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robertogreco : saschapohflepp   7

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
Kevin Slavin: Debunking luck
"Pioneering gamer Kevin Slavin takes the PopTech audience on a colorful tour of the history of luck in America, games of chance, gambling and mathematical formulas. "That's amazing, the idea that anything that seems to be built out of chance or instinct or luck can yield to a computational assault.""
2013  kevinslavin  games  play  history  luck  statistics  saschapohflepp  crispinjones  mohansrivastava  shingtat-chung  dariuskazemi  boardgames  gametheory  dice  jacksonlears  stanulam  nicholasmetropolis  georgedyson  computing  johnvonneumann  edwardthorp  teetotums  chance  meritocracy  jasonrohrer  unpredictability  success 
november 2013 by robertogreco
Synthetic Aesthetics
"How would you design nature?

Synthetic Biology is a new approach to engineering biology, generally defined as the application of engineering principles – such as standardization and modularity - to the complexity of biology. The aim is to 'make biology easier to engineer', through the design and construction of new biological parts, devices, and systems, and the re-design of existing biological systems for useful purposes, from biofuels to new medical applications. Biology is becoming a new material for engineering - a new technology for design and construction."

[Vimeo channel: https://vimeo.com/channels/synthaes ]
[Flickr group: http://www.flickr.com/groups/synthaes/ ]
syntheticaesthetics  industrialdesign  tangibles  futurism  futures  communication  modularity  environment  plants  nature  architecture  criticaldesign  self-replication  protocells  bioart  cyanobacteria  oscillation  structure  smell  symbiosis  sisseltolaas  christinaagapakis  marianaleguia  chrischafe  hideoiwasaki  oroncatts  saschapohflepp  sherefmansy  davidbenjamin  fernanfederici  willcarey  wendelllim  interdisciplinarity  interdisciplinary  research  aesthetics  bioengineering  syntheticbiology  collaboration  science  art  design  biology  daisyginsberg  alexandradaisyginsberg 
june 2012 by robertogreco
Forever Future | Sascha Pohflepp
"Every technology is embedded within society and the factors which contribute to a certain vision of the future are complex while its promises may be simple and alluring. … We do not know what happens when technological dreams don’t come true, both on a cultural and on an individual basis. The assumption is that ideas, once they have been part of the public imagination, do not go away. They might go to another place we do not have an expression for, a cultural limbo from where they might be materialized at another point in time. This place might be shared with ideas from science fiction, a pool of possible futures which engineers and entrepreneurs are tapping into. There might, however, be futures that for various reasons may never materialize, which appear to be speeding away and thus stay at a certain distance from us. Phantom futures that some even feel a certain nostalgia for, because they may have been part of the dreams and wishes of their life."
technology  future  futures  designfiction  saschapohflepp  jackparsons  jpl  rocketry  society  ideas  memory  expression  time  culture  limbo  culturallimbo  engineering  phantomfutures  via:preoccupations 
february 2011 by robertogreco
Plugimi » A few thoughts on Avatar
"We’re very finely tuned to human features, so that might explain why humans will definitely be the last to seem real but It may be time to put accept that the uncanny valley was not very uncanny and is as good as crossed. In Avatar, there almost was an inverse effect when after two hours or so of predominantly artificial creatures the first humans are being composited into the images and they do look flat and artificial in direct comparison. ... Maybe it’s just the aesthetics, but never before has a movie given me such a similar feeling to playing a game. The film obviously heavily borrows from games like World of Warcraft (especially in terms of riding flying creatures), but I’m wondering whether it might be the added feeling of immersion through 3D that in games comes from the interaction?"
saschapohflepp  avatar  film  3d  uncannyvalley  animation  videogames  aesthetics 
december 2009 by robertogreco
The Valley and the Sky | Sascha Pohflepp
"Dissertation about California’s technology culture between idealism, business and futures for design. Submitted to Critical Historical Studies at the Royal College of Art in October 2008."
californianideology  california  saschapohflepp  idealism  technology  culture  history  design  ideas  research  via:preoccupations 
february 2009 by robertogreco
BUTTONS: Between Blinks & Buttons
"Essentially, it is a camera that - using a mobile communication device - takes other's photos. Photos that were created by someone who pressed a button somewhere at the same time as its own button was pressed. Even more so, it reduces the cameras to thei

[http://www.blinksandbuttons.net/ and http://pohflepp.plugimi.com/?q=blinksandbuttons ]
photography  place  memory  technology  social  networks  design  art  time  cameras  mobile  wifi  sharing  space  saschapohflepp 
september 2006 by robertogreco

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