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robertogreco : jeremyhutchinson   1

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

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