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robertogreco : jimmyloizeau   4

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
DWFE Green=Boom
"DWFE is an experimental design syndicate producing projects that look at how artefacts, systems and material culture can offer some degree of relief from the emptiness of contemporary living. Their work is a search for meaning in the construction of the extra-ordinary; they design activities, actions and incidents that reconfigure people’s relationships to their habitual environments. DWFE aim to create experiences that operate on an emotional level: to stimulate, excite and invigorate.
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DWFE is Jimmy Loizeau, Laura Potter, Matt Ward and Nic Hughes"
experiences  meaning  meaningmaking  glvo  studio  rca  ux  london  criticaldesign  research  design  laurapotter  jimmyloizeau  nichughes  mattward  dwfe 
september 2012 by robertogreco
Design Means… Jimmy Loizeau « Magical Nihilism
"Not being able to focus on anything for long Jimmy Loizeau has a range of sem-skills that include pizza oven and kiln building, Italian roofing, making tortelli and playing table football. In his spare time he designs products that provide a different perspective on how we can interact with technology for better or for worse. Usually based on real life observations they maintain a grip on reality whilst dealing with socio-cultural issues resulting from an increasingly technologically mediated existence. He can plaster fairly well and enjoys building narratives and scenarios as a way of exploring the inevitable consequences as a result of the convergence of people and products."

[See also: http://www.auger-loizeau.com/ ]

[also at: http://www.flickr.com/photos/mattward/3362042151/ ]
jimmyloizeau  design  technology  generalists  art  communication  future  interaction  jamesauger  interactiondesign  collective  cv  semi-skills  make 
march 2009 by robertogreco
Auger-Loizeau [James Auger & Jimmy Loizeau]
"have been collaborating on projects since the concept of the Audio Tooth Implant was first conceived in October 2000. Recognizing that for each placated consumer of technology there is an unsatisfied, complicated or strange one. Auger-Loizeau combine a range of disciplines including engineering, fine art & product design to build products offering services that contrast and question current design ideology, where development is mostly aimed towards a super-efficient, multi-functional utopia for a homogenous user. Our work is motivated by observations of both everyday and unusual interrelations between users and products as a way to explore the resulting complications and pleasures that create new behaviours, social anomalies, and needs. Through building conceptual products and creating new scenarios and services they hope to instigate a broader analysis of what it means to exist in a technology rich environment and its cultural implications for the present and the near future."
art  communication  design  future  interaction  technology  generalists  jimmyloizeau  jamesauger  interactiondesign  collective 
april 2006 by robertogreco

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