design and Violence as evidence of critical design’s enduring potential. The website uses both mass-produced and conceptual design artefacts to provoke discussion on issues such as the death penalty and euthanasia. Antonelli then went to on to call for the scrutiny of standards in Critical Design."



"The afternoon ended fittingly with a performance by urbanist, designer and futurist Liam Young. His vision of the future came in the form of a story told against a backdrop of dystopian, computer-rendered urban landscapes.

Such stylistic probing and cross-pollination of genres were evidence of critical design’s constant scrutiny of ever-evolving codes. These are necessary to straddle the present and the future, reality and fantasy, the ordinary and the extraordinary, the feasible and the strange, the negotiation of which, according to Dunne and Raby, is essential to critical design’s power and success. As the pair conclude their 10-year tenure at the Royal College of Art at the end of this academic year, it was clear from Tomorrow Today that the future of both critical design and otherwise rests on a knife edge."
anthonydunne  fionaraby  dunne&raby  2015  speculativefiction  speculativedesign  designfiction  design  criticaldesign  future  paulgrahamraven  daisyginsberg  liamyoung  onkarkular  johnthackara  susanyelavich  paolaantonelli  catharinerossi  portiaungley  alexandradaisyginsberg  via:anne 
july 2015 by robertogreco
Critical Design Critical Futures - Critical design and the critical social sciences: or why we need to engagem multiple, speculative critical design futures in a post-political and post-utopian era
"We, anxious citizens of the affluent global North have some rather conflicted attitudes to futuring. In the broad realm of culture, "futures" have never been more popular. In the realm of politics, it is widely believed that those who engage in utopian speculations, are "out to lunch or out to kill[1].""



"Thoughtful reflections on widening inequality, class struggle, climate crisis, human-animal-machine relations, trans-humanism, the future of sexuality, surveillance and militarism can all be found in all manner of places. Consider Ronald Moore's Battlestar Galactica, the sci-fi novels of Ursula LeGuin, the Mars trilogy of Kim Stanley Robinson, films such as District 9, Gattica, Elysium or Snowpiercer, the graphic novels of Alan Moore or Hayao Miyazaki's stunning retro-futurist animations. All these currents – and many others – have used futures as a narrative backdrop to open up debate about worlds we might wish to inhabit or avoid.

In the "real world" of contemporary politics, no such breadth of discussion can be tolerated.

"Futures" once played a very significant role in Western political discourse. Western political theory: from Plato onwards can reasonably be read as an argument about optimal forms of institutional configuring.

For much of the twentieth century, different capitalisms confronted different vision of communism, socialism, anarchism, feminism, black liberation, fascism. Rich discussions equally took place as to the possible merits of blended systems: from the mixed economy and the welfare state to "market socialism", mutualism to populism, associationalism to corporatism. Since the end of the Cold War, it would be hardly controversial to observe that the range of debate about political futures that can occur in liberal democracies has dramatically narrowed.

Of course, it would be quite wrong to believe that utopianism has gone away in the contemporary United States. Pax Americana, The Rapture, or a vision of the good life spent pursuing private utopias centered around the consumption-travel-hedonism nexus celebrated by "reality TV" is all alive and well."



"Design is important for thinking about futures simply because it is one of the few remaining spaces in the academy that is completely untroubled by its devotion to futures. Prototyping, prefiguring, speculative thinking, doing things differently, failing… and then starting all over again are all core component of design education. This is perhaps why Jan Michl observed that a kind of dream of functional perfectionism [4] has haunted all matter of design practice and design manifestos in the twentieth century."



""Utopian thought is the only way of speculating concretely about a projective connection between architecture and politics. To design utopias is to enter the laboratory of politics and space, to conduct experiments in their reciprocity. This laboratory – unlike the city itself – is a place in which variables can be selectively and freely controlled. At the point of application of the concrete, utopia ceases to exist". [8]

Moreover, if we think of the utopian imaginary as disposition, as opposed to the blueprint, we might well get a little further in our speculations. Sorkin makes a plausible case for the centrality of a utopian, ecological and political architecture of the future as a kind of materialized political ecology. His intervention can also remind us that hostility to design utopianism or any discussion of embarking on "big moves" in urban planning, public housing, alternative energy provision and the like, can itself function as a kind of "anti-politics". It can merely re-enforce the status quo, ensuring that nothing of substance is ever discussed in the political arena."



"Whilst Wright never actually uses the word design to describe what he is up to in his writings, his demand for concrete programmatic thinking resonates with John Dryzek's call for a critical political science concerned with producing and evaluating discursive institutional designs.

Further points of convergence between design and the critical social sciences open up when we recognize that design is not reducible to the activities of professional designers. As thinkers from Herbert Simon, to Colin Ward have argued, if we see design as a much more generalizable human capacity to act in the world, prefigure and then materialize, the reach and potential of future orientated forms of social design for material politics can be read in much more interesting and expansive ways.

The writings of Colin Ward and Delores Hayden can be fruitfully engaged with here for the manner in which both of these critical figures have drawn productive links between design histories of vernacular architectures and the social histories of self built housing, infrastructure and leisure facilities. Both demonstrate that there is nothing particularly new about the current interest in making, hacking or sharing. There are many "hidden histories" of working men and women embarking on forms of self-management, building co-operative enterprises and networks of mutual aid. In doing so they have turned themselves into designers of their own workplaces, communities and lives [12]. Such experiments in what we might call "worker centred design" continue to resonate. Attempts by trade unionists to define new modes of ownership with socially useful production (as represented by the Lucas plan), and the recent spate of factory takeovers in Argentina, all indicate that workers can be designers[13].

All manner of interesting potential convergences between critical design, futurism and social critique can additionally be found in the many experimental forms that contemporary urban-ecological activism has given rise to. Consider experiments in urban food growing, forms of tactical or pop-up urbanism, guerrilla gardening and open streets, attempts to experiment in solidarity economies, experiments with urban retrofitting or distributed energy systems or experiments with part finished public housing (that can be customized by their residents). All these currents have the potential to draw design activism and design-oriented social movements into direct engagement with critical theory, political economy and the critical social sciences."
damianwhite  2015  design  speculativedesign  speculativefiction  designfiction  futures  future  futurism  socialsciences  colinward  deloreshayden  herbertsimon  criticaldesign  designcriticism  kimstanleyrobinson  ursulaleguin  hayaomiyazaki  achigram  ronherron  utopia  utopianism  capitalism  communism  socialism  anarchism  feminism  sociology  politics  policy  maxweber  emiledurkheim  patrickgeddes  designfuturism  anthonydunne  fionaraby  dunne&raby  tonyfry  erikolinwright 
may 2015 by robertogreco
The Drone Aviary | superflux
"The Drone Aviary - an R&D project from The Superflux Lab - is an investigation of the social, political and cultural potential of drone technology as it enters civil space. Through a series of ongoing installations, films and publications, the project aims to give a glimpse into a near-future city co-habit with ‘intelligent’ semi autonomous, networked, flying machines."



"The installation at the V&A contains a family of 5 drones and an accompanying film. Each drone is designed to be symbolic of the convergence of wider social and tech trends with specific tasks and functions that are gaining popularity amongst drone enthusiasts and entrepreneurs.

1. Madison, The Flying Billboard: This is an advertising drone, a hovering display platform, which can swoop, scan and hunt consumer demographics. It uses sophisticated facial recognition to gain feedback on the effectiveness of its content and to tailor advertisements to the interests of those within its vicinity.

2. Newsbreaker, The Media Drone: Supported by algorithmic monitoring news, emergency services and social media in real-time, these nimble devices push the boundaries for what has become known as High Frequency Journalism, helping feed our growing hunger for the very latest breaking news stories as it happens. As it films and streams news in real-time, story writing algorithms parse imagery, audio, web and radio traffic into rapidly growing, and continually edited, column inches.

3. Nightwatchman, The Surveillance Drone: A highly mobile data acquisition device used by everyone from local councils to law enforcement agencies. By securely connecting to a centralised database The Nightwatchman is able to amass and utilise huge amounts of location and subject specific information assisting in everything from documenting civil offences to detecting potential terror threats.

4. RouteHawk, Traffic Management Assistant: This drone fulfills two primary functions: firstly with its high brightness LED display and powerful 8 motor design the RouteHawk can move quickly to problem situations and provide dynamic warnings to approaching drivers. Secondly its LIDAR speed detector and ANPR camera allow the RouteHawk to efficiently log and transmit traffic violations to relevant penalty enforcement departments, often allowing a unit to pay for itself within a month.

5. FlyCam Instadrone: A highly accessible, low cost, user-friendly platform with true 'smart' style functionality. Quickly superseding the Selfie stick as todays must have life-logging and social media tool, the FlyCam allows anyone with a smartphone to share unforgettable memories from the clouds to the cloud using the Instadrone app. Additionally, its patented context aware algorithm means advertisers can deliver messages to customer when and where it counts.

The Film:
In the film, the drones become protagonists, revealing fleeting glimpses of the city from their perspective, as they continuously collect data and perform tasks. It hints at a world where the ‘network’ begins to gain physical autonomy, moving through and making decisions about the world, influencing our lives in often opaque yet profound ways. A speculative map highlights where physical and digital infrastructures merge as our cities become the natural habitat for 'smart' technologies from drones and wearable computers through to driverless cars."

[Posted to Tumblr with a few notes: http://robertogreco.tumblr.com/post/116318868178/drone-aviary-superflux-the-drone-aviary-an-r-d ]
superflux  drones  nearfuture  designfiction  surveillance  2015  film  uav  future  timmaughan  anabjain  jonarden  infrastructure  robotvision  robotreadableworld  airspace  vision  tracking  society  prototyping  facerecognition 
april 2015 by robertogreco
How design fiction imagines future technology – Jon Turney – Aeon
"As technological choices become ever more complex, design fiction, not science, hints at the future we actually want"



"Design fiction’s efforts to create imaginative realisations of technology, which consciously try to evoke discussion that avoids polarising opinion, have a key ingredient, I think. Unlike the new worlds of sci-fi novels, or the ultra-detailed visuals of futuristic cinema, their stories are unfinished. Minority Report is not about critical design because its narrative is closed. In good design fiction, the story is merely hinted at, the possibilities left open. It is up to the person who stumbles across the design to make sense of how it might be part of a storied future."



Design fiction’s proponents want to craft products and exhibits that are not open to this simplified response, that fire the imagination in the right way. That means being not too fanciful, not simply dystopian, and not just tapping into clichéd science‑fictional scripts. When it works, design fiction brings something new into debates about future technological life, and involves us – the users – in the discussion."



"As design fiction comes to be recognised as a distinctive activity, it will continue to find new forms of expression. The US design theorist Julian Bleecker of the Near Future Laboratory suggests that the TBD Catalog with its realistic depictions of fictional products models a different way of innovating, in which designers ‘prototype and test a near future by writing its product descriptions, filing bug reports, creating product manuals and quick reference guides to probable improbable things’. The guiding impulse is to assist us in imagining a new normality. Design and artistic practice can both do that.

Design fictions are not a panacea for some ideal future of broad participation in choosing the ensemble of technologies that we will live with. Most future technologies will continue to arrive as a done deal, despite talk among academics of ‘upstream engagement’ or – coming into fashion – instituting ‘responsible research and innovation’. The US Department of Defense, for instance, and its lavishly-funded, somewhat science-fictional Defense Advanced Research Projects Agency (DARPA) has an extensive catalogue of research and development (R&D) projects on topics from robotics to neural enhancement, selected according to a single over-riding criterion: might they give the USA a military advantage in future? DARPA’s Biological Technologies Office tells us, in a ghastly combination of sales talk and bureaucratese, that it is ‘looking for the best innovators from all fields who have an idea for how to leverage bio+tech to solve seemingly impossible problems and deliver transformative impact’. Here, as in other fields, military, security and much commercial R&D will probably go its own way, and we’ll get weaponised biology whether we like it or not.

For the rest, though, there is a real contribution to be made through a playful, freewheeling design practice, open to many new ideas, and which is technically informed but not constrained by immediate feasibility. There are already enough examples to show how design fiction can invite new kinds of conversations about technological futures. Recognising their possibilities can open up roads not taken.

Design fiction with a less critical (and more commercial) edge will continue to appeal to innovative corporations anxious to configure new offerings to fit better with as yet undefined markets. Their overriding aim is to reduce the chances of an innovation being lost in the ‘valley of death’ between a bright idea and a successful product that preys on the minds of budget-holders.

But the greatest potential of this new way of working is as a tool for those who want to encourage a more important debate about possible futures and their technological ingredients. This is the debate we’re still too often not having, about how to harness technological potential to improve the chances of us living the lives we wish for."
design  designfiction  2105  jonturney  technology  science  participatory  future  complexity  debate  futures  potential  howwelive  lcproject  openstudioproject  darpa  scifi  sciencefiction  change  nearfuturelaboratory  julianbleecker  tbdcatalog  fiction  prototyping  art  imagination  tinkeringwiththefuture  paulgrahamraven  alexandraginsberg  christinapagapis  sisseltolaas  syntheticbiology  alexiscarrel  frederikpohl  cyrilkornbluth  margaretatwood  anthonydunne  fionaraby  dunne&raby  koertvanmensvoort  hendrik-jangrievink  arthurcclarke  davidnye  julesverne  hgwells  martincooper  startrek  johnunderkoffler  davidkirby  aldoushuxley  bravenewworld  minorityreport  jamesauger  jimmyloizeau  worldbuilding  microworldbuilding  thenewnormal 
march 2015 by robertogreco
For the Walker Art Center, a Shop That Peddles Evanescence - NYTimes.com
"Visitors to the gift shop at the Walker Art Center in Minneapolis will soon be able to buy something a little more esoteric, alongside their Chuck Close posters and Pantone mugs. “On Mother’s Day,” the promotion might go, “how about a new ringtone calibrated by the composer Nico Muhly, just for stressful family calls?”

Maybe Dad or Sis would enjoy an instruction manual for a technology that has yet to be invented — or, to unwind, a vacation property with a short commute, on the virtual network Second Life. Even more accessible is a series of images from the photographer Alec Soth, sent via Snapchat and meant to disappear moments later.

These items are all wares from Intangibles, a conceptual art pop-up store that the Walker, the contemporary-art and performance center, plans to unveil on Thursday. Created by Michele Tobin, the retail director of its gift shop, and Emmet Byrne, the museum’s design director, it is in equal parts a digital bazaar with pieces priced to sell, and an exhibition, of sorts, with curated original artworks.

It upends the logic of a regular shop. “The priority isn’t ‘get as much as you can for that item in the marketplace,’ ” Ms. Tobin said. “The priority becomes the artist’s intention and what we all think is right for that work.”

Sam Green, an innovative documentary filmmaker, will charge $2,500 to create a hybrid video-performance piece specific to the buyer. The ringtone compositions by Mr. Muhly, the modern classical arranger and musician, are $150 each. The Snapchat photos by Mr. Soth, the recipient of a 2013 Guggenheim fellowship, are priced low at his request — $100 for 25 of them.

In the tradition of Conceptual art, documentation of the process is part of the point. “A lot of people won’t be purchasing actual products,” Mr. Byrne said, so “we want the online representation to be just as compelling as the objects themselves.”

The Walker sees Intangibles as blurring the boundaries between art, shopping and media. It’s hardly the first such effort: Eliding commerce and art, mass and high culture, was in vogue long before the advent of Keith Haring’s Pop Shop, the SoHo store that sold clothing and other items with his work from 1986 to 2005. (It still operates online.) This month, Red Bull Studios, a gallery and performance space in Chelsea, opened the Gift Shop, its own artist-led store. But to have a museum shop peddle ideas, rather than artsy T-shirts or coveted décor, is a digital-age twist.

The experiment is also an acknowledgment that artists, especially those well versed in technology, are more comfortable in entrepreneurial roles. Where it once might have been anathema, or at least deeply uncool, for an artist to consider marketing and audience engagement — let alone inventory codes — salability and consumer savvy are now frequently embedded in original work. And not necessarily at the behest of art dealers or curators; as artists engage with potential collectors via Instagram or YouTube, they are becoming shrewd digital marketers and self-promoters. And there seems to be no shame in that.



The work of Martine Syms, a multimedia artist based in Los Angeles who explores identity, race and communication, is exhibited more often than sold; she refers to herself as “a conceptual entrepreneur” who creates “machines for ideas,” a riff on Sol LeWitt’s vision of Conceptual art. “I think of entrepreneurship as a way of creating value,” she said.

That sentiment was echoed in a more alarmist tone by the critic William Deresiewicz in a recent essay in The Atlantic titled “The Death of the Artist.” It’s no wonder, he suggests, that so many “creators” these days work in multimedia. “The point is versatility,” he wrote. “Like any good business, you try to diversify.”

For Ms. Syms, 26, a graduate of the School of the Art Institute of Chicago who supports herself through freelance graphic design work, multimedia is simply a language she grew up speaking, and digital tools are a source of freedom. She has worked with galleries but is happy to showcase her work online or in do-it-yourself publications. The traditional gallery system “doesn’t give you a lot of control over your work or your audience,” she said.

“Especially for myself, a woman of color, I think that a lot of times, these systems aren’t really interested in what I’m doing or what I’m saying,” Ms. Syms added. “A lot of times, I would rather create my own world.”

For Intangibles, Ms. Syms will perform in the guise of her fictional one-woman band, Maya Angelou, on the voice mail of her buying public; the piece will be accompanied by an online blurb about the so-called band, which has yet to record a note. Ms. Syms said she didn’t want to deal directly with her customers — “I feel I’m already bad enough on the phone” — and that she likes the evanescence of voice mail, which is often automatically deleted after a certain period. (In “Surround Audience,” the current New Museum Triennial, she also has a room-size installation dealing with the shifting norms of sitcoms.)

That many of the items for sale in Intangibles are interactions rather than objects does not surprise Christine Kuan, chief curator for Artsy, the online art platform. With the growing commercialization of the art world and daily life ever more tethered to devices, “people want life experiences and memories that aren’t mass-produced for consumption, that are special and created by an artist,” she said. “It’s a kind of consumerism that is a little bit of anti-consumerism.”

Mr. Soth, whose photojournalism has been featured in The New York Times Magazine, views Snapchat as a way to engage with the changes in photography as a medium. “For me, it’s about stopping time, documenting the world, preserving it,” he said in a telephone interview from his home in Minneapolis. His 12-year-old daughter was nearby, glued to her cellphone and, he said, “communicating, as we speak, in pictures.”

For her, photography is “simply conversation,” Mr. Soth said. “And I think that’s fascinating and terrifying.”

An early adopter of many new technologies who has also started a small publishing imprint — “I either dabble with these things or I just say, ‘My time’s over’ ”— Mr. Soth, 45, explained why he didn’t want his work for Intangibles, called “Disappear With Me,” to be expensive. “When it’s less about economics, I feel freer to experiment,” he said.

Proceeds from the projects will be split between the artists and the museum. A few artists, like Ms. Syms, deferred to the Walker on pricing, which in some cases gave the organizers pause: how to assign a monetary figure to a brief message from the ersatz singer of a fake band? Ultimately, said Mr. Byrne, the design director, “we really thought that sticking to the logic of the marketplace would add some rigor. And we also knew that we are giving a better profit-share rate than galleries.” (The voice mail messages are $10 each.) Many of the artists involved said they were in it less for the money — though they viewed that exchange as a necessary part of the deal — than for the creative inspiration. The designer and engineer Julian Bleecker and the Near Future Laboratory, a research company that typically charges thousands of dollars for corporate consultations, will produce briefs on items that do not yet exist (some future antibiotic’s warning label, for example, for $19.99) — what he called “design fiction.”

There are a few literal objects, like the extra parts and doohickeys that end up in a junk drawer, marketed as “Box of Evocative Stuff,” but Mr. Bleecker said the project was mostly a conceptual provocation “to get a larger public audience to think more deeply about the implications and conveniences of new technology.”

“I’m hoping that, with a commitment of $19, we’ll have a conversation,” he said."
walkerartcenter  nearfuturelaboratory  alecsoth  2015  designfiction  art  design  intangibles  emmetbyrne  micheletobin  martinesyms  entrepreneurship  museums  museumshops  shopping  commerce  media  culture  highbrow  lowbrow  andreasangelidakis  architecture  julianbleecker  adamharvey  speculativefiction  criticaldesign  conversation  newinc  snapchat  performance  interaction  christinekuan  artsy  identity 
march 2015 by robertogreco
Matt Jones: Jumping to the End -- Practical Design Fiction on Vimeo
[Matt says (http://magicalnihilism.com/2015/03/06/my-ixd15-conference-talk-jumping-to-the-end/ ):

"This talk summarizes a lot of the approaches that we used in the studio at BERG, and some of those that have carried on in my work with the gang at Google Creative Lab in NYC.

Unfortunately, I can’t show a lot of that work in public, so many of the examples are from BERG days…

Many thanks to Catherine Nygaard and Ben Fullerton for inviting me (and especially to Catherine for putting up with me clowning around behind here while she was introducing me…)"]

[At ~35:00:
“[(Copy)Writers] are the fastest designers in the world. They are amazing… They are just amazing at that kind of boiling down of incredibly abstract concepts into tiny packages of cognition, language. Working with writers has been my favorite thing of the last two years.”
mattjones  berg  berglondon  google  googlecreativelab  interactiondesign  scifi  sciencefiction  designfiction  futurism  speculativefiction  julianbleecker  howwework  1970s  comics  marvel  marvelcomics  2001aspaceodyssey  fiction  speculation  technology  history  umbertoeco  design  wernerherzog  dansaffer  storytelling  stories  microinteractions  signaturemoments  worldbuilding  stanleykubrick  details  grain  grammars  computervision  ai  artificialintelligence  ui  personofinterest  culture  popculture  surveillance  networks  productdesign  canon  communication  johnthackara  macroscopes  howethink  thinking  context  patternsensing  systemsthinking  systems  mattrolandson  objects  buckminsterfuller  normanfoster  brianarthur  advertising  experiencedesign  ux  copywriting  writing  film  filmmaking  prototyping  posters  video  howwewrite  cognition  language  ara  openstudioproject  transdisciplinary  crossdisciplinary  interdisciplinary  sketching  time  change  seams  seamlessness 
march 2015 by robertogreco
CURIOUS RITUALS | Gestural Interaction in the Digital Everyday
[Direct link to the PDF: https://curiousrituals.files.wordpress.com/2012/09/curiousritualsbook.pdf ]

[See also: http://nearfuturelaboratory.com/projects/curious-rituals/
https://vimeo.com/92328805 ]

"URIOUS RITUALS is a research project conducted at Art Center College of Design (Pasadena) in July-August 2012 by Nicolas Nova (The Near Future Laboratory / HEAD-Genève), Katherine Miyake, Nancy Kwon and Walton Chiu from the media design program.

This research project is about gestures, postures and digital rituals that typically emerged with the use of digital technologies (computers, mobile phones, sensors, robots, etc.): gestures such as recalibrating your smartphone doing an horizontal 8 sign with your hand, the swiping of wallet with RFID cards in public transports, etc. These practices can be seen as the results of a co-construction between technical/physical constraints, contextual variables, designers intents and people’s understanding. We can see them as an intriguing focus of interest to envision the future of material culture.

The aim of the project is to envision the future of gestures and rituals based on:

1. A documentation of current digital gestures
2. The making of design fiction films that speculate about their evolution

For more information, please contact nicolas (at) nearfuturelaboratory (dot) com

“Curious Rituals” was produced as part of a research residency in the Media Design Program at Art Center College of Design in Pasadena, California."
nicolasnova  danhill  julianbleecker  gestures  technology  curiousrituals  2015  nearfuturelaboratory  katherinemiyke  nancykwon  waltonchiu  postures  rituals  designfiction  ritual 
march 2015 by robertogreco
Fruit - Words Without Borders
"Through testing, we learned that the fruit has no brainwaves. We were quickly running out of ideas, but we simply couldn’t tolerate rogue fruit infiltrating Tokyo and corrupting public morals. It threatened everything the agency stood for. But the fruit was ultimately too fruitlike…"

[via: “a lovely example of more-than-human speculative ethnography” http://morethanhumanlab.tumblr.com/post/112580088180/through-testing-we-learned-that-the-fruit-has-no ]
via:anne  hideofurukawa  fruit  speculativeethnography  speculativefiction  designfiction 
march 2015 by robertogreco
Anab Jain, “Design for Anxious Times” on Vimeo
"As 2014 rushes past us, a venture capital firm appoints a computer algorithm to its board of directors, robots report news events such as earthquakes before any human can, fully functioning 3D printed ears, bones and guns are in use, the world’s biggest search company acquires large scale, fully autonomous military robots, six-year old children create genetically modified glow fish and an online community of 50,000 amateurs build drones. All this whilst extreme weather events and political unrest continue to pervade. This is just a glimpse of the increased state of technological acceleration and cultural turbulence we experience today. How do we make sense of this? What can designers do? Dissecting through her studio Superflux’s projects, research practice and approach, Anab will make a persuasive case for designers to adopt new roles as sense-makers, translators and agent provocateurs of the 21st century. Designers with the conceptual toolkits that can create a visceral connection with the complexity and plurality of the worlds we live in, and open up an informed dialogue that help shape better futures for all."
anabjain  superflux  2014  design  future  futures  via:steelemaley  criticaldesign  speculativedesign  speculativefiction  designfiction  designdiscourse  film  filmmaking  technology  interaction  documentary  uncertainty  reality  complexity  algorithms  data  society  surveillance  cloud  edwardsnowden  chelseamanning  julianassange  whistleblowing  science  bentobox  genecoin  bitcoin  cryptocurrency  internet  online  jugaad  war  warfare  information  politics  drones  software  adamcurtis  isolation  anxiety  capitalism  quantification  williamgibson  art  prototyping  present 
february 2015 by robertogreco
NEW SURVIVALISM: Alternative 'Bug Out Bags' - Parsons & Charlesworth
"New Survivalism: Six Alternative 'Bug Out Bags' commissioned for Istanbul Design Biennial, 2014

Parsons & Charlesworth present a new body of work entitled New Survivalism - a speculative design approach to survivalism that asks “what alternative scenarios of survival are there that avoid the bunker mentality and respond to currently emerging research into technological change, environmental conditions and belief systems?”

Exhibited as a range of six mini-manifestos, New Survivalism uses designed objects and storytelling to explore the survival strategies of a disparate set of protagonists, each with a very different take on what they “need”. The projects consist of six fictional protagonists and their six alternative survival kits alongside six story texts. Each one contains a mixture of found and designed objects that suggest what each protagonist would have in their kit.

To accompany the bug-out bags, New Survivalism includes a tool for assessing what might be valuable to us in the not-too-distant future. A choose-your-own-adventure-style questionnaire, (designed with Christopher Roeleveld) this adaptive manifesto guides us to reflect on who we are as individuals and what a crisis might mean for our interests.

Commissioned by the Istanbul Foundation For Culture and the Arts(IKSV) for the 2nd Istanbul Design Biennial and curated by Zoë Ryan and associate curator Meredith Carruthers, the biennial entitled “The Future Is Not What It Used To Be”, hosts 53 projects that ask: “What is the future now?” By rethinking the manifesto as a platform to frame pertinent questions, the projects question the role of design, its relationship to society, and its ability to be an active agent for change.

2nd Istanbul Design Biennial
The Future Is Not What It Used To Be
1 November - 14 December

-----------------

“We see that the world is entering an age of ecological collapse, material contraction and social and political unraveling. We don’t believe that responses to this global reality can be confined, as they currently are, to the political, scientific or technological: they need to be cultural too.“
-The Dark Mountain Project

Since the threat of nuclear cataclysm in the mid twentieth century “survivalism” has embedded itself in the public consciousness as an attitude and a body of knowledge for those intent on planning for the worst-case scenario. Typically survivalists pursue extreme self-sufficiency, squirreling food, medical supplies and weapons, undertaking related training and identifying safe havens. The focus is on reverting to tried and tested means, and as such, it is anything but progressive.

Conventional survival kits address only the bottom of Abraham Maslow’s famous Hierarchy of Needs (the physiological and safety needs of food, water, shelter etc.). Rather than replacing such kits, the alternatives proposed here represent the higher concerns of our protagonists; the protection of culture, the ability to make good decisions, the facility to plan and dream, the provision of access to cheap power, among other things.

As thought experiments intended to broaden debate about how we approach the concept of post-disaster scenarios in our culture, these alternative survival kits are intended as a starting point for you to engage with the question “what would you pack for the future?""

[See also: https://www.youtube.com/watch?v=ENNalkIV_IE
http://parsonscharlesworth.com/NEW-SURVIVALISM-What-s-In-Your-Bug-Out-Bag ]
2014  timparsons  jessicacharlesworth  speculativefiction  designfiction  speculativedesign  survivalism  future 
november 2014 by robertogreco
Three Uncertain Thoughts, Or, Everything I Know I Learned from Ursula Le Guin | Design Culture Lab
"One.

In her 1969 novel The Left Hand of Darkness, Ursula K Le Guin writes, “The unknown, [...] the unforetold, the unproven, that is what life is based on. Ignorance is the ground of thought. Unproof is the ground of action . . . [T]he only thing that makes life possible is permanent, intolerable uncertainty; not knowing what comes next.”

If the only certainty is death, then to deny uncertainty is to deny life.

My work (creative? social science?) is vital not in the sense of being necessary or essential, but energetic, lively, uncertain. In a short 2006 piece in Theory, Culture & Society, Scott Lash argues that the classical concept of vitalism has re-emerged in the face of global complexity and uncertainty, manifesting itself in cultural theory that acknowledges that “the notion of life has always favoured an idea of becoming over one of being, of movement over stasis, of action over structure, of flow and flux.”

In my research I take seriously the idea that what I am seeing, doing and making is emergent; I cannot know how — when, where, for whom or why — it will all end. I can only live with, and through, it. This means I do not want to convince others that I am right. (Have you ever noticed that Le Guin’s stories unfailingly explore ethics and morality without dealing in absolutes?)

I only — as if this were a small thing! — invite you to accompany me for a while, and see what we can become together. This is just — as if this too were a small thing! — one way of knowing the world.

Two.

In a 2014 interview for Smithsonian Magazine, Le Guin explains that the future is where “anything at all can be said to happen without fear of contradiction from a native. [It] is a safe, sterile laboratory for trying out ideas in, a means of thinking about reality, a method.”

My work makes things, and explicitly makes things up, in some near or far future. I practice different worlds.

Fictions and futures give me (you? us?) space to move, and be moved. This is the space of utopia, but not an idealist utopia set against a pessimist dystopia. Fictions and futures are literally no-places: real but not actual, and always vital. I feel as though I thrive in these spaces, both grounded and reaching toward the sky, open to the elements, potential.

But here’s something I’ve learned: I can’t make up anything and expect it to work. The stories need to resonate. And that means they need to be internally coherent and consistent, plausible. So I locate others and myself empirically, ethnographically. I look to the hopes and promises that bind us together, to the threats that rip us apart, and I look to the expectations that constrain and orient us along particular, but not certain, paths.

And then I imagine it (me, you, us) otherwise.

Three.

In her 2007 essay “The Critics, the Monsters, and the Fantasists,” Le Guin clarifies “although the green country of fantasy seems to be entirely the invention of human imaginations, it verges on and partakes of actual realms in which humanity is not lord and master, is not central, is not even important.”

My imagination has sought out this vital, “green country of fantasy” by focussing on possible futures for multispecies, more-than-human, agents. But I’ve yet to be successful in my quest to avoid anthropocentrism. (My dragons remain stubbornly human!)

Still: I follow Donna Haraway’s argument, in 2007’s When Species Meet, that “animals enrich our ignorance.” When I look at people and technology and design and everyday life with — and through — animals I am never more uncertain about what they all mean. To take animals (and other nonhumans) seriously forces me to let go of many preconceptions, even when I fail to imagine a plausible alternative.

But perhaps that uncertainty is only appropriate, too."
annegalloway  2014  ursulaleguin  unknown  uncertainty  unproven  certainty  death  life  scottlash  vitalism  complexity  culture  theory  morality  ethics  absolutism  knowing  unknowing  future  futures  fiction  worldbuilding  process  method  making  speculativefiction  designfiction  ethnography  imagination  utopia  dystopia  potential  fantasy  invention  design  anthropocentrism  multispecies  donnaharaway  ignorance  technology  preconceptions  posthumanism 
october 2014 by robertogreco
Improving Reality 2013 - Paul Graham Raven - YouTube
"Paul is going to talk about infrastructure, about what we mean (or think we mean) when we say that word, and about why infrastructure is not so much invisible as illegible: omnipresent, ubiquitous, but almost always Someone Else's Problem. He will compare the Someone Else's Problem problem to the "hypnosis of normality" which Anab Jain (designer at Superflux) suggests design fiction is intended to dispel. Paul proposes that the tools of design fiction and critical theory can, and should, be turned outward upon the complex, interdependent and surprisingly fragile metasystems on which our lived reality is utterly dependent."

[See also: http://arcfinity.tumblr.com/post/60164228912/paul-graham-raven-someone-elses-problem ]
2013  paulgrahamraven  infrastructure  designfiction  speculativedesign  speculativefiction  criticaltheory 
october 2014 by robertogreco
Future Fictions | z33
"With Future Fictions, Z33 continues the debate about our future, exploring how contemporary artists, designers and architects relate to future thinking and imaging: from mapping, questioning and criticizing, to developing complex visions about the structures and systems that may shape our life in the future.

Z33 wishes to draw attention to what future thinking and imaging can be. Not pretending to know what our future will be, nor which inventive solutions will solve our present-day problems, we rather aim to explore a set of different visions/fictions that artists, designers and architects put forward using different methods and tools for future thinking and visualizing.

In doing so, Z33 wishes to shift the debate away from what is possible, plausible and probable towards what is preferable: Future Fictions therefore is essentially a project about ideas and ideals, about dreams beyond hope and fear.

Can we learn to critically assess the future visions presented? Which criteria would be valid in doing so? In other words, can we learn to become ‘future literate’?

The proposed visions/fictions presented aim to engage us both intellectually as well as emotionally in a quest to consider exactly what kind of future we might want. In this, we all have a role to play: ‘After all, the future still has to be made today.’  - Anne Galloway*

The proposed visions/fictions presented aim to engage us both intellectually as well as emotionally in a quest to consider exactly what kind of future we might want. In this, we all have a role to play: ‘After all, the future still has to be made today.’ - Anne Galloway*

With: Neïl Beloufa (FR), Nelly Ben Hayoun (FR), Blueprints for the Unknown (UK), Bureau Europa (NL) / Lara Schrijver (NL), Dept. Architectuur UHasselt (B), Theo Deutinger (AT), Dunne & Raby (UK), FoAM (BE), El Ultimo Grito (ES), Arne Hendriks (NL) / Monnik (NL), Shane Hope (US), Speedism (B/DE), Near Future Laboratory (CH/SP/US), Hans Op de Beeck (B), Pantopicon (B), The Extrapolation Factory (DE/US), Atelier Van Lieshout (NL), Chris Woebken (DE), The Xijing Men (JP/CN/KR), Liam Young (AU)

Curator: Karen Verschooren, Z33

Quote *Anne Galloway in Sentient City. Ubiquitous computing, architecture, and the future of urban space, p.223"
speculativefiction  speculativedesign  future  designfiction  annegalloay  2014  karenverschooren 
september 2014 by robertogreco
The Novel and the Future of the Near Future | Hazlitt Magazine | Hazlitt
"Writers hoping to transport readers only a short distance into the future are in danger of being outfutured by reality itself. So-called “design fiction” may present creators with a more viable alternative."



"Of course, in the world of fiction a “minimum viable future” is more commonly referred to as a “shitty first draft.” It’s no surprise that Bruce Sterling is a fan of design fiction, and I can easily picture digitally-savvy Margaret Atwood hunched over a 3D printer. But an iterative approach to the future is often at odds with the slow, deliberate process of creating and populating a fictional universe. And given the clumsiness of the physical world, it’s easy to understand why writers would prefer to craft perfect sentences instead of generate imperfect vending machine novelties.

Still, if you want to see what happens when design fiction gets a bigger budget and a mass audience, check out the uncanny and discomforting BBC show Black Mirror. Featuring glimpses of our terrible (and terribly plausible) near future(s), it’s not a show that lends itself to binge watching, even with only two seasons, at three episodes per.

That’s because each episode of Black Mirror hits the reset button, taking place in a unique future universe with a fresh set of actors. Creator Charlie Brooker likes to start with a provocative but recognizable piece of design fiction and then guides the viewer toward a trapdoor labeled unintended consequences. In the episode “The Entire History of You” we watch a jealous husband unable to stop himself from discovering a secret he might be better off not knowing. It’s an effective critique of where lifelogging and Facebook might take us, in part because Brooker is able to make such a vivid emotional argument. Meanwhile, in “Be Right Back,” the dead are able to speak with the living thanks to an artificial intelligence service that scrapes the emails, tweets and Facebook posts of the deceased.

Instead of the overbearing technological determinism common to many speculative novels, Black Mirror tends to favour “slight futures”—the term Wired recently used to describe the film Her. As in, “technology hasn’t disappeared … it’s dissolved into everyday life.”

I acknowledge there’s a danger that design fiction could become another buzzword ruined by overzealous ad agencies. And by its very format, design fiction subconsciously reinforces the object fetish of the Kickstarter generation. It’s hard to attack the pernicious logic of planned obsolescence when your critique is delivered in the form of yet another gadget.

But I would insist that any novelist contemplating the near future invest in some foamcore and Post-it Notes. Because I refuse to wait another half-decade for the definitive novel about the Oculus Rift."
ryanbigge  designfiction  speculativefiction  speculativedesign  blackmirror  2014  brucesterling  charliebrooker 
september 2014 by robertogreco
The Extrapolation Factory
"The Extrapolation Factory is an imagination-based studio for design-led futures studies. We focus on developing future scenarios, embodied as artifacts in familiar, present-day contexts. The studio proposes a method for collaboratively envisioning possible futures with diverse participants, experts and non-experts, and doing so in a variety of accessible ways. With this work, the Extrapolation Factory is exploring the value of rapidly imagined, prototyped, deployed and evaluated visions of possible futures on an extended time scale.

Co-founded by Elliott P. Montgomery and Chris Woebken"
hriswoebken  elliottmontgomery  extrapolationfactory  designfiction  design  futures  future  speculativedesign  speculativefiction 
september 2014 by robertogreco
Cheat Sheet for a Non (or Less) Colonialist Speculative Design — Medium
"Earlier this year Luiza and I published a text here on Medium where we, apparently, said a few things that resonated quite well among design practitioners and researchers alike. In that text, we pointed out a general disregard for issues of race, class and gender privilege within Speculative and Critical Design projects and publications. For us, it was a serious problem we felt the need to call out.

Naturally, a good number of other design practitioners and researchers claimed we were exaggerating, being unfair or “augmenting” the facts so as to fit our own purposes, whatever they were. However, questions very similar to ours were raised by others during this year’s Design Research Society Conference in Umeå, Sweden, and we were also invited to speak about our positions in July at the Open Design Conference in Barcelona, Spain. In the meantime, other essays that echoed our concerns showed up, mostly from other designers that were actually catalysts of the discussion that originated our text in the first place. All in all, there is an elephant in the room that demands some attention, and these texts elaborate and expand considerably what our own writing left off.

Still, those texts and the subsequent reactions to them only showed us what we expected: (1) these are issues that are still in need to be acknowledged and dealt with as serious concerns and (2) what we initially set off to challenge lies well beyond “representation” or the danger of tropes and tokenism – unlike most of the criticism we received seem to think. Notwithstanding, SCD projects and publications are still letting plenty of “narrow assumptions” sneak in, and they will only continue to reinforce the status quo of colonialism and imperialism rather than effectively challenging it.

To try to make things a bit easier, we developed this very simple and straightforward “Cheat Sheet” you, Speculative and/or Critical Designer, should consult when developing new projects. This is (very) loosely based on Sandrine Micossé-Aikins’ “7 Things You Can do To Make Your Art Less Racist” – which is a strongly recommended read for before and after you get through this cheat sheet of ours – as well as María del Carmen Lamadrid’s “Social Design Toolkit”, also a mandatory read. Ready?

Cheat-Sheet for a Non (or Less) Colonialist Speculative Design

1. Acknowledge the Truth. This one we’ll borrow straight from Sandrine. If you were born in Europe, there is a good chance your country had (or has) colonies and gave (or gives) them a very, very bad time. It is not your fault, and no, #NotAllEuropeans are like that. We also know that the USA, though a former British colony on its own, has given itself the task to treat other parts of the world as if its own backyard, something we call imperialism. Indeed we all know this, but so should you – it is a fact you cannot and will not change. So acknowledge that part of your privilege comes from the very fact that your society has built – and still builds – its wealth upon the disaster of others.

2. Check Your Facts: ask yourself “does my dystopia happen already in other ‘invisible’ (sic) places of the World?” It is good to know if what would be terrible for you and your audience isn’t already reality for others. Before asking “what if…?” ask “is there…?” Particularly if you consider how colonialism helped shape the power inequalities and uneven economic relations we currently live in.
(Tip: Wikipedia is a good starting point, but be creative and don’t stop there.)

3. “Am I developing more ‘civilised’, ‘highbrow’ or ‘educated’ solutions for ‘endangered’ places in the world?” It might be that you already know the answer to this, but double-check it. Constantly challenge your design decisions and see if they do not reflect narrow-minded views of how aesthetics could or should be. Minimalism and clinical asepsis are not the only aesthetically pleasant values of design.

4. “Is my scenario/story/object somewhere else’s local aspect/culture, appropriated as to fit my own?” If yes, please refer to point 2 and check if your culture/country did not already do that a few years ago by the use of violence and other less friendly means.
(Tip: start from the basics of Cultural Appropriation. Yes, it is a very controversial topic and there is no consensus about it. Yes, you have to read it anyway.)

5. “Does my dystopian scenario contain the following:”
a) Slaves or any depiction of middle-class (white) people suddenly turned into slaves;
b) People of Color in the role of Robots, Subaltern or others in general;
c) Objects coming from places that are or were colonies, whose aesthetics look invariably “recycled” or “kitsch”.

6. Is my research biased by my own privileged views of how society could or should be? Or in other terms, “am I b(i)asing my research exclusively on authors and references that come exclusively from colonialist countries?” This is very important, because as Raewyn Connell explains in her Southern Theory (2007), much of the so-called “canons” of social sciences come from northern, metropolitan authors whose work inquiries the “primitiveness” of the colonies.

7. “Does my textual production contain any of the following words:”
a) “global” for economic models;
b) “neutral” for cultural models;
c) “universal” for theoretical models;

8. In case you succeed on all of the above and will most definitely go on portraying your dystopia, the final question is: “have I consulted myself with other people, designers or not, from other places of the world to check if this is not a #firstworldproblem?”

We strongly believe that following these simple steps may positively contribute to not only Speculative and Critical Design projects becoming more powerful in their line of questioning, but also avoiding the mishaps it sets itself up so boldly to criticise.

To be once again very clear, we are also not advocating that every single SCD Project should talk about, tackle or depict issues of colonialism and imperialism. Rather, we say “know where you come from and know where your privileges are.” If “all design is ideological”, as Dunne says, do take that statement seriously.

Giving yourself the task to stop navel-gazing and to always second-guess your own decisions is not a shame. It is for the better, trust us."

[See also: https://medium.com/@luizaprado/questioning-the-critical-in-speculative-critical-design-5a355cac2ca4 ]
speculativedesign  criticaldesign  luizaprado  pedrooliveira  2014  colonialism  designcolonialism  imperialism  dunne&raby  designfiction  speculativefiction  fionaraby 
september 2014 by robertogreco
The Fiction of the Science on Vimeo
"In his work at the Google Creative Lab, Robert Wong never imagined he would be influencing the future of scientific development—and yet he does just that, breaking down the boundary between art and science by creating stories that inspire engineers and the technology they build. He says that this kind of collaboration between art and science, between story and fabrication, is essential for scientific and creative innovation."

[See also "Project Glass: One day...": https://www.youtube.com/watch?v=9c6W4CCU9M4 ]

[Same video as bookmark here: https://www.youtube.com/watch?v=FvgdKfWnYCg ]

[Via: http://www.fastcocreate.com/3017297/how-fiction-influences-science-according-to-google-creative-labs-robert-wong ]
speculativefiction  designfiction  fiction  writing  design  storytelling  robertwong  google  googlecreativelab  googleglass  technology  creativity  filmmaking  fabrication  innovation  art  science  twocultures  2013  srg 
september 2014 by robertogreco
You are not a storyteller - Stefan Sagmeister @ FITC on Vimeo
"We had the pleasure of spending some time with Stefan Sagmeister at the recent FITC Toronto conference in April, 2014, and he had some things to say."

[via: "The smartest thing @sagmeisterwalsh has ever said. cc to all the 'Design Fiction' lot."
https://twitter.com/no_dept/status/492844557222952960 ]
storytelling  storytellers  design  stefansagmeister  2014  humor  designfiction 
august 2014 by robertogreco
A PAREDE ツ hello[at]a-pare.de
"Oh Hai! We are A Parede, a brazilian design research practice in Berlin.
Our research interests are in Speculative and Critical Design, Gender and Sound Studies."
luizaprado  pedrooliveira  criticaldesign  speculativedesign  designresearch  gender  sound  berlin  brazil  brasil  aparede  designfiction 
july 2014 by robertogreco
Reflections on the Utility of the Poetic Imagination — Medium
"The key in using and adapting methods like Design Fiction and Science Fiction Prototyping is to keep in mind that what appears to be a final product-a story, video, object-is actually a step in a process, it is not the end. “Prototypes are not the thing, they are the story or the fiction about the thing that we hope to build.” And it is not just about technology or creating products, it is also about generating insights into the human experience, leadership, strategy, institutional innovation, the experience of coming home from war, civil-military relations and more. In fact, it’s probably more important to apply the poetic imagination to these areas than to technology.

Certainly this isn’t this only way to approach this. It leads me to a lot of questions that I don’t yet have answers for. With these ideas in mind can we think of the development and updating of the color-coded war plans in the decades leading up to WW2 as a form of “strategy fiction prototyping”? Can you teach people to tap in to the poetic imagination? How do you create an environment within an organization that is open to this kind of playful, hypothetical thinking? The next step is to go deeper into the poetic or aesthetic imagination and try to develop some of these techniques in a practical way and see whether or not this is indeed a job for poets."
designfiction  speculativedesign  criticaldesign  speculativefiction  2014  prbeckman  process  imagination  creativity  prototyping  sciencefictionprototyping 
june 2014 by robertogreco
Designing the Future — Medium
"Posts on Design Fiction, Critical Design, and Speculative Design"
designfiction  criticaldesign  speculativefiction  speculativedesign 
june 2014 by robertogreco
The future of ed tech is here, it’s just not evenly distributed — Futures Exchange — Medium
"Using design fiction to cut through the relentless TEDTalk-like optimism of ed tech marketing"



"People talk about the future of technology in education as though it’s right around the corner, but for most of us we get to that corner and see it disappearing around the next. This innovation-obsessed cycle continues as we are endlessly dissatisfied with how little difference these promises make to the people implicated in these futures. These products and practices, cloaked in the latest buzzwords and jargon, often trickle down to non-western geographic regions after they’ve been tried and rejected, yet still adopted as the new and advanced “western” methodology that will solve the “problem” of education.

In an attempt to cut through the relentless TED Talk-like optimism of ed tech marketing, this year at the HASTAC conference in Peru we presented a series of fictional case studies. These four design fiction based personas aimed to illustrate the possible impact on society and education, in both positive and negative ways, of not just emerging technologies but also global social and economic trends. They give brief snapshots of the lives of individuals in imagined futures from different geographic, ethnic, economic, and cultural backgrounds, illustrating how each of them might interface and interact with the different technologies."

[See also: http://www.hastac.org/blogs/savasavasava/2014/06/19/hastac-2014-future-ed-tech-here-it%E2%80%99s-just-not-evenly-distributed
Wayback: https://web.archive.org/web/20150630153225/http://www.hastac.org/blogs/savasavasava/2014/06/19/hastac-2014-future-ed-tech-here-it%E2%80%99s-just-not-evenly-distributed ]
savasahelisingh  timmaughan  designfiction  edtech  technology  education  dystopia  marketing  optimism  pessimism  2014  williamgibson  speculativefiction  futures  future  innovation  buzzwords  hastac  casestudies 
june 2014 by robertogreco
Failed States: A Tactical Design Workshop | superflux
"In early May, Jon and I were invited by the HEAD MEDIA DESIGN faculty in Geneva to lead a week long design futurescaping workshop for the first-year students on their postgraduate Media Design programme. Having not previously encountered speculative design, futurescaping, or design fiction, we were tasked with finding a way to drag this bundle of themes and techniques into the participants’ familiar everyday lives. We could easily have spent a week exploring different processes and methods, but, instead, we chose to develop a challenging context-specific brief, through which the HEAD students could start to grapple with some of the questions we ourselves have been exploring through our lab and studio activities.

Drawing on our recent work, talks, and ongoing personal encounters with immigration and the contemporary nation-state, we were drawn to a central theme of political complexity – challenging students to probe notions of borders, territories, and the fragile, increasingly precarious relationship between people and their governments. Developing the brief in collaboration with Justin Pickard, our spooky, mostly virtual studio associate, we wanted to leave workshop participants fully primed and poised, ready to develop their own original work on these and similar issues."



"We kicked off the workshop with a presentation expanding on the initial brief, describing how the workshop would use the notion of ‘failed states’ to ‘explore how political visions of the future fail to account for the complexity of the world, and in doing so, struggle to consider unforeseen events and uncertainty.’ We showed real-world examples of the ways in which unanticipated events – the collapse of the USSR, the Great Depression, etc. – have triggered paradigm shifts in national and international politics, the consequences of which we continue to experience in our everyday lives today, in 2014.

With this as background and context, we confronted the workshop participants with a future Switzerland of the mid-2020s; a small, federal state in a world where an increasingly powerful Chinese state holds controlling shares in a number of critical Swiss infrastructure projects, a network of surveillance UAVs have been deployed to monitor and pre-empt civil unrest, widespread food shortages have been met by the nationalisation of many Swiss food companies, and the persistent overuse of antibiotics has led the world into an era in which even minor infections can prove terminal.

Sharing our timeline of events from 2013-2025 based on current trends and weak signals, we tasked participants with digesting the interplay of a range of future developments, considering their implications for the everyday experience of future Swiss citizens and inhabitants, and designing a response to the challenges and consequences of this future world. We asked them to engage, critique and infiltrate the dominant political and economic order through a proposed service, product, experience, movement, campaign, or anything else that felt appropriate.

After the initial splash presentation, participants ran through a series of discussions and initial brainstorms, touching on the recent immigration referendum, the incipient anxieties of French students, and the visual language of Swiss political propaganda. The students were asked to consider the elements of this future world that resonated with their own passions and personal politics; what their own lives – and those of their friends and family – might look like in this proximate future; and alternative roles for their own design practice in an unexpected or divergent environment. Over the first few days, participants made extensive use of mapping and fiction and they sought to orient themselves in relation to a series of much larger, interlocking social and technical systems.

After a round of early brainstorms we suggested the students write short stories, that situate them or their loved ones, within this world. This became a great mechanism to create deeper connections with the things that they otherwise did not consider.



Participants’ work explored the various ways in which they might be able to either infiltrate the system, or design for it from within it. As workshop convenors, we found it emotionally and personally challenging to see how far they were willing to push themselves beyond their comfort zones, in order to explore new thematic and design territories.



The set of final presentations was inspiring and rewarding, and the students who took the opportunity to engage with this complex and chaotic bundle of issues did remarkably well in such a short period of time. "We learnt how to ask questions" was possibly one of the best feedback we could have asked for. Many thanks to Daniel Schiboz, Nicolas Nova and Marion Schmidt for the hospitality, we hope to be back at HEAD soon. "
superflux  anabjain  failedstates  speculativefiction  speculativedesign  designfiction  speculativecriticaldesign  criticaldesign  justinpickard  immigration  migration  future  government  switzerland  design  complexity  uncertainty  prediction  2014  surveillance  networks  danielschiboz  nicolasnova  marionschmidt 
june 2014 by robertogreco
DRS 2014: Privilege and Oppression: Towards an Intersectional Critical Design
"Though critical and speculative design have been increasingly relevant in discussing the social and cultural role of design, there has been a distinct lack of both theory and praxis aimed at questioning gender oppression. Departing from an intersectional feminist analysis of the influences and origins of speculative and critical design, this essay questions the underlying privilege that has been hindering the discussion on gender within the discipline and its role in propagating oppression; it then goes on to propose the concept of a "feminist speculative design" as an approach aimed at questioning the complex relationships between gender, technology and social and cultural oppression."
luizaprado  speculativefiction  designfiction  criticaldesign  speculativedesign  design  2014  privilege  oppression  gender  technology  culture 
june 2014 by robertogreco
Knitting bones with fact and fiction: A conversation with Design Culture Lab's Anne Galloway
"Blurring the distinction between fact and fiction is something that's always intrigued me. Anthropology has long been described as producing "partial truths," because it's impossible to fully capture and represent entire cultures or the whole of human experience. And I can't imagine that anyone who's read a novel, or seen a movie, wouldn't tell you that at least part of it rang true to them. But I guess what I'm saying is that I'm interested in resonance—and since that doesn't ever need to choose between fact or fiction it's kind of a perfect concept for exploring creative empirical research."
annegalloway  sarahendren  spaculativedesign  designfiction  newzealand  countingsheep  2014  interviews  research  criticaldesign  anthropology  ethnography  speculativedesignethnography  speculativeethnography 
may 2014 by robertogreco
Alexandra Daisy Ginsberg and the problem of design fictions | Features | Disegno Daily
"Confusion is one of the results that typically arise from design fictions like those Ginsberg creates. The discipline seems to suffer from a problem of how exactly its fictions are to be read. It is sometimes difficult to know how tongue-in-cheek its proposals may be or how seriously we are meant to take them, and consideration of related disciplines makes the point clear. We know that art, for instance, is often oblique, non-literal or metaphorical; it cannot always be taken at face value. Yet literality is precisely what we expect of design, a discipline we are near hard-wired to think of as problem solving and practical. Qualities like humour, provocation, politicisation or subversion are common in art, yet their presence in design is rare. Just as when a designer presents a chair we assume that it must be to sit on,5 so too when a designer suggests growing a Maui’s dolphin in your womb there is a temptation to take it is an order."



"If industry characterised the 19th century, and information technology the 20th, it is tempting to look at biotechnology and synthetic biology as strong candidates for the 21st. The capacity to grow non-consumable products – as Suzanne Lee has done with her Biocouture project – or to create low-emission fuels or cheap pharmaceuticals is clearly appealing, while notions of programming DNA like computer code hold obvious attractions (as well as generating obvious fears) for areas such as agriculture. If farming is the practice of coercing nature into producing desirable results, biotechnology presents a development of this idea: nature rewired to produce these same results “naturally". It is a point writer H.G. Wells made 119 years ago in his essay The Limits of Individual Plasticity: “We overlook only too often the fact that a living being may also be regarded as raw material, as something plastic, something that may be shaped and altered."

Such an idea understandably resonates with designers, yet also raises questions about how design as a discipline will adapt in the the future. What role do designers play if synthetic biology becomes a dominant production mode? Biology is not an equivalent material to wood or metal; a new matter that can be easily subbed into the design process and subjected to the designer’s expertise. Rather, it is a substance that, at least for the foreseeable future, requires the knowledge of a biologist to manipulate.6 It is a point to which Ginsberg is sympathetic. “I think synthetic biology presents an interesting area for designers because it makes you ask what designers will be doing if biologists are designing,” she says. "My question is 'What does design become in that space?' I’m curious to see if design can reflect on itself by working in a very unfamiliar space. Is there an opportunity to think about what we make, and what we should or shouldn’t be making?”

These are some of the questions addressed by Synthetic Aesthetics, a book that documents an ongoing research project of the same name. The project was initiated by the University of Edinburgh and Stanford University in 2010, and paired synthetic biologists with artists and designers to generate residencies that examined crossover between the disciplines. While not all of the resultant projects are fictions, many are.7 Biologists Wendell Lim and Reid Williams for instance collaborated with IDEO designers Will Carey and Adam Reineck to propose drinking vessels formed from dormant bacteria that, when awakened by water entering the glass, would activate to mix and form a probiotic drink. "The book in a way was laying out what we’ve learned from the residencies, but it asks questions as well,” says Ginsberg. "What is synthetic biology, what is design, what do we want design to be in synthetic biology, and how do we bring its ideas of ethics, innovation and sustainability together?”

Such open-ended questions however feed back into the problem of design fictions. As a field, design fictions is not interested in providing definite answers or pursuing clearly defined goals (à la a brief to design an affordable, ergonomic aluminium stacking chair) and that’s where confusion enters in. Rather than problem solving – as conventional design is typically seen as being –8 it seems most contented when simply probing, holding a mirror up to debates that have no easy answers. "There is an understanding that design can only make stuff to sell, that it translates technology into things to consume,” says Ginsberg. "I think there is room for design practices that challenge and expand that. In a way, my practice is a design-based think tank."

Yet it is a state of affairs that makes the publication of Synthetic Aesthetics significant. Books about design fictions are comparatively rare, a fact that in part contributes to many people’s uncertainty with the discipline: it is simply not well-known enough yet for the process of acclimatisation to have taken place. Prior to Synthetic Aesthetics, the most visible texts in the field have been Dunne’s Hertzian Tales9 and his subsequent collaboration with Raby on 2014’s Speculative Everything. Writing about this latter title, the design scholar and director of London’s Design Museum Deyan Sudjic remarked that "design is about asking questions, as well as answering them” and it is true that the emergence of design fictions is not the first occasion in which design has acted as provocateur. The Italian design avant-garde of the 1970s were highly critical of the society in which they operated for instance and such precedent suggests that there is nothing conceptually confusing in design acting in the way that it does in design fictions. Design fictions aren’t confusing in and of themselves any more than a projection of a train is confusing in and of itself; all that is lacking is familiarity with the discipline.

Publications like Ginsberg's Synthetic Aesthetics are an important step in the acclimatisation process. As we become more used to the notion of design fictions, it becomes easier for them to do the work they were intended for. Rather than prompting confusion and misapprehension, they can begin to spark debate, generate ideas and inspire research. It is a similar process to that which L'arrivée d'un train en gare de La Ciotat would have gone through more than a century ago. What initially provoked terror was actually a marvel – a train’s arrival preserved on camera; a moment in a Marseillaise town bottled and unstopped in a Parisian theatre. On a second viewing the film’s audience would have seen that."
designfiction  speculativedesign  alexandradaisyginsberg  daisyginsberg  biology  2014  biotechnology  via:anne  anthonydunne  dunne&raby  fionaraby 
may 2014 by robertogreco
Twitter / annegalloway: Compiling a list of non-sci-tech ...
"Compiling a list of non-sci-tech based speculative/critical design projects and it’s remarkably short. What are some of people’s favourites?"
speculativedesign  criticaldesign  designfiction  annegalloway  2014  design 
may 2014 by robertogreco
Design fiction: a bibliography — pasta and vinegar
"Some resources about design fiction I'm use to share with students. Note that the term itself is polysemic and covers different perceptions about its meaning."
designfiction  speculativefiction  2014  booklists  bibligraphies  nicolasnova 
april 2014 by robertogreco
Design Futurescaping | superflux
"We presented our work on 'Design Futurescaping' at the Yeditepe International Conference on Futures & Foresight and Rotterdam's V2_Institute for Unstable Media.

'Complexity, Narrative, Participation, and Images of the Future'
What opportunities do traditional arts, digital media, and social networks create for foresight and futures? What new approaches do these media and digital platforms provide for engaging people in creating and exploring alternative images of the future? How can group-sourced futures creation and exploration put chaos and complexity theories in service to basic futures theory? How can they enhance experiential engagement in the futures dialogue?

These questions set the premise for the Poster Session at the Yeditepe International Conference on Foresight and Futures, Istanbul, Turkey. Curated by Dr. Wendy Schultz, the poster session included contributions from Wendy Schultz, Noah Raford, Justin Pickard and Jake Dunagan. 

We presented a poster outlining some of our work on 'Design Futurescaping', describing some our tools and methods, grounded in examples from 'Little Brinkland' and 'Power of 8'."

"Expanding on this poster, our short essay 'Design Futurescaping' appeared in the free e-reader Blowup: The Era of Objects, published by Rotterdam's V2_ Institute for Unstable Media."

[PDF: http://v2.nl/files/2011/events/blowup-readers/the-era-of-objects-pdf ]
superflux  toolkit  futurescaping  design  designfuturescaping  process  digitalmedia  art  socialnetworks  powerof8  littlebrinkland  future  speculativedesign  speculativefiction  designfiction 
march 2014 by robertogreco
Questioning the “critical” in Speculative & Critical Design — Designing the Future — Medium
"In the past few days I’ve been following this excellent and profoundly enlightening discussion [http://designandviolence.moma.org/republic-of-salivation-michael-burton-and-michiko-nitta/ ] on MoMA’s Design and Violence page. The conversation, initiated by John Thackara’s comments on Burton Nitta’s project “Republic of Salivation” [http://www.burtonnitta.co.uk/repubicofsalivation.html ], was further developed in the comment section. The issue at stake was the presumed naivety of the project while dealing with a subject that might be dystopian to some, but in some other parts of the world it has been the reality for decades. During the — still ongoing — debate, one of the most pressing issues to emerge was the political accountability of Speculative and Critical Design (from now on, referred to as SCD) or its lack thereof.

When questioned on the validity of a discipline that consistently dismisses and willingly ignores struggles other than those that concern the intellectual white middle classes — precisely the environment where SCD comes from — designer James Auger [http://www.auger-loizeau.com/ ] responded:
What is this obsession with class systems? The UK may have its financial problems but most of us stopped obsessing about these divides in the distant past.

As a brazilian designer based in Germany struggling to understand her position in the blindly privileged environment of SCD, Auger’s reaction sounds all too familiar. Being able to ignore things like class, gender and race is the clearest demonstration of privilege: you don’t notice it (or rather, sometimes knowingly choose not to) precisely because it doesn’t affect you. As a discipline theorised within the safe confines of developed, northern european countries and practiced largely within an overwhelmingly white, male, middle class academic environment, SCD has successfully managed to ignore, or at best only vaguely acknowledge, issues of class, race and gender (with few [http://superflux.in/ ] exceptions [http://sputniko.com/ ]). Instead, the vast majority of the body of work currently available in the field has concentrated its efforts on envisioning near futures that deal with issues that seem much more tangible to their own privileged crowd. Projects that clearly reflect the fear of losing first-world privileges — gastronomical, civil or cultural — in a bleak, dystopic future abound, while practitioners seem to be blissfully unaware (or unwilling to acknowledge, in some cases) of other realities.

The visual discourse of SCD also seems interestingly devoid of people of color, who rarely (if ever) make an appearance in the clean, perfectly squared, aseptic world imagined by these designers-researchers. Couples depicted in these near-future scenarios seem to be consistently heterosexual; there is no poverty, there are no noticeable power structures that divide the wealthy and the poor, or the colonialist and the colonised; gender seems to be an immutable, black-and-white truth, clearly defined between men and women, with virtually no space for trans* and queer identities (let alone queer and trans* voices speaking for themselves). From its visual discourse to its formulations of near-future scenarios, SCD seems to be curiously apathetic and apolitical for a discipline that strives to be a critical response to mainstream perceptions of what design is, and what it should do.

So answering Auger’s pressing question — “What is this obsession with class systems?” —, well: we are obsessed with class systems because we can’t help it. Because, in contrast to most of the practitioners in the field of SCD, we do not have the privilege of not thinking about issues of race, class and gender. Because your dystopia is happening to us right now. It’s happening when we get harassed because of our gender, our class or our ethnicity. It’s happening when a brazilian citizen is killed by british police with no explanation, apology or reason other than being a foreigner [http://www.theguardian.com/uk/menezes ]. It’s happening because where I come from, the reality suggested by The Republic of Salivation isn’t so far-fetched [http://thebrazilbusiness.com/article/cost-of-living-in-brazil-ndash-cesta-basica ]. And because if we don’t call out your privilege — though you dismiss it as “misguided suggestions of privilege” — this is what will keep on happening: SCD will never evolve past a discipline stuck in its own little universe of weather forecasts and smart fridges, incapable of seeing how shallow its own speculations are, and how much more relevant and inclusive they could be.

Right now, SCD’s preoccupations are directed towards nothing more than an alleged “lack of poetic dimensions” in our relationship with electronic objects. The “social narratives” and “criticism” so advertised by the great majority of its practitioners seem to only apply to the aesthetic concerns of the intellectual northern european middle classes. Those dystopian “critical futures” forget (or oversee it for a lack of empathy toward the subject matter) that the very electronic objects that they are talking about not only are — and will continue to be — accessible to a minimum percentage of the world’s population, but also that those who won’t have access to it will likely be exploited to make that reality happen, one way or another. It is extremely frustrating to observe how SCD practitioners depict a dystopian universe where technology comes to paint a world in which their own privileges of their own reality are at stake, while at the same time failing to properly acknowledge that design is a strong contributor to the complete denial of basic human rights to minorities, right here, right now. Those sleek, shiny gadgets and sentient objects and robots SCD designers are keen to portray come only to the aid of white, middle class, cisgendered heterosexual citizens. But no SCD dystopian scenario takes into account that this pervasive “technological menace” will most probably be manufactured in China, Indonesia or Bangladesh (as suggested by Ahmed Ansari [https://twitter.com/aansari86 ] in the comments section in the original post). And I cannot help but reinforce that SCD is a practice whose origins and current developments, so far, happen within colonialist countries.

Despite all of its shortcomings, I do believe that SCD has something necessary and valid to offer to society. I do believe that design is a powerful language, one that it is perfectly positioned to provide relevant social and cultural critique, and that envisioning near future scenarios might just help us reflect on the paths we want to take as a society. In order to truly achieve these goals, however, SCD needs to be held accountable for its political and social positions; it urgently needs to escape its narrow northern european middle class confines; it needs to talk about social change; it needs more diversity, both in its visual representations and in the practitioners in the field. A first step, perhaps, would be to acknowledge that these issues are at stake instead of just dismissing them as useless concerns. Speculative Design can only earn its “Critical” name once it leaves its own comfort zone and start looking beyond privilege, for real.

After all, as brilliantly described by Ahmed in the thread:
The political, economic, social and cultural implications of technologies are never local but always global and systemic — they ripple out and affect people you may never know or see in your lifetime. It’s great to believe in the promise of technological progress when you belong to a class and a society that will directly get to reap its benefits in the end.
via:anne  2014  luizaprado  pedrooliveira  criticaldesign  speculativefiction  speculativedesign  designfiction  priviilege  designimperialism  criticism  design  art  johnthackara  burtonnitta  class  gender  race  speculation  ahmedansari  jamesauger  michaelburton  michikonitta  humanitariandesign 
february 2014 by robertogreco
doisedois
"Luiza Prado
Rio de Janeiro, Brazil, 1985.
Currently living in Berlin, Germany.

I'm a designer, researcher, artist and all-around curious person interested in the intersections of feminism, critical and speculative design, technology and our perceptions of our bodies and identities. I am currently a Design Research PhD candidate at the Universität der Künste Berlin; the working title for my dissertation is "Body extensions and the politics of designed artifacts". If you're curious you can check out my dissertation-related rants and reflections here.

Inquiries, stories, questions and general friendliness are always welcome! Say hi: hello@doisedois.net "

[via https://medium.com/designing-the-future/5a355cac2ca4 via @annegalloway]
luizaprado  design  criticaldesign  brasil  feminism  art  speculativedesign  designfiction  bodies  identity  body  berlin  research  brazil 
february 2014 by robertogreco
Why Her Will Dominate UI Design Even More Than Minority Report | Wired Design | Wired.com
"In Her, the future almost looks more like the past."



"Jonze had help in finding the contours of this slight future, including conversations with designers from New York-based studio Sagmeister & Walsh and an early meeting with Elizabeth Diller and Ricardo Scofidio, principals at architecture firm DS+R. As the film’s production designer, Barrett was responsible for making it a reality.

Throughout that process, he drew inspiration from one of his favorite books, a visual compendium of futuristic predictions from various points in history. Basically, the book reminded Barrett what not to do. “It shows a lot of things and it makes you laugh instantly, because you say, ‘those things never came to pass!’” he explains. “But often times, it’s just because they over-thought it. The future is much simpler than you think.”

That’s easy to say in retrospect, looking at images of Rube Goldbergian kitchens and scenes of commute by jet pack. But Jonze and Barrett had the difficult task of extrapolating that simplification forward from today’s technological moment.

Theo’s home gives us one concise example. You could call it a “smart house,” but there’s little outward evidence of it. What makes it intelligent isn’t the whizbang technology but rather simple, understated utility. Lights, for example, turn off and on as Theo moves from room to room. There’s no app for controlling them from the couch; no control panel on the wall. It’s all automatic. Why? “It’s just a smart and efficient way to live in a house,” says Barrett.

Today’s smartphones were another object of Barrett’s scrutiny. “They’re advanced, but in some ways they’re not advanced whatsoever,” he says. “They need too much attention. You don’t really want to be stuck engaging them. You want to be free.” In Barrett’s estimation, the smartphones just around the corner aren’t much better. “Everyone says we’re supposed to have a curved piece of flexible glass. Why do we need that? Let’s make it more substantial. Let’s make it something that feels nice in the hand.”"
her  spikejonze  design  ai  film  technology  ui  future  minorityreport  diller+scofidio  elizabethdiller  lizdiller  dillerscofidio  designfiction  speculativedesign  speculativefiction 
january 2014 by robertogreco
Delineating the Future – an interview with N O R M A L S / @lab_normals
"In recent years, the speculative design arms race has accelerated to a dizzying blur. In taking stock of the provocative fictions like those exhibited by Dunne & Raby, augmented by Keiichi Matsuda, or broadcast on Charlie Brooker’s Black Mirror, one can’t help but wonder: how do weird hyper-mediated futures translate into print? I’m happy to report that N O R M A L S new eponymous graphic novel series picks up where the 2011 Warren Ellis, Matt “D’Israeli” Brooker, and BERG comic SVK left off and really answers that question with gusto. For the past few months, I’ve been flipping through creative duo Cedric Flazinksi and Aurélien Michon’s three 80-page self-described ‘design research journals’ and I’ve been simultaneously awed by the gritty clarity of the near-future scenarios they delineate, and floored by the interlocking networks of ideas that are at play. This work is a strange combination of vital, sardonic, disturbing, and brilliant, and has some meaningful contributions to offer to conversations about representation and prototyping in design fiction-related practices. In celebration of the forthcoming release of a limited-edition 500 copy run box set of the first three books in the series (which just became available for pre-order), Cedric and Aurélien have participated in a super-detailed interview about the graphic novels and their broader practice. We’re really excited to have N O R M A L S contributing to the first issue of HOLO and I strongly advise that you don’t sleep on this publication."
futurism  speculativefiction  designfiction  future  futures  comics  blackmirror  normals  gregsmith  cedricflazinski  aurélienmichon  glvo  interviews 
december 2013 by robertogreco
normalfutu.re
"N O R M A L S is an independent creative group devoted to the practice of 'anticipation.' As of February 2012, the group is active producing speculative designs and exhibiting them in an epic piece of fiction.

After spending a few years researching and conceiving an entire portrait of future society, we are finally publishing our first three issues, comprising everything ranging from hair-plucking technology to automatic circumstantial social responses. The last two years, we have been working on it full-time, on our own, just like crazed and solitary monks. From a blank slate and a little wishful thinking, we've eventually come up with thick research folders, custom-coded tools, isbn numbers, but most importantly: an uncompromised object. This is probably the most meaningful thing we've ever done. Studied in its every detail, beyond our own limits. And it was fun as hell.

Of course, we couldn't have made it without the help and support of our friends, families, and the awesome people we've met along the way. So thank you, and enjoy!

N O R M A L S
Cedric Flazinski — design
Aurélien R. Michon — stories"

[See also: http://www.creativeapplications.net/theory/delineating-the-future-an-interview-with-n-o-r-m-a-l-s/ and http://mixtur.es/normalshop/ ]
normals  futurism  speculativefiction  designfiction  future  futures  comics  cedricflazinski  aurélienmichon  glvo  france 
december 2013 by robertogreco
Workalong: Critical Design / Design Fiction lecture finally written up. (loooooong)
[A very thorough catalog of "design fiction" examples]

"So futures. Design fiction, critical design, speculative design and all that stuff tends to be based in the future, or a futures, or futures. Why? Because it's a fertile playground and fair game. We're open to the suggestion of future images. It's how advertising works. It's evocative, it compounds hopes and fears and it's malleable. Most work isn't about the future, it's about now, but you can explode the now into the future to make it much more visible and understandable.

The archetypal quote. [WILLIAM GIBSON] This is one of the cornerstones of futures work. Somewhere, someone else has your future, and right now, your iPhone is someone else's future.We have to understand there's no kind of absolute rule for 'the' future. There is no 'the' future. There's just a bubbling and propagating mess of technologies and hopes and fears that sometimes arrange themselves into 'a' future.

So this is kind of where you aim at when thinking about the future. This is the futures cone, another one of those tools or symbols that comes up and over and over again. Uncertainty tells us that the future opens up to possibilities. The Google Glass future vision sits in that green preferable part but is unlikely to happen. Where it becomes interesting is exploring some of those wild cards that sit right on the outside. You lend that perspective to people and you can blow their minds. 'Hey there's this new technology and they say it'll do this, but what if it did this instead.'"



"Right, so this is the end and I want to leave you with some questions that I don't have answers to, having seen all of that stuff.

First up, 'Yes, but is it art?' Most of the projects I showed end up in a gallery. They're not sold in shops or made into real products, so how is this not art? There are cleverer people than I that could answer that question. I believe on some fundamental level that it's design because it uses the language of design to try and attract an audience. Because like I said earlier, it rearranges existing phenomena we can understand to give them new meaning and because it's for other people, not for the creator.

Secondly 'What if? ... Then what?' Critical design poses difficult questions and forces us to confront them, but then what? Once we have the questions and we have the provocation how do we deal with it, individually and societally? I don't know, I'm trying to figure that out.

'How do you measure success?' A question that is coming up more and more. You can measure the success of a normal design project by it's kickstarter funding or by units sold, but here we're not selling units or launching startups, we're trying to get people to deal with difficult things so how do you measure if that works? Well, there's a good spread of projects that get a lot of media attention so I guess that's a success, but is it enough?"
tobiasrevell  designfiction  speculativefiction  criticaldesign  design  futurism  2013  fionaraby  hertziantales  robots  superstudio  williamgibson  bigdog  saschapohflepp  goldeninstitute  power  normalcy  venkateshrao  anabjain  superflux  nickfoster  brucesterling  stanleykubrick  childrenofmen  diegetics  diegeticdesign  davidkirby  revitalcohen  prophecyprogram  stanleymilgram  phillippronnenburg  jamesbridle  berg  berglondon  littleprinter  newaesthetic  liamyoung  vincentfournier  josephpopper  larissasansour  peckhamouterspaceinitiative  cristinademiddel  hefinjones  welshspaceprogram  materials  3dprinting  markuskayser  thomasthwaites  toasterproject  jeremyhutchinson  cohenvanbalen  stelarc  choykafai  sputniko  agathahaines  unnaturalhistory  aihasegawa  synthetics  georgetremmel  shihofukuhara  art  canon  davidbenque  geopolitics  yosukeushigome  zoepapadopoulou  stacktivism  julianoliver  dunne&raby  anthonydunne  posthumanism 
december 2013 by robertogreco
Patently untrue: fleshy defibrillators and synchronised baseball are changing the future (Wired UK)
[Design fiction unravels.
https://twitter.com/annegalloway/status/405110546225061888
https://twitter.com/annegalloway/status/405111061268819969
https://twitter.com/annegalloway/status/405111820903387136
https://twitter.com/matthewward/status/405116759340249088 ]

"A design fiction is not real. This seems like a severe limitation. However, "real things" aren't absolutely and permanently real, either. Objects are designed, made, and then pass out of existence all the time.

The objects offered to us in a capitalist marketplace have three basic qualities: they are buildable, profitable and desirable. They have to be physically feasible, something that functions and works. They need some business model that allows economic transactions. And they have to provoke someone's consumer desire.

Outside of these strict requirements is a much larger space of potential objects. And those three basic limits all change with time. Through new technology, new things become buildable. Business models collapse or emerge from disruption. People are very fickle. That's how it works out -- and the supposed distinction between "real" and "not-real" is pretty small.

Most patents are never manufactured. Most startups fail and vanish. Product advertisements are fantastic -- and full of blatant lies. Most military technologies are theatrical, there to scare and intimidate and overawe people, rather than to kill them with maximum efficiency. Companies
commonly launch "vapourware" campaigns that pledge to build things they have no intention of actually building. There's a lot of fantasy and pretence in all technologies.

People who are good at design fiction are very keen on these little weaknesses in the Emperor's New Clothes. The adept of design fiction comes to realise that every object, even a common fork or dad's boring tie, is "diegetic". They're all background props in some grander story.

A fork exists so that aristocrats could avoid staining their fingers with gravy. The fork is a tool for class distinction. We use forks today not because forks are "practical", but because we're a feudal society that became democratic. Dad's boring tie was originally a Croatian "cravat" -- a coloured war scarf around the neck of a Balkan cavalryman. Ties are said to have been imported into Britain by Charles II when he returned from his exile in France, having picked up the fashion from Croatian mercenaries in the service of Louis XIII. That story is quite exotic, far-fetched and amazing -- but who cares? Ties are still boring, even despite the rhetorical stunt I just pulled where I made them seem amazing for a while.

Design fiction plays games with these transitions of the amazing and the boring, the transitions of the believable and the incredible.

If you understand that -- and if you know a lot about design, and also something about internet razzle-dazzle -- you can really mess with people's heads nowadays. With design fiction you can pull coins from their ears and rabbits out of their hats. Who couldn't like that?"

[Also here: http://www.wired.com/beyond_the_beyond/2013/11/design-fiction-patently-untrue-by-bruce-sterling/ ]
designfiction  brucesterling  julianbleecker  2013  fiction  design  transitions  diegetic 
november 2013 by robertogreco
Counting Sheep
"Counting Sheep: NZ Merino in an Internet of Things is a three-year research project (2011-2014) based in the School of Design, Victoria University of Wellington, New Zealand. Led by Dr Anne Galloway, our work explores the role that cultural studies and design research can play in supporting public engagement with the development and use of science and technology.

The Internet of Things is a vision for computing that uses a variety of wireless identification, location, and sensor technologies to collect information about people, places and things - and make it available via the internet. Today's farms generate and collect enormous amounts of data, and we're interested in what people can do with this information - as well as what we might do with related science and technology in the future.

Over the past two years we've travelled around the country, visiting merino stations, going to A&P shows and shearing competitions, and spending time in offices and labs, talking with breeders, growers, shearers, wool shandlers, scientists, industry representatives, government policy makers and others - all so that we could learn as much as possible about NZ merino. Then we took what we learned and we started to imagine possible uses for these technologies in the future production and consumption of merino sheep and products.

This website showcases our fictional scenarios and we want to know what you think!"

[See also: http://www.designculturelab.org/projects/counting-sheep-project-overview/
http://www.designculturelab.org/projects/counting-sheep-research-outputs/ ]
annegalloway  design  research  sheep  animals  merino  newzealand  speculativefiction  internetofthings  technology  science  computing  sensors  spimes  designfiction  countingsheep  boneknitter  permalamb  growyourownlamb  iot 
november 2013 by robertogreco
Anab Jain: Designing the future
"Anab Jain talks about design in a future world of insect cyborgs, mass surveillance, DNA monetization and guerilla infrastructure. "This sort of speculative work explores the remarkable potential of technology and its new experiential aesthetics.""

[See also: http://www.superflux.in/work/staying-with-the-trouble ]

[Alt video link: https://www.youtube.com/watch?v=-stunrZcB24 ]
anabjain  superflux  design  future  cyborgs  surveillance  infrastructure  speculativedesign  designfiction  biotech  biotechnology  genetics  science  nearfuture  robots  bostondynamics  23andme  2013  drones  jugaad  thenewnormal  bees  humanism  bodies  humans  vision  blind  prosthetics  memory  consciousness  supervision  film  storytelling  speculativefiction  shanzai  china  innovation  resilience  ingenuity  poptech  body 
november 2013 by robertogreco
ANAB JAIN - LECTURE
"Anab Jain is a designer, filmmaker, founder and director of the London-and-India-based design studio Superflux, which runs in partnership with Jon Ardern. The studio consistently produces inventive and critical work exploring the limits of emerging technologies and their implications on society and culture. In her lecture at Fabrica, she explores the vision of their studio as a new kind of design practice — one that is responsive to the unique challenges and opportunities of the 21st century. Recent work includes the design of prosthetic vision for the visually impaired, alternate autonomous weather systems, ecological domestic robots, large-scale devices visualizing quantum computing, pirate networks for autonomous UAVs, speculative narratives investigating illegal markets for synthetic biology and community-enabling services for urban India."
anabjain  superflux  design  research  openstudioproject  2013  fabrica  consulting  thenewnormal  lcproject  projectorientedorganizations  howwework  speculativedesign  technology  complexity  narrative  storytelling  jonardern  future  designfiction  criticaldesign  internetofthings  data  mutability  mutation  uncertainty  implications  iot 
november 2013 by robertogreco
They may have the money, but we have the tools of technology. — Medium
"I went to a London comprehensive, called Woodbridge High School. OFSTED reports had it hovering around ‘average’ among similar schools. That’s about 60% of students getting 5 A-Cs at GCSE. Put frankly, the education was awful. I can list everything I learnt from the curriculum in my time there: a little bit about the war poets from a teacher who was quickly seduced into the private education sector, some cold war history, and that using your year 8 speech to speak out against homophobia gets you beaten up. I looked forward to being a grown up, being my own boss, and playing with the real world.

I was incredibly fortunate. At the age of 13, from my comfortable bedroom I began to tinker with computers. I got interested in a new technology called Ruby on Rails, an opinionated framework for making interactive websites, around which more intelligent and experienced people openly discussed and shared best practices and code. I learnt along with them, and within a couple of years, it turned out that knowledge was very profitable. Working as a programmer enabled me to drop out of my A levels, sidestep the recession, the generational debt and the joblessness being handed to all of my peers and was able to work in whatever industry or company intrigued me. By the time I was 23, I had worked in Business Continuity, the Music industry, Media, Advertising and Design. It was like industrial tourism: a never ending series of internships, except I was valued and got paid, sometimes very well.

You might think the BBC news website article narrative here charts how a boy in his twenties taught himself to code, left school and founded a dynamic startup. It could have been an iPhone app that sold a few million copies, an industry disrupting platform for whatever, or (if I was feeling fluffy and socially conscience) a social innovation startup, perhaps enabling homeless people to become just like me, a self-reliant self-starting entrepreneur!

All very tempting, but these saccharin narratives of geek boy done good carry a political message that I’m not comfortable with. People are incredibly excited in and outside of tech and in the mainstream media about specific aspects of the tech world. They are fascinated by profits, newness and the political issues of data protection and surveillance. But beyond this there is a severe lack of debate about how the tech community participates in our socio economic context. Because for all the excitement around the new powers of technology, the tech community became one of the most powerful practitioners of the neo liberal agenda, with only some of us noticing.



Many developers I speak to shy away from politics. They comfort themselves with ideas of our community being meritocratic, that the good guys will win out over partisan and agenda based politics because we are working towards a more logical, educated society. This is, of course, the same lie as the fully informed rational consumer of market liberalisation. They shrug when it’s pointed out that we’re nearly all white middle class men. The discussions around women in technology have only just started, and boy do they get defensive about it, and we haven’t even begun discussing class based privilege, so repellant is the idea of discussing something as political in our rational meritocratic nirvana. ‘Check your privilege’ is an idea that flies directly in the face of our self narratives of the underdog nerd proving himself with his intelligence and well meaning intentions.

Our generation is generally adverse to ideologies. I don’t have too much of a problem with this. I find that Ideologies often cause nothing but obstacles to those people who are actually getting things done. But as developers we are both close to the ground, and have real power. In his new short book “The new Kingmakers”, Stephen O’Grady very effectively makes the case that software developers are just that. It’s time we stopped making toys for quite rich people to make very rich people even richer."



"I have a suspicion. I suspect that the idea of the public sector not only doing something well but better than most of the private sector offends them. Turns out the best way to piss off market libertarians is to make government work.

Sure, I hear moans from Silicon Roundabout that the government is sucking up all the best talent in London, but while they’re saying that, GOV.UK increased signups to the organ donations register by 10,000 every month with just a bit of clever A/B testing as a side project. I could be working on your socially network website that tries to convince parents that fruitshoot isn’t awful for their kids (I have actually done that), or I could be doing what I’m doing now, helping bring real change to the office of the public guardian so they can do their job better. They provide support for those caring for someone who has lost mental capacity, whilst checking that the carer isn’t abusing their position.

Now don’t get me wrong. I love the software developer community. I love being a part of it and I’m constantly excited about what we are doing. But I’m also frustrated. We seemed to have been coerced into working for a future that we didn’t sign up for. But hopefully, as anger amongst my generation grows at the world that has been handed to us, maybe more of us will realise that they may have the money, but we have the tools of technology."
design  government  politics  2013  ideology  technology  designfiction  brucesterling  elitism  privilege  meritocracy  gov.uk  jamesdarling 
october 2013 by robertogreco
The Future Mundane - Core77
[Also posted here: http://hellofosta.com/2013/10/07/the-future-mundane/ ]

1. The Future Mundane is filled with background talent. …

When designing for the future, designers regularly design for the hero, a trickle-down aspirational super-user intended to give us all something to hope for. But perhaps we could, for once, design for those innumerable, un-named characters of Hollywood, the extras or 'background talent.' Perhaps we should look past Bruce Willis and design for the 'man at bus stop', 'girl at bar' or 'taxi driver.' While this approach is less aspirational or sexy, these characters are much closer to the humans to whom you are telling your story. When your goal isn't entertainment, you don't need a hero. …

2. The Future Mundane is an accretive space…

When we render the future as a unique visual singularity, we remove from it any contemporary hooks. When designing a new screwdriver, it's important to remember that it will probably sit in a toolbox filled with other tools, perhaps inherited from a previous generation. …

3. The Future Mundane is a partly broken space. …

We often assume that the world of today would stun a visitor from fifty years ago. In truth, for every miraculous iPad there are countless partly broken realities: WiFi passwords, connectivity, battery life, privacy and compatibility amongst others. The real skill of creating a compelling and engaging view of the future lies not in designing the gloss, but in seeing beyond the gloss to the truths behind it. As Frederik Pohl famously said, "a good science fiction story should be able to predict not the automobile but the traffic jam. …

Counter one: What about visionary projects which act as a north star, an unattainable but exciting future? …

Counter two: By assuming that the future will proceed as today, we won't embrace anything out of the ordinary. …

Counter three: Not all design needs to so pragmatic. …"
designfiction  future  futurism  design  2013  nickfoster  speculativefiction  technology  futuremundane 
october 2013 by robertogreco
Towards Fantastic Ethnography and Speculative Design | Ethnography Matters
"So how do I teach ethnography to design students? First, I tell them that if they’ve ever wondered why people do things, or how things got to be the way they are, then they’re already part ethnographer. I say that my job is to help them get better at asking and answering social and cultural questions, because understanding and building entire worlds is a huge challenge that no single discipline can accomplish on its own. And I tell them that I believe the best designers are those who understand that what they’re doing is cultural innovation, which requires them to move beyond both personal impression and expression, as well as any self-righteous desire to ‘fix’ the world. My approach to design ethnography binds us to others, and I place a lot of emphasis on the need to develop a social ethics, rather than relying solely on personal interests and beliefs.

Over the years I’ve observed that design students often have much better observation and documentation skills than sociology and anthropology students do, but they appear to struggle greatly with how to interpret the information and represent this knowledge to other people. On the other hand, anthropology and sociology students often have superior analytical skills but are terribly limited in their desire or ability to communicate in anything other than the written word—even when their topic is visual or material culture. Consequently, I’ve come to think that ethnography makes design better as much as design makes ethnography better, and in that sense I believe we can serve each other equally.

Design ethnography, in the context of our classroom, is about trying to understand how people use words, images and objects to build worlds—and creating new combinations of words, images and objects that help us, and others, understand these worlds in different ways. All of our projects involve empirical fieldwork and analysis, along with the production of creative works that critically engage the subject of fieldwork. Because so many students attempt to do the creative work first, and use their ethnographic work to justify their ‘solution’ to a perceived (but rarely demonstrated!) ‘problem,’ I tend to be a bit more dogmatic about doing the ethnographic work first than I would otherwise advocate. The important thing I’ve learned, though, is that the best work always treats design and ethnography as complementary activities that are done in an iterative fashion that actually makes them difficult to separate in the end.

In teaching design courses, particular ethnographic methods became unappealing to me. Take auto-ethnography, for example: at its best the students continued to privilege their own thoughts and experiences; at worst it became a self-serving exercise in psychoanalysis or confession. And although performance ethnography can be interesting, I lack the expertise to assess it and worried that the students would again turn design into a form of privileged self-expression that could be difficult for others to understand. I needed something more accessible, that could more effectively trouble the opposition between subjective experience and objective fact—and I found it in fiction, which I think is rather beautifully both and neither."



"I think that the research environment for exploring these ideas has been crucial to their development. For the past few years, I’ve been working on a project that re-imagines NZ merino sheep in the (imagined) context of an Internet of Things. Note that I’ve not been tasked with designing possible software applications, but rather to imagine how different technologies could shift relations between livestock production and animal-product consumption. For this research I’ve combined traditional ethnographic methods of participant observation and qualitative interviews, with speculative design practices including fictional object and image-making—and I’ve given them both ‘life’ through creative writing. We’re about to launch these design scenarios, and will spend the next six months following up with more participant observation, interviews and online surveys to see how different audiences interact—or do not interact—with them.

For me, creating ethnographic fiction and speculative design has most often been a matter of material choice: both literally and figuratively. When the research subject matter is wool and meat-producing livestock, it was easy to start by imagining weird and wonderful things made of wool and meat! All the contexts for these fictional things (a government ministry and public programme, a host of consumer products and services) are plausible because they’ve been based on ethnographic research of people’s actual interests and concerns—but none of them are possible or even particularly realistic. To be honest, I really felt I was on the right track when I started talking about getting inspiration from contemporary urban fantasy novels—especially favourites by Ilona Andrews and Patricia Briggs—and both my design and ethnography colleagues just laughed. (It was like Joanna Russ had never written How To Suppress Women’s Writing!) But the important bit is that I came to understand that although fantastic ethnography and speculative design don’t have to derive their plausibility from realism or rationality, they should move people—because the space of the fantastic and the speculative is, after all, affective space, or the space of potential."

[Related (lined within): http://www.hastac.org/blogs/cathy-davidson/2011/08/28/why-you-need-read-designing-culture-anne-balsamo
and http://www.designculturelab.org/2012/08/17/on-fantasys-green-country-and-the-place-of-the-nonhuman/ ]
annegalloway  2013  ethnography  designethnography  fiction  designfiction  writing  speculativedesign  design  ursulaleguin  margaretatwood  interdisciplinary  multidisciplinary  ilonaandrews  patriciabriggs  plausibility  rationality  realism  research  speculativefiction  worldbuilding  imagery  words  images  objects  fieldwork  noticing  observation  listening  wondering  ethics  documentation  interpretation  autoethnography 
september 2013 by robertogreco
An Introduction to Infrastructure Fiction | superflux
"'All-in-One' was an EPSRC-funded project ... [T]he basic research question was 'would it be possible to replace all the disparate utility infrastructures which we have currently with a system that uses one single unified infrastructure to fulfil all the needs of end-users?' ... [L]ook at the actual ideas we came up with: a 'city blood' circulatory system, wherein energy is carried to homes dissolved in water like oxygen is carried to our cells by haemoglobin; a rhizome-topology urban network of underground freight-delivery tunnels; the entire planet powered by orbital solar collector satellites, and eventually by a belt of photovoltaics on the moon; and a subterranean modular city based around the central need for water, energy and fresh air."
infrastructure  city  design  commentary  infrastructurefiction  fiction  paulgrahamraven  designfiction  via:jbushnell 
august 2013 by robertogreco
Design Fiction as Pedagogic Practice — What I Learned Building… — Medium
"Asking students to imagine a world and design artefacts to communicate a set of beliefs or practices though the utilisation of fiction has been an essential part of the BA Design curriculum for over a decade. But the thing I’m most surprised by is how little has been written about the role of fiction and speculation as part of design education. I can understand how DF can have value in a research context in order to provoke and convince an audience of a possibility space; a mode of questioning and coercion. I can also see its role in technology consultancy, as the construction of narratives, where products, interactions, people and politics open up new markets and directions for a client. But I think people have missed its most productive position; that of DF as a pedagogic practice.

I’m fully located in the ‘all design is fiction’ camp, so I’m not a big fan of nomenclature and niche land grabs. Design as a practice never exists in the here and now. Whether a week, month, year or decade away, designers produce propositions for a world that is yet to exist. Every decision we make is for a world and set of conditions that are yet to be, we are a contingent practice that operates at the boundaries of reality. What’s different is the temporality, possibility and practicality of the fictions that we write."
pedagogy  designfiction  teaching  learning  education  mattward  temporality  imagination  speculation  design  fiction  future  futures  designresearch  designcriticism  darkmatter  designeducation  reality  prototyping  ideology  behavior  responsibility  consequences  possibility  making  thinking  experimentation  tension  fear  love  loss  ideation  storytelling  narrative  howwelearn  howweteach  2013 
july 2013 by robertogreco
Tobias Revell on the future of art and design at 'A New Dawn' by ArtEZ studium generale, 24 May 2013 on Vimeo
"Tobias Revell outlines how the willing acceptance and grasping of uncertainty has led to a new way of thinking in the present and a resurgence of romantic futurism. He gives specific examples of solutions outside of a 'grand plan', new production methods that liberalise and free design and art from larger systems. He shows how science-fiction imagery and fantasy have penetrated the arts.
Opening lecture at 'A New Dawn' by ArtEZ studium generale on 24 May 2013, Enschede, the Netherlands."
tobiasrevell  2013  art  design  designfiction  futurism  systems  towatch  artez  uncertainty  video  debate  reflection  critique  change  futures  kickstarter  bitcoins  makerbot  3dprinting  reprap  globalvillageonstructionset  opensource  opensourceecology  cohenvanbalen  thomasthwaites  manufacturing  control  consumption  economics  systemsthinking  bigdog  robots  technology  normalization  marsone  uncannyvalley  spacetravel  space  film  nasa  hierarchy  music  vincentfournier  prosthetics  evil  googleglass  internetofthings  superflux  dance  computing  data  anabjain  iot 
june 2013 by robertogreco
Bruce Sterling on Fantasy prototypes and real disruption | NEXT Berlin
[video here: https://www.youtube.com/watch?v=M7KErICTSHU ]

"In the closing keynote of NEXT Berlin 2013, acclaimed science-fiction author and journalist Bruce Sterling tackled a variety of topics like design fiction, start-up culture, and the mass adoption of disruptive technology. He sees science fiction as a form of design – design fiction that is part of the start-up world."
brucesterling  anabjain  superflux  nearfuturelaboratory  designfiction  disruption  design  networkedsociety  2013  nextberlin  nextberlin2013  protoyping  future  sciencefiction  scifi  capitalism  startups  money  culture  startup 
april 2013 by robertogreco
UNDER TOMORROWS SKY
"UNDER TOMORROWS SKY IS A FICTIONAL, FUTURE CITY. SPECULATIVE ARCHITECT LIAM YOUNG OF THE LONDON BASED TOMORROWS THOUGHTS TODAY HAS ASSEMBLED A THINK TANK OF SCIENTISTS, TECHNOLOGISTS, FUTURISTS, ILLUSTRATORS, SCIENCE FICTION AUTHORS AND SPECIAL EFFECTS ARTISTS TO COLLECTIVELY DEVELOP THIS IMAGINARY PLACE, THE LANDSCAPES THAT SURROUND IT AND THE STORIES IT CONTAINS. ACROSS THE COURSE OF THE EXHIBITION INVITED GUESTS WILL WORK WITH THE CITY AS A STAGE SET TO DEVELOP A COLLECTION OF NARRATIVES, FILMS AND ILLUSTRATIONS. WANDER THROUGH THIS NEAR FUTURE WORLD AND EXPLORE THE POSSIBILITIES AND CONSEQUENCES OF TODAY’S EMERGING BIOLOGICAL AND TECHNOLOGICAL RESEARCH. THE EXHIBITION OPENS FOR DUTCH DESIGN WEEK ON OCTOBER 20TH. THE UNDER TOMORROWS SKY PUBLIC THINK TANK WITH LIAM YOUNG, BRUCE STERLING, WARREN ELLIS, RACHEL ARMSTRONG, PAUL DUFFIELD, BLDGBLOG, EDIBLE GEOGRAPHY, NEXT NATURE, THE CENTRE FOR SCIENCE AND IMAGINATION AND NEW SCIENTIST WAS HELD AT MU ON JUNE 16/17. YOU CAN WATCH THE VIDEOS OF THE EVENT HERE. IN COLLABORATION WITH MU ART SPACE, EINDHOVEN AND THE 2013 LISBON ARCHITECTURE TRIENNALE. GET IN CONTACT FOR MORE INFORMATION"
liamyound  architecture  art  designfiction  scifi  urbanism  sciencefiction  warrenellis  brucesterling  rachelarmstrong  paulduffield  bldgblog  geoffmanaugh  nicolatwilley  ediblegeography  cities  2013  future  urban  technology  futurism  illustration  writing  thinking  thinktank  landscapes 
april 2013 by robertogreco
PLAY Stories: To Be Designed
"On Oct. 1st- 3rd, 2012, a group of designers, makers and technologists gathered in Detroit to collectively imagine and produce a piece of design fiction: a catalog of products from the future."

[See also: http://tobedesigned.nearfuturelaboratory.com/ ]
design  designfiction  tobedesigned  tbd  aaronstraupcope  brucesterling  cezannecharles  chriswoebken  christiansvaneskolding  emmetbyrne  jamesbridle  johnmarshall  julianbleecker  karldaubmann  marcgreuther  marcusbleecker  mokapantages  mickfoster  micolasnova  raphaelgrignani  tombray  maganmulholland  zackjacobson-weaver  2012  nearfuturelaboratory 
april 2013 by robertogreco
Julian Bleecker: The Future Never Gets Old — The Gradient — Walker Art Center
“I have personally been interested in the overlap of design and speculation for a while, but inviting Julian out in the context of the IWG posed a new set of questions: how can an organization like the Walker embed speculative practices into its workflow, how is interdisciplinary experimentation already inherently speculative, and when should our institution embrace a process that is not necessarily results-oriented—or at least, not in the typical sense? Speaking of mundane . . .”

[Related: Julian Bleecker on ‘Undisciplinarity’ https://vimeo.com/7196709 ]
julianbleecker  designfiction  future  futures  futurism  design  williamgibson  longtail  walkerartcenter  interdisciplinary  interdisciplinarydesigngroup  emmetbyrne  susannahschouweiler  2012  nearfuturelaboratory  making  storytelling  lcproject  openstudioproject  undisciplinarity  doing  scifi  sciencefiction  innovation 
april 2013 by robertogreco
School Days — Lined & Unlined
[Now here: https://linedandunlined.com/archive/unbuilding ]

Quotes highlighted by Allen on Reading.am:

"It is not simply the unexamined life here that is not worth living, but the unnarrated life — and far from a nostalgic examination, that narration is increasingly essential and increasingly likely to occur in real time."

"Instead of the dismantling and overtly critical strategy employed by postmodernism, the reflexively modern society seeks to examine and correct itself in order to keep placing itself continually back on track. The result is a heightened sense of self-awareness and self-preservation leading all the way back to the individual. "

"Whether overtly biographical or simply self-referential, design remains even today in the peculiar position of having its history and criticism written largely by and for its own practitioners."

[This is a link-rich article that points to many other articles worth reading.]

[Manifesta 6's Notes for an Art School is available in PDF here: http://a.nnotate.com/docs/2011-11-11/iVdeoOj9/NFAAS%20fire%20inside%20copy.pdf ]
designcriticism  altgdp  manifesta  via:litherland  via:tealtan  whitneyispprogram  mountainschoolofart  josephbeuys  freeinternationaluniversity  skowhegan  blackmountaincollege  bauhaus  manifesta6  self-involved  art  criticalautonomy  andrewblauvelt  lorrainewild  wiggerbierma  karelmartens  graphicdesign  gunnarswanson  criticaldesign  speculativedesign  fionaraby  anthonydunne  helenwalters  brucenussbaum  dextersinister  raymondwilliams  antonvidokle  waltergropius  paulelliman  nowinproduction  designeducation  writing  education  criticism  2012  self-preservation  self-reference  unnarratedlife  examinedlife  unexaminedlife  self-awareness  design  robgiampietro  bmc  designfiction  dunne&raby 
november 2012 by robertogreco
TO BE DESIGNED
"A multidisciplinary group of thinkers, makers and near future speculators will spend three days in Detroit to “do” science fiction: tangle up in fact and fiction and engage in curious crosstalk about the things that could be. The goal, then, is to Design Fiction and turn talk into deliberate actions and artifacts; to swerve the present by telling the story of a near future we imagine can be possible.

What we aim to create — to spur conversations about the things that will matter in the near future — is a near future product catalog. For example, a SkyMall, or Sears Wish Book or McMaster-Carr catalog for the near future. Think of it as a near future science fiction sourcebook of products. It’s a collection of stuff , as if that collection of stuff existed as routinely as Sasquatch garden statuettes, inflatable neck pillows, combination USB thumb drive nail clipper laser pointers, battery-powered screwdrivers, allen wrench sets and flat tire repair kits…"
production  conversation  artifactsfromthefuture  artifacts  storytelling  detroit  catalogs  skymall  nearfuture  sciencefiction  crossdisciplinary  multidisciplinarythinking  multidisciplinary  interdisciplinarity  aaronstraupcope  cezannecharles  chriswoebken  johnmarshall  jamesbridle  emmetbyrne  christiansvkolding  karldaubman  marcgreuther  tombray  mokapantages  nickfoster  raphaelgrignani  marcusbleecker  nicolasnova  julianbleecker  brucesterling  designfiction  nearfuturelaboratory 
october 2012 by robertogreco
TBA Festival Box Office - PICA [Claire L. Evans: RESTORE FROM BACKUP]
"Every relationship leaves a trace. In a world of data, even the most intimate relationships are now externalized, backed up. The Web voraciously holds onto our memories, even when we want to let go. Ending romantic engagements, breaking up with friends, avoiding a sworn enemy: these are all antithetical to the industry of our sprawling social networks. Introducing RESTORE FROM BACKUP, a service for precisely this problem. With RFB, a relationship can be completely excised from the Web and all the data contained in a physical object of the customer’s design. If you could gather every single bit of this relationship data and turn it into an object, what would you do with that object? Would you hold it in your hands, feel its depth and weight, and summon from a patchwork of sensory and fallible recollections your ever-shifting, foggy, and surreal memories of the person? Or would you destroy it?

…a design fiction presentation, a pitch for a speculative service that would restore…"
2012  speculativeservices  socialnetworks  data  restorefrombackup  relationships  backups  storage  memory  designfiction  events  pica  design  claireevans 
september 2012 by robertogreco
Ted stars Mila Kunis and Seth MacFarlane v the Guardian | Film | The Guardian
In other ways, I felt that, because we're dealing with a talking teddy bear, and because we're asking the audience to believe that this very unreal situation has taken place, the rest of the story had to be pretty traditional. You're allowed one piece of crazy and the rest has to be pretty grounded."
designfiction  storytelling  via:mayonissen 
july 2012 by robertogreco
Hope, Or Where Other People May Live Another Kind Of Life | Design Culture Lab
"“In reinventing the world of intense, unreproducible, local knowledge, seemingly by a denial or evasion of current reality, fantasists are perhaps trying to assert and explore a larger reality than we now allow ourselves. They are trying to restore the sense — to regain the knowledge — that there is somewhere else, anywhere else, where other people may live another kind of life.

The literature of imagination, even when tragic, is reassuring, not necessarily in the sense of offering nostalgic comfort, but because it offers a world large enough to contain alternatives and therefore offers hope.”

~ Ursula K. Le Guin, Cheek by Jowl: Talks & Essays on How & Why Fantasy Matters

Quotes like this remind me of Le Guin’s anthropological approach to storytelling. Hope, for me, has always been most easily grasped through cultural diversity. Somewhere, sometime, there have been people who lived differently–and it worked."
culture  diversity  culturaldiversity  storytelling  alternatives  imagination  reality  anthropology  writing  fantasy  fiction  2012  annegalloway  ursualeguin  designfiction  speculativefiction 
april 2012 by robertogreco
Back to the Futurist: Anab Jain | URBNFUTR
"In our studio, we try to balance thinking about the future with making in the here-and-now, exploring the possibilities of new technologies while tinkering with laser cutters, 3D printers, and similar – getting stuck into the process of making prototypes for a wide range of projects."

"We are no longer going to be able to separate ourselves from these technologies, tools and phenomena, remaining detached – aloof – from the manufacturing and distribution processes. Where will we, as designers, makers, and futurists be best placed to situate ourselves?"

"While it may be more common for men to refer to themselves as ‘futurists’, there are many influential women whose work focuses explicitly on the future – Wendy Schultz, Heather Schlegel, and Danah Boyd, among many others. Then there are those who are exploring the edges of the future field, without necessarily calling themselves ‘futurists’, women like Fiona Raby, Natalie Jeremijenko, Paola Antonelli, and Vandana Shiva."
beamerbees  acresgreen  mutation  mutations  messyspace  drones  robotreadableworld  machinevision  biology  smart-objects  smartdevices  machineintelligence  risk  emergingtechnologies  criticaldesign  deviantglobalization  narrative  storytelling  3dprinting  futurescaping  suturism  futurists  heatherschlegel  wendyschultz  danahboyd  vandanashiva  paolaantonelli  nataliejeremijenko  fionaraby  superflux  scifi  sciencefiction  howwework  process  interviews  2012  prototyping  designfiction  futurism  design  anabjain  dunne&raby  anthonydunne 
april 2012 by robertogreco
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