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    <title>Near Future Laboratory Newsletter</title>
    <dc:date>2026-03-24T06:41:18+00:00</dc:date>
    <link>https://nearfuturelaboratory.com/newsletters/2026/w13-y26/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Date: March 23, 2026

Summary: This edition explores the significance of organizational imagination and speculative prototyping, drawing on references from Borges and Foucault to illustrate how these concepts can disrupt conventional thinking. It emphasizes the importance of building a capacity for speculation within organizations to foster innovation and product development. The discussion highlights the value of speculative prototypes in challenging existing categories and perceptions, making the case for their role in reframing market categories and product theses. Additionally, it introduces the forthcoming workshop "Pitch, Picture, Prototype" and examines the emerging concept of "microshifting" in the future of work, alongside cultural signals from the tech landscape, including concerns about surveillance and consumer devices.

Essentially: Organizational imagination is crucial for innovation; speculative prototyping can challenge existing categories and perceptions, enabling organizations to adapt and thrive.

But why? Companies that cultivate organizational imagination and embrace speculative prototyping will be better equipped to navigate emerging trends and market shifts, ultimately leading to more effective innovation strategies. 

---

_Borges. Foucault. Organizational Imagination. And some curious signals about the future of work, thirsty AI plays baseball too (what would we do without water, beer, ai, burgers and baseball?), how to do the work you love and, speaking of doing the work you love, you should tune into our Info Session for the forthcoming workshop Pitch, Picture, Prototype. Links and stuff below. But first, a longish note on why organizational imagination matters and how a capacity to speculate gets you there._

When [Borges referred to a certain Dr. Franz Kuhn](https://en.wikipedia.org/wiki/The_Analytical_Language_of_John_Wilkins) and his mention of a peculiar and distant Chinese encyclopedia — the “Heavenly Emporium of Benevolent Knowledge” — he was demonstrating the power of speculative world building to rearrange perception and challenge our assumptions about order, classification, and meaning.

Let me explain, at risk of further obscuring my point by saying that I returned to this reference but not directly. Rather as it was written by Michel Foucault in the preface to what is, in my mind, his most readable and impactful book, “_The Order of Things_.”

In the preface to the book Foucault admits to being “shattered with laughter” when he first read this Borges passage and, it seems, this is what inspired him sufficiently to pen the book itself.

You could be easily forgiven for either missing this passage (in the preface, which is not always read when one is reading a book) or, just as much so, never having read “_The Order of Things_”. So, here's the passage that Borges attributes to this obscure and entirely speculative Chinese encyclopedia:

> “..[t]hese ambiguities, redundancies, and deficiencies recall those attributed by Dr. Franz Kuhn to a certain Chinese encyclopedia called the **_Heavenly Emporium of Benevolent Knowledge_**. In its distant pages it is written that animals are divided into (a) those that belong to the emperor; (b) embalmed ones; (c) those that are trained; (d) suckling pigs; (e) mermaids; (f) fabulous ones; (g) stray dogs; (h) those that are included in this classification; (i) those that tremble as if they were mad; (j) innumerable ones; (k) those drawn with a very fine camel's-hair brush; (l) etcetera; (m) those that have just broken the flower vase; (n) those that at a distance resemble flies.”

That “shattering” evokes this sense of a breaking or a fracturing of a whole. The kind of unexpected interruption in one's **_sense of things_** that is so profound that one cannot help but laugh.

What brought me to all of this (and thank you for reading to here) was upon the occasion of my trying to find a conclusion to a short commissioned book for a client who requested a reflection on what I had mentioned in passing: “Organizational Imagination” and how to build that capacity within a company.

I wanted to find a way to talk about the value of speculation and speculative prototyping as a means to push at the walls of the box — the one we've been told for eons to “think outside of..”

(I'll note that this is ultimately nearly impossible to do as no matter how far outside you get from the box, the culture/epistemology of the org is baked into those trying to get out their thinking outside of that box. Which is why these practices that are fully internalized never get outside the box. You need a hoolie or sledge in the form of someone whose DNA isn't already baked from the organizational culture.)

The underlying thesis of this commissioned book is to make a compelling argument for why a speculative prototyping capability is a critical part of any meaningful innovation and product development capability. The book is meant to be a practical guide for how to build that capability within an organization, but I wanted to find a way to talk about the value of that work in a way that was more evocative than just describing the process and the outcomes.

That shattering laughter? It matters to this point. It is not the laughter of dismissal — it is the laughter that comes when the categories one had relied upon fail all at once. When the ‘order of things' one had been born into and one has inherited, and was and always has been as natural as butter on toast and as common as the sense we say we all share commonly — when that suddenly reveals itself to be only one order among others and perhaps not even a particularly durable one..it's kinda funny to realize that the way we have been taught to classify and understand the world is just one of many ways to do so, and that it can be so easily disrupted by a different set of assumptions about how things are ordered and classified.

That is the part I keep wondering into when working with clients to integrate an Organizational Imagination capability.

Companies and institutions run on categories. They sort the world into markets, users, products, risks, forecasts, and strategic priorities. Those systems are useful until they become blinding. They keep the present intelligible, but they can also make an emerging possibility look awkward, unserious, or something to be riduclued, which is the opposite of what you want to do when you're trying to make sense of what's going on in some new emerging terrain.

See, what Borges is doing here is fabricating a taxonomy so alien, so orthogonal to the way we coordinate and categorize things that one's sense-making apparatus — that weird vascularized piece of meat in our skulls — is forced to notice its own furniture. One suddenly becomes aware that order is made, not given. Categories are historical, contingent, local and what seems to belong together may only have been, at one point, taught to belong together sufficiently that it went from weird to unconsciously normal, ordinary, everyday knowledge. That curious “commone sense.”

This has a lot to do, at least for me, with speculative prototyping.

I have been trying, in one place or another, and in one register or another or another, to make the case that speculative prototypes matter because they do something more than illustrate a possibility or report on a trend. In the idiom we are working in right here, they disturb the taxonomies by which an organization knows what counts as serious, fundable, strategic, real, probable, worthwhile. They introduce into the room an object, a fragment from a field of possibilities, a demo, a scene from an adjacent space or near future, and by doing so they put a useful kind of pressure on the categories already in circulation. The effect of this is sometimes subtle, sometimes comic, sometimes disorienting. (I [tend](https://nearfuturelaboratory.com/library/2023/04/tbd-catalog-10th-anniversary-edition/) [towards](https://nearfuturelaboratory.com/library/2015/09/ikea-catalog-from-the-future/) [the comic](https://nearfuturelaboratory.com/library/2024/12/applied-intelligence-issue-001/), perhaps for the same reason Borges does.) But that subtlety is precisely the point. The artifact does not fit, and in not fitting, it reveals that we are only seeing very partially the possibilities and, conversely, we recognize the limited frame around which we peer into the world.

The team doing the work is unhindered by this frame because they are told to see outside of it. This is their function, and their immense value.

There is some pleasure in the abstraction of this philosophical argument for this function in a commercial context. But it is tangled up with a much more immediate concern, which is that I am trying to make this work legible as a role, a function, a job to be done and as necessary as any other vital function. I am trying to describe why an organization might need someone whose practice sits somewhere between prototyping and proposing, or that is able to fit an emerging trend inside of an artifact.

A fabricated thing can produce a real epistemic effect — the “shattering” reframes a product thesis or shift market categories. A false encyclopedia can rearrange perception. In a similar way, a speculative prototype, if it is any good and done with expertise and experience, can do something similar inside an organization. It can make the familiar order flicker a bit — perhaps just a glitch — that reveals something not noticed before. It can make another ‘order of things' now suddenly appear for the chance to wonder about."]]></description>
<dc:subject>julianbleecker 2026 borges michelfoucault foucault speculativedesign ai artificialintelligence</dc:subject>
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    <title>Suppose the cautionary tale is read as a playbook?</title>
    <dc:date>2025-09-24T19:19:08+00:00</dc:date>
    <link>https://nearfuturelaboratory.com/blog/2025/09/the-cautionary-tale-is-a-playbook/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>scifi sciencefiction 2025 julianbleecker speculativedesign speculativefiction fiction starwars minorityreport</dc:subject>
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    <title>Public Transit Visions in Speculative Fiction - YouTube</title>
    <dc:date>2025-09-19T18:49:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=__mhbuPvdZQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flying cars in the Jetsons, trains snaking around towers in Wakanda, or the sentient rail system on the newly terraformed Sask-E planet. In building future and alternative worlds, the way people get around can be used to reveal and ask questions about societies, technologies, and politics.

Watch this recording of the Public Transit Visions in Speculative Fiction panel discussion to learn how depictions of public transit in fiction shape the worlds of our imagination. This event took place on September 16, 2025 at the First Unitarian Universalist Society of San Francisco as part of Bay Area Transit Month 2025.

​The panelists are Jeffery Tumlin, Annalee Newitz, Alissa Walker, Vincent Woo, and Alexis Madrigal. Discussion moderated by Audrey T. Williams.

Seamless Bay Area socials
Website: https://www.seamlessbayarea.org/

00:00 Introduction
07:23 Panelist Bios
10:52 Panel Discussion
55:24 Audience Q&A
01:18:00 Closing Remarks"

[See also:
https://luma.com/0olo6szj ]]]></description>
<dc:subject>transit transportation speculative speculativefiction annaleenewitz alissawalker vincentwoo alexismadrigal audreywilliams 2025 bayarea sanfrancisco bart scifi sciencefiction muni sfmta jeffreytumlin publictransit buses trains spikejonze her losangeles speculativedesign design mobility snowpiercer blackpanther wakanda hayaomiyazaki studioghibli catbus anime totoro access justice equity vision myneighbortotoro class crime perception fear race racism infrastructure behavior society agency control illusion safety driving cars danger collectivism community storytelling children future futures futurism government governance accessibility</dc:subject>
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<item rdf:about="https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/">
    <title>It's Beginning to Feel a Bit Like The Future | 2517 - thejaymo</title>
    <dc:date>2025-07-05T16:51:57+00:00</dc:date>
    <link>https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I turn 40 in a few weeks, and I’ve realised something.

That it’s beginning to feel a bit like the future.

Looking around in 2025, the future I was sold as a turn of the millennium teen has arrived: pocket supercomputers, wireless internet, AR glasses, VR goggles, and synthetic minds [https://thejaymo.net/category/ai/ ]. Yet, the part I needed: an affordable home, a stable climate, data privacy, and fresh water free of microplastic, never really showed up.

The future worth growing old in was drowned in a bucket in the name of profit.

It feels like the future has run out of road. 

Vanessa Andreotti calls this moment [https://decolonialfutures.net/hospicingmodernity/ ] “the storm where ways of knowing are dying”. Where the tarmac ends, the work of hospicing modernity begins. We must stay by the bedside of a story that can no longer walk. 

Dougald Hine [https://dougald.substack.com/ ] says that the condition of modernity can be measured by a society’s proximity to the future. How close it feels and how much of it is sensed ahead. Bruce Sterling made a similar point in his closing keynote at Interaction 2011 [https://web.archive.org/web/20110306171125/http://www.ixda.org/resources/bruce-sterling-closing-keynote ], noting how, for the Victorians, media was full of future: in postcards, Jules-Verne and world-fair dioramas etc.

“You could hardly open a magazine in the 1890s without stumbling over a chrome-and-steam vision of the year 2000” he said.

Late-Victorian culture was an era of high colonial modernity, and as a consequence of that worldview, they lived with a surplus of future. Their future’s horizon was more than a century ahead. We, meanwhile, struggle to even picture five years ahead, we have mislaid our sense of the long now.

The Victorians overdosed on a ‘single story of forward’ and it influenced all that came after. Our task is to hospice their dying stories and midwife what may come next.

I was in my twenties when I fell into Solarpunk [https://thejaymo.net/solarpunk/ ], and I’ve spent much of the last decade arguing that we must re-future society [https://thejaymo.net/2024/06/21/solarpunk-means-dreaming-green-human-entities-2024/ ]. Imagine new possibilities, new ways of living and being in the world [https://thejaymo.net/long-form/solarpunk-rusted-chrome/ ]. It’s not, and has never been, a call to rekindle the logic of modernity, or to push back the future’s horizon. But instead it’s an invitation to sketch out the landscape on the other side, to speculate on whatever’s coming.

We need to reconnect our 2000 year old eschatological hunger and obsession with teleological progress – the sense of movement along a timeline – back into culture. We don’t need a single straight line, nor to make predictions. Instead we must refill the future with possibility. 

On July the 2nd we passed a midpoint; every sunrise now places us closer to 2050 than to 2000. 

I’ve been reading Colette Shade’s book: Y2K: How the 2000s Became Everything [https://bookshop.org/p/books/y2k-how-the-2000s-became-everything-essays-on-a-future-that-never-was-colette-shade/21416954 ]. Essays on the Future That Never Was, and having lived through that era, I realise the year 2000 now feels as distant as 1975 did at the time. forever ago. 

Perhaps this distance explains the resurgence of Y2K [https://thejaymo.net/2023/11/12/301-2337-like-we-did-in-y2k/ ].

Since the crash of 2008 our culture has swung on a Janus-shaped hinge: once future-oriented, it pivoted towards the past. But now box-office returns for Marvel films are sliding; Star Wars soon turns fifty; and corporate media continues to culturally frack the last millennium [https://thejaymo.net/tag/cultural-fracking/ ] while fashion loops nostalgia ever faster.

Hardly anyone is talking about 2050, let alone 2100.

In my adult lifetime we’ve become a civilisation that looks backwards, and this pivot from future to past is (I think) a consequence of fraying narratives and ossified economic structures. 

We stopped looking toward the future, and instead stare at the past because we cannot bear to face the present.

Yet it is precisely from the now—from an honest reckoning with the present—that possible new futures emerge. And we must fill them with spirit and story, and both can only arise from living ground.

In the book of Genesis, Lot’s wife looks back at Sodom, and is struck down by God, turned into a pillar of salt. I have always read this as an allegory for nostalgia. A gaze turned toward a past robbed of vitality. Salt, inert and crystalline, entombs her longing; she does not perish by fire but by inertia. 

Nostalgia evokes history without life. It treats the past as though it were no longer alive, yet in reality, the present is nothing but the living outcome of that past. And if we linger too long on an inert yesterday, we too risk sharing Lot’s wife’s fate.

Sterling’s 2011 challenge still stands: “try to find a picture of 2100 today and the page is blank.”

Which is why we must at least attempt to reclaim some proximity to the future. We must try to fully inhabit possible futures. We have to stop strip-mining yesterday and act as though the future is already here, because in many ways it is.

We do not need 2100’s chrome skylines sketched out in neon; we need conversation, and kitchen gardens, and mutual aid that practises 2100’s ethics today. We must also try to midwife the not-yet future without suffocating it with recycled utopias. 

Every morning now tips us further into the un-imagined. Possibility is underfoot, not over the horizon.

Solarpunk [https://thejaymo.net/solarpunk/ ], at its best, is part of this midwifery: a seed catalogue rather than a master plan."]]></description>
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<item rdf:about="https://sarahendren.substack.com/p/now-it-springs-up">
    <title>now it springs up! - by Sara Hendren</title>
    <dc:date>2025-05-22T18:21:24+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/now-it-springs-up</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["prototyping is witnessing a birth
Sara Hendren
May 21, 2025

[image: "image of students in Paul Ruvolo’s lab-classroom at Olin via (https://www.olin.edu/articles/story-accessible-design) , three students work together on a cardboard prototype in a classroom, with hot glue and screws and scissors and other supplies strewn around the table"]

Prototyping, you may know, is the early try-and-see process that ushers some new idea into being. It takes whatever materials are ready at hand and makes a three-dimensional “sketch” of what’s being proposed—a way to think through your idea and test its merits before you commit to building the real thing. Prototyping generates the messy tabletop version, the wobbly fledgling creature: a tennis ball and a rubber glove, say, and dowels and staples, maybe some hastily patched duct tape. You have to squint to see what’s being offered, but it’s there. I learned to love prototyping at Olin College of Engineering, where I was a professor between 2014 and 2023. I’m not an engineer, and that may be why I could see prototyping with a beginner’s mind. I never fully grasped the details of engineering mechanics, so I never got caught up in the minutiae of the parts-and-systems. It was always the poetry that got me.

The poetry of prototyping is the vulnerable attempt, the tangible trying. The willingness to venture, knowing it might fail. The investment of commitment to even the most sloppy version of a possible newness. A thing being prototyped is trying to get born, unfolding right there in front of you. And all the conversations around that thing have the quality of willed belief: What if it was half as big? Twice as long? A different shape around its edges? Dozens of questions that are all really just versions of the best and only question in design, at the end of the day: Could it be otherwise?

[image: "prototyping at Olin College via (https://www.flickr.com/photos/olin/ ), A student kneels on the floor working on a paper prototype of a large duck or platypus head, mouth open to catch game parts. Made of paper, wire, and taped folds, it is the most lightweight version of the possible idea."]

One class I team-taught at Olin was called Design Nature, a course all first-year students take that includes one solo and one group design assignment, both inspired by mechanical operations found in living biological systems. The group assignment is to make a play experience for fourth graders based on animal behavior — an interactive game based on, say, the way goat kids leap, or the way honey bees waggle. The students interview parents and teachers of fourth graders, do some developmental research, and then start prototyping. Like that image above — you build something so that you can think with that thing. So you can ask yourself candidly: Is the scale in my head really working in dimensional space? What are its functional qualities, and what are its dramatic qualities? Can you use that open mouth to catch balls? How easily, or how awkwardly, or how efficiently should it operate? What’s this experience supposed to work like, but also: what should it feel like? The prototype will teach you.

And then, near the end of the semester, local fourth graders come to campus and play the fully designed games. Hilarity ensues! Or maybe it doesn’t. Designing something charismatically playful is hard. I mean—have you tried?

[image: "Design Nature demo day via (https://www.flickr.com/photos/olin/ ), Fourth graders wearing winged game costumes surround a tabletop game, while students look on, in a large hallway lined with games and students."]

It’s a quest to find the right combination of timing, surprise, and absurdity. No amount of mechanical prowess will guarantee you the sensibilities you need to design these qualitative features.

All the fourth graders get clipboards and forms to fill out about students’ games. Kids won’t flatter your ego. If it’s not fun, you’ll know.

[image: "Design Nature demo day via (https://www.flickr.com/photos/olin/ ), Fourth grade students bend their heads over clipboards with pens ready."]

Jennifer Banks (https://yalebooks.yale.edu/about-us/editors/jennifer-banks/ ) helped me see that prototyping takes place inside a grander thing: natality, the ongoing creative force of newness that powers the world. In her book, Banks says most of us are lopsided in turning so much of our attention to the universality of death. We should and do reckon with mortality, mourning the many endings all around us. But we let death obscure the counterpart universality of birth, of natality. Birth “has long hovered in death’s shadow, quietly performing its under-recognized labor,” she writes. She means human birth itself, yes, but also the small-b births that form a pattern of everyday newnesses, the dying and rising that shapes our nights and days and seasons.

Kafka announced to us long ago that the meaning of life is that it stops. True enough. But Banks walks the reader alongside seven intellectuals who took seriously the bookend of starting: new life, fecundity and generativity — and, in my mind, our many distributed practices of creative midwifery that get new ideas off the ground. Hannah Arendt is one of Banks’s chief companions on natality. She thought our creative beginnings are not just universal but necessary, a strong stance against authoritarianism, a rebuke to brute force power. Natality, for Arendt, embodies the amor mundi, an outwardness and expectation of beginnings, of making room for others. She called it “the miracle that saves the world, the realm of human affairs, from its normal ‘natural’ ruin.” And the amor mundi has to start somewhere. Not just the endless talking about what the world should be like. Prototyping is beautifully restless and insistent: Show me how. Let’s start.

Do I make too much of a small thing? Maybe. In my own native practices of artmaking and writing, there are plenty of easy words for things like prototypes: drafts and sketches and studies. But those practices were so long in my habits that I’d stopped seeing them. I was out of place in the lab, bewildered at the white boards covered in equations, the arcane physics jokes, the tangled rainbow of wires extending from a circuit board. The messiness was joyful and familiar, but the tools and detritus were new. Engineering was both muse and stranger. But prototyping I recognized.

[image: "Prototyping at Olin College via (https://www.flickr.com/photos/olin/ ), A table top holds a dozen small gadgets built of particle board and spring kits, all built to maximize a hopping mechanism. Students hands reach into the frame, and one student stands on top of the table, only feet and legs visible."]

In my faith tradition, birth is joined to death across the liturgical year, and it’s seldom without emotion that I can speak aloud the ancient text from Isaiah (https://www.biblestudytools.com/isaiah/43.html ) when its recitation comes around. Prophetic verse offered in the present tense:

See, I am doing a new thing! Now it springs up; do you not perceive it?

A newness arriving now, and now, and now — natality as a fundamentally generous and emergent architecture of the world. We look the many faces of death square in the eye. But birth, too, is death’s (and our) companion."]]></description>
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<item rdf:about="https://mitpress.mit.edu/9780262049665/not-here-not-now/">
    <title>Not Here, Not Now: Speculative Thought, Impossibility, and the Design Imagination, by Anthony Dunne and Fiona Raby (2025)</title>
    <dc:date>2025-04-09T21:56:53+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262049665/not-here-not-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What it means to design at a time when, for many people, the future seems to have become an impossibility.

When reality fails us, what can designers do? Question design’s relationship to reality, as Anthony Dunne and Fiona Raby do, in this exhilarating, yet thoughtful, journey to the edges of science, philosophy, and literature to find new ways of thinking about the possible—and about the meaning, function, and place of design in that speculative world of “not here, not now.” A conceptual travelogue of sorts, Not Here, Not Now brings together words, images, and objects that capture, in design form, some of the ideas encountered along the way. Itself a design experiment, the richly illustrated book explores ways to bring these ideas into conversation with objects through imagined archives, libraries, glossaries, taxonomies, lists, tales, and essays.

The design responses in Not Here, Not Now—to a stone raft, for example, or a vegetable lamb, swatches of imaginary colors, a pocket universe in the home, objects undergoing space-time collapse—are, like the most compelling utopias, impossible by design, aiming instead to nourish the creative, intellectual, and imaginative ground from which new possibilities, still unknown, might begin to emerge."]]></description>
<dc:subject>speculativedesign designfiction 2025 anthonydunne fionaraby design</dc:subject>
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<item rdf:about="https://remakepod.org/episode/070-che-wei-wang-and-taylor-levy-the-design-practice">
    <title>070. Che-Wei Wang and Taylor Levy: The Design Practice | Remake Podcast | Design, Systems, and Society</title>
    <dc:date>2024-01-20T21:39:12+00:00</dc:date>
    <link>https://remakepod.org/episode/070-che-wei-wang-and-taylor-levy-the-design-practice</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today, we talk about the practice of design, and how designers who learn to work with and understand technology can bring a humanistic, creative perspective to technology that can truly transform our understanding of what it can do. I've long believed that advanced technology can be beautiful, poetic, and philosophical in nature. In fact, that's what's called for in an age where tech shapes our lives, takes an increasingly greater part in creative work, and even makes decisions for us.

That's why it was so rewarding to sit down with Che-Wei Wang and Taylor Levy, the married couple behind CW&T. They've managed to carve out the space for their own creative, almost contemplative practice.

Their studio, CW&T, is an award-winning design practice creating mind-bending products. Over the last 13 years, their work has spanned from interactive software to human scale tools that enhance our relationships to work, life, and time. They center around an iterative process of sketching, prototyping, testing, writing code, machining parts, and building each addition themselves to assess their intuitions around improving everyday experiences. Their projects range from devices that alter the perception of time, an electronics curriculum for artists, an astrological compass for space travelers, to objects engineered to last multiple generations.

Wang and Levy lecture extensively, and they teach courses on time, electronics, hardware, programming, inflatables, and morphology at Pratt Institute, New York University, and the School for Poetic Computation. In 2022, they won the National Design Award for Product Design from Cooper Hewitt.

We spoke in mid-November 2022, and I was excited to talk to them after I saw some of their more thought-provoking pieces engaging with time. I was a little concerned with my ability to interview two people at the same time. Usually, I tend to go deep with one person and I wasn't sure how the format would work, but as usually happens with creative people, the conversation took a life of its own and was a delight.

EPISODE SUMMARY

In this conversation we talk about:

- Being a couple who works together.
- Balancing parenthood with business and creative design work.
- The gratitude they feel for being able to have an ongoing creative practice.
- Their creative principles.
- Why they insist on building what they want to see.
- What does the phrase "buy lots of lottery tickets" mean to them?
- Their origin story.
- What did Che-Wei learn while fixing his dad's typewriter as a kid?
- What did Taylor realize about The Beatles?
- How did they meet and become a couple?
- Their creative projects, including Time Since Launch and Solid State Watch.
- The School for Poetic Computation.
- Generative design, and how it can change designers' work.
- The importance of learning to understand time.
- And how to make room for your creative practice.

TIMESTAMP CHAPTERS

[8:09] Life in the Present
[12:17] Early Childhood Lessons
[16:00] A Journey to Design
[23:09] Love at First Sight
[27:42] CW&T
[31:22] Time Since Launch
[38:13] Solid State Watch
[42:21] Project Principles
[47:46] The School for Poetic Computation
[51:49] Generative Design
[56:18] A Short Sermon"

[also here:
https://podcasts.apple.com/il/podcast/che-wei-wang-and-taylor-levy-the-design-practice/id1526176825?i=1000595404862

https://open.spotify.com/episode/3F4N8H4powItjfcJa2bPa4

https://www.youtube.com/watch?v=C4_68cJqk94 ]]]></description>
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<item rdf:about="https://sarahendren.substack.com/p/vocab-lesson">
    <title>vocab lesson - by Sara Hendren - undefended / undefeated</title>
    <dc:date>2023-12-29T07:09:48+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/vocab-lesson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you describe the design of the stuff all around you, beyond what you like or don’t like, beyond what’s interesting or cool or boring? Next semester I’ll be teaching a class called Writing About the Built World. We’ll examine a mix of academic and journalistic criticism — for architecture, design at all scales, and technology — and we’ll look for analysis of objects and environments in all kinds of unexpected places: podcasts, movies, fiction. We’ll practice finding the most precise language we can for all the stuff that’s around us, the better to both cultivate our own sensibilities and to see the choices designers make as choices — choices that could always be different. I usually offer a word bank to get students going:

[image]

And I often start by looking at several projects that have meals and eating as their subject, orchestrated in very different ways, as a lesson in contrast. For example:

[image]

The Manhattan restaurant Hearth, in the early days after they opened, had a box on every table like this to invite diners to keep smartphones out of their mealtime. How would we talk about this arrangement of choices? It’s a suggestion, not a policy, and the container is open, not closed. The box is embossed tin and printed with a demure floral, like something from the 1920’s—not an armed safe, and not a bag for the coat check. Is this a subtle, nostalgic nudging? Is it an elegant escape hatch from digital life? Or is it paternalistic? Overly precious, even twee? Finding the words for this designed object-and-experience helps you figure out the assumptions behind the choices and the origins of your reaction. Compare Hearth to something else:

[image]

Conflict Kitchen, in Pittsburgh, serves food from regions of the world with which the US is in conflict. So they have programs and lectures and “lunch with an expert” on offer. But notice the design of the actual structure: it’s a trendy modern kiosk, heavy on stylish graphics, and the signage is just their name and the cuisine you can (temporarily) purchase there. So we might say this project leads with approachability — no protest posters or policy recommendations out front, as you see here — and follows with an invitation to more information, more provocation, if you so choose. A design group interested in politics could do otherwise, of course, with some aesthetic and programmatic changes. They could have decided to employ the confrontational, DIY graphic style of the handmade stenciled typeface. They could have printed menus with foreign policy demands on the back. They could have foregrounded the conflict part of the project, but instead they foregrounded the kitchen — the feasting, the conviviality, the enterprise. These are all choices, and it’s worth asking why. Now add another to the mix:

[image]

Eenmaal (pronounced “ayn mahl” in Dutch) means “one meal” — a meal for one. Eenmaal was a temporary project designed as an experiment in solo eating as the only option available, as you see in these single-setting black cubes above. The beauty of the project is its indeterminacy: is it a destigmatized way to go out to dinner unaccompanied? Or is it a foreboding commentary on loneliness and atomization? The stark black-and-white aesthetics mimic the austerity of the minimalist art gallery, and the name “one meal” carries a kind of ominousness. But the press coverage was mixed: maybe it’s the dystopian present, or maybe it’s the reinvented future. The ambiguousness is designed—intended as a question, held aloft and unresolved. Now add one more:

[image]

In Jackson Hole, Wyoming, and other cities in the United States, Vertical Harvest brings agriculture to urban environments by way of hydroponics: vegetable gardens that grow up, rather than out. They assemble an unusual mix for their social mission, seeking out underutilized spaces in cities, using high-tech systems for cultivation, and employing people with physical and developmental disabilities in what they call a “grow well” model of making both food and jobs. Vertical Harvest is a pragmatic approach to urban agriculture, with an optimistic use of fast technology and slow investment in historically under-employed people. There’s a provocation here, but it’s not like Eenmaal’s enigmatic and haunting vibe. Vertical Harvest is a solutionist recombination of old and new.

My students in design pick up the skills for a strong sense of agency. Design is inherently forward-looking — it’s driven by proposals, by what-if questions, by the intentional arrangement of parts, people, and interactions in a hundred possible variations. I want them to have more words for the responses they have to others’ work, but also to recognize just how many choices they have as they make things of their own. One reliable A/B test helps distill the matter in class, and that’s Fiona Raby and Anthony Dunne’s comparison list from Speculative Everything:

[image]

After showing them the projects like the ones I’ve laid out above, I often ask students to choose a disposition from this A/B scenario. Not as a commitment, but as a temperature-taking exercise. Are they A-trained, but B-curious? And so on. Design does lots of things, and the word bank is a way of opening up new vistas when students are stuck.

Thanks for reading. I’ve got a reported piece in the December issue of Harper’s, about a radical and imaginative partnership between professional artists and adults with cognitive disabilities at a day center outside Edinburgh. Intelligence, authorship, eugenic histories, and the beautifully inefficient vitality of making art as an encounter between people.

[image]

I’d love to know what you think. There’s more to say about all that, and I will, soon. Wishing you a beautiful end to 2023 and plenty of new vistas opening up in the new year."]]></description>
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<item rdf:about="https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/">
    <title>There's Nothing Unnatural About a Computer</title>
    <dc:date>2023-05-03T16:57:32+00:00</dc:date>
    <link>https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James Bridle’s Ways of Being wants us to take a fresh look at nature’s intelligence"

...

"I don’t think there is such a thing as an artificial intelligence. There are multiple intelligences, many ways of doing intelligence. What I envisage to be more useful and interesting than artificial intelligence as we currently conceive of it—which is this incredibly reduced version of human intelligence— is something more distributed, more widely empowered, and more diverse than singular intelligence would allow for. It’s actually a conversation between multiple intelligences, focused on some narrow goals. I have a new, very long-term, very nascent project I’m calling Server Farm. And the vision of Server Farm is to create a setting in which multiple intelligences could work on a problem together. Those intelligences would be drawn from all different kinds of life. That could include computers, but it could also include fungi and plants and animals in some kind of information-sharing processing arrangement. The point is that it would involve more than one kind of thinking, happening in dialogue and relationship with each other."

...

"Well, the way that I think about it is that intelligence is relational. It’s not something that exists within bodies, but between them. Or between beings, or between awarenesses, or between beings and things, between beings and places. I wouldn’t even necessarily restrict it to bodies. But intelligence without relationships — I don’t think I could really understand what that is."

...

"I remember going to the British Library many years ago. I got an amazing behind-the-scenes tour, it’s completely incredible: the building goes down, probably more stories than they say, underground, and it has these vast robotic systems for moving artifacts around. It’s this incredible grounded spaceship for preserving stuff. But that preservation isn’t just putting stuff in cold rooms. It’s also an incredibly active process. You’ve got all of these studios where they’re doing preservation work. In one room, you will have someone prizing open 10th century books or X-raying ancient papyri to try and pull the information back up off the page, out of this rotting medium. And in the next room, you’ve got someone who’s working on piecing together shellac discs, the very first audio recording tools. And in the next one, you’ve got someone who’s trying to get something off a Mac that’s 10 years old. I remember walking around this place and having this real vision of all culture, all human knowledge, all human experience, piled on a huge conveyor belt moving inexorably towards the fire. And the whole work is just constantly shoving that stuff away from the fire in any way that we can. And that’s not just the work of librarians, or even artists and cultural workers. It’s really what we all do all the time in trying to preserve and transmit knowledge. 

But what’s also crucial about that is that every time you do it, you’re enacting it. It’s not just about portaging dead media, or frozen ideas from the past. It’s about finding what their place is in the present. How they are useful in the current moment. That enacting becomes possible when you’re doing the work of understanding and listening and transmitting. Because that’s where it always happens. The knowledge is in the telling of it. It’s true of everything. I don’t like falling back on Indigenous knowledge as an example — the “magic native” trope — but it’s much clearer in non-Western cultures, I think. In Australian Aboriginal storytelling these things have a direct relationship to the lived landscape. They’re survival tools of the present. I think all knowledge is that. We can and do use these things — processing knowledge over time. That’s how we get on. And we’ll continue to get on."

...

"Sustained observation is wonderful. But it’s also a survival tool, because it allows you to react specifically to new situations. And that’s really the key. We are facing situations that are novel to humanity. But all organisms, at some point, face situations that are novel, and the ones that survive are the ones that have the broadest range of experience to draw on to find new solutions, and the broadest diversity of experiences."

...

"But one key part of what I say about that particular vision of the internet of animals, allowing us to work towards a shared planet, is also that we get the hell out of quite large areas. That includes data and monitoring — when we know what we need to know, we stop. We erase the data and we erase our presence and we move ourselves away from the center in every way that we can. I think it’s a bit too easy to get caught up in the very, very real problems with doing some of this stuff, when we’re already doing it at such a hideously large industrial scale that not trying to do it better seems to be a slightly foolish barrier to going forward. We have this power and we’re already misusing it. I’m no fan of massive geoengineering schemes, but we are already doing massive geoengineering schemes. That’s what 300 years of burning fossil fuels is."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plumbing"/>
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</item>
<item rdf:about="https://urbantechnology.substack.com/p/urban-technology-at-university-of-287">
    <title>Urban Technology at University of Michigan week 140</title>
    <dc:date>2023-04-09T03:39:18+00:00</dc:date>
    <link>https://urbantechnology.substack.com/p/urban-technology-at-university-of-287</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Talk with Julian Bleecker" (Domus Academy)
https://www.youtube.com/watch?v=DWAboMb08Cs

"Julian Bleecker, Designer, Engineer and Creative Leader, has been the guest of the latest Domus Academy Open Talk, moderated by Gabriele Ferri. Enjoy the video!"

"DesignFiction at AIGA 2022 Annual Conference."
https://www.youtube.com/watch?v=Y-KeTvzTL_s

"Julian Bleecker's Design Fiction Presentation at AIGA 2022 Annual Conference."

"Design x Technology Lecture Series | Julian Bleecker" (LTU_CoAD)
https://www.youtube.com/watch?v=YrBFK3ZXBsE

"The College of Architecture and Design at Lawrence Technological University, LTU_CoAD, offers degrees in architecture, interior design, graphic design, game design, transportation design, and industrial design.   It is is dedicated to a pedagogy of “theory and practice”, the original motto of Lawrence Technological University, advocating not one or the other, but both, integrated and coherent. "]]]></description>
<dc:subject>julianbleecker designfiction 2023 design manuals startrek archaeology objects storytelling imagination gabrieleferri bryanboyer speculativedesign speculativefiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0ba0c581f372/</dc:identifier>
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<item rdf:about="https://journals.sagepub.com/doi/10.1177/02637758221139857">
    <title>Speculation on infrastructural ecology: Pigeons, Gaza, and internet access - Helga Tawil-Souri, 2022</title>
    <dc:date>2022-12-11T07:20:58+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/10.1177/02637758221139857</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article proposes an Internet Pigeon Network as a prototype and a critique. As a prototype, it is a speculation for a community-organized, affordable, resilient internet infrastructure for the Gaza Strip that brings together different modes of building communication networks: one draws on millennia-long history of the pigeon post and the other on contemporary local WiFi and do-it-yourself networks. As a critique, it is a commentary on the possibility of establishing an infrastructure that is equitable, adaptable, sustainable, and grounded by the collaborative effort between humans, animals, and the environment that sets it in motion. The article discusses such a prototype’s implications on mobility and the goal of an infrastructural ecology."]]></description>
<dc:subject>animals infrastructure morethanhuman via:todrobbins 2022 helgatawil-souri pigeons birds human-animalrelations human-animalrelationships multispecies speculativefiction speculativedesign gaza palestine wifi sustainability collaboration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7bc379969987/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=DRYgY9yO5gc">
    <title>The Un-Private Collection: Hank Willis Thomas + Robin D. G. Kelley - YouTube</title>
    <dc:date>2022-09-20T01:56:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=DRYgY9yO5gc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist/activist Hank Willis Thomas will speak with his mentor and former teacher, UCLA professor and noted author Robin D. G. Kelley about Thomas’s art practice and his activism as co-founder of the organization For Freedoms. The Broad recently acquired  America (2021) by Thomas, which is on view along with his work 15,580 (2017), 2018 in The Broad’s special exhibition This is Not America’s Flag from May 21 through September 25, 2022. In America, Thomas dismantles the US flag, reforming its red and white bars to spell “America,” prodding the inequity present in the fabric of the nation, past and present. In 15,580 (2017), Thomas commemorates victims of gun violence, each star representing a life lost in the United States in 2017."]]></description>
<dc:subject>hankwillisthomas 2022 robindgjelley art learning love activism flags poetry storytelling hope creativity healing optimism collaboration freedom liberation dreaming freedomdreaming howwething howwelearn jimcrow civilwar democracy confederacy us race racism inclusivity inclusion branding complexity nuance civicengagement engagement politicaldiscourse museums libraries unschooling deschooling lcproject openstudioproject education future messaging stewardship arts society survival attention stillness noticing awareness awakeness now thenow presence appreciation being brands nike capitalism patagonia labor change nba nfl sports accountability critique criticism ajamonet rationalization resistance surrealism andrébreton modernity humanism decolonization advertising markerting speculativefiction speculativedesign ownership wealth community virtuesignaling reparations bayarea sanfrancisco interdependence radicalism radicalimagination imagination colonialism rationality aimécésaire dereckapurnell abolitionism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f64bad1989d9/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=D16xz_tXWC4">
    <title>Goodbye Internet: Infinite Detail - YouTube</title>
    <dc:date>2021-11-25T19:55:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=D16xz_tXWC4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tim Maughan’s (UK/CA) science fiction novel Infinite Detail (2019) tells the story of a near future Bristol where activists and artists have set up their own alternative digital network in the area of Stokes Croft, cutting off all connections to Big Tech. But when an anonymous group of hackers pulls out the plug of the internet worldwide, chaos ensues. In Infinite Detail, Tim Maughan outlines a possible future when the internet stops working and the impact it has on our hypernetworked world.  

During this event, the author will get into conversation with artist and researcher Ingrid Burrington (US). Ingrid Burrington’s work focuses on mapping, documenting and identifying digital networks while pointing out hidden elements of the internet. By researching the geographical context and material reality of the network she wants to unravel this system as well as underlying power structures. In 2016 she published Networks of New York, exploring the question of what the internet actually looks like.  

Together they will discuss science fiction, hidden digital infrastructures and the impact of unmeasurable late capitalist systems."]]></description>
<dc:subject>timmaughan ingridburrington liekewouters 2021 infinitedetail internet complexity infrastructure meshnetworks systems sciencefiction scifi economics capitalism capital systemsthinking colonialism expectations entitlement jgballard williamgibson davidgraeber brucesterling democracy anarchism anarchy mutualaid climatechange future nearfuture present adjacentfuture parallelfuture fiction exploitation optimism pessimism utopia dystopia superflux anabjain cyberpunk snowcrash neuromancer nealstephenson play networkedculture prediction online love grief neoliberalism brendanbyrne howwewrite writing howwethink alternatehistory inevitability malleability history change speculativefiction speculativedesign supplychains bleakness globalization precarity resilience astrataylor activism art organizing politicalchange culture smartphones corydoctorow davidbyrne narrative ursulaleguin hope hopefulness technology bigtech metaverse ursulakleguin</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7aa98f73056b/</dc:identifier>
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<item rdf:about="https://placesjournal.org/article/black-homelessness-in-oakland/">
    <title>Untimely Futures</title>
    <dc:date>2021-11-11T06:55:37+00:00</dc:date>
    <link>https://placesjournal.org/article/black-homelessness-in-oakland/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Oakland, California, when it comes to Black homelessness and dispossession, dystopia is already here."
]]></description>
<dc:subject>bandisummers 2021 olalekanjeyifous oakland bayarea history present future race housing homeless homelessness dispossession dystopia speculativedesign westoakland gentrification urbanism policy realestate capitalism racialcapitalism displacement urbanrenewal redlining freeways octaviabutler dionnebrand ananyaroy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ys4df32IvrA">
    <title>the Intersection (2021) - YouTube</title>
    <dc:date>2021-10-26T00:28:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ys4df32IvrA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Set in the near future, ‘the Intersection’ journeys from a violent present to a cooperative future. Telling stories of active hope from those who have fought to reimagine extractive technology, to serve community, support nature, and value planetary relationships. 

It is commissioned by Eshanthi Ranasinghe, Julia Solano and Nicole Allred, Exploration & Future Sensing, Omidyar Network, and is conceived and produced by Superflux 2021.

To learn more about the topics addressed in the film and additional resources visit http://the-intersection.io/ and for an overview of our foresight, research, and critical sensemaking work please visit: https://superflux.in/index.php/work/the-intersection/

Available for download at: https://vimeo.com/559955891 “]]></description>
<dc:subject>superflux 2021 film future scifii sciencefiction speculativefiction speculativedesign news media technology information slow land sensemaking cooperation activism solidarity community nature interconnected journalism organizing timmaughan nomadism interconnectedness interconnectivity makingsense</dc:subject>
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<item rdf:about="https://buriedwithoutceremony.com/">
    <title>Buried Without Ceremony - Games that mean something.</title>
    <dc:date>2021-07-28T02:03:37+00:00</dc:date>
    <link>https://buriedwithoutceremony.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[I’ve bookmarked individual pages here before, but bookmarking now for Anne’s comment here:
https://twitter.com/annegalloway/status/1419757250252443648

“In yesterday’s speculative design lecture I argued that Avery Alder’s games have enormous potential for public engagement and the ‘trying on’ of different worldviews.  We focussed on The Quiet Year and Variations On Your Body. Thank you  for the work you do @lackingceremony”]]]></description>
<dc:subject>games toplay averyalder thequietyear variationsonyourbody speculativedesign boardgames</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:438cf2110939/</dc:identifier>
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<item rdf:about="https://www.darklaboratory.com/">
    <title>Dark Laboratory</title>
    <dc:date>2020-11-07T14:20:06+00:00</dc:date>
    <link>https://www.darklaboratory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Dark Laboratory 
Black X Indigenous Media Ecologies

survivance 
“an active sense of presence over historical absence, deracination, and oblivion.”   
-Gerald Vizenor (Anishinaabe )

Dark Laboratory’s philosophy is to assert survivance of communities—human and non-human animals, plant life, microorganisms—in relation to nature. Through immersive technology (VR, AR, sound design, films, video games) we are bringing the symbiotic histories of Black and Indigenous coalition to the surface in order to build future worlds of co-production and co-existence in the face of ongoing conquest. 

Constellations of Afro-Indigeneity 
What does it mean to be Indigenous? Founded by two Cornell professors, Tao Leigh Goffe and Jeffrey Palmer, the laboratory is dedicated to answering this question by charting the convergences of Black and Indigenous survivance. Beginning with hemispheric indigeneity and telescoping towards the global and planetary frames, we examine the intersection between stolen life and stolen land. The Dark Laboratory centers embodied modes of storytelling in the experience of the Indigenous Americas and Indigenous African traditions, 

We ask, how ‘blood memory’ plays a role in the transmission of intergenerational trauma? How is storytelling a mode of redress, recitation, and potential healing? Using creative technologies (virtual / augmented reality, DJ’ing, film, animation ), Dark Laboratory promotes storytelling as a bridge between town and gown, so that those in the academy can listen and learn from local practitioners. 

The Rural Landscape of Abolition in Upstate New York
Inspired by charting the invisible routes of the Underground Railroad, Dark Laboratory centers the geography of abolition in Upstate New York. We look to burial grounds of enslaved Africans and Indigenous people. Positing the landscape as a storyteller, we listen to what the soil narrates. With attention to signage, we consider how certain signposts and monuments misdirect. In what ways is racial presence named and simultaneously erased?  (Cayuga Lake, Seneca Falls, Montezuma Wildlife Reserve) Considering what Tao Leigh Goffe calls “Citation as Erasure,” the Dark Laboratory meditates on the urgency of the Black Lives Matter movement and the significance of #SayTheirNames as political citation in contrast to the performance of Land Acknowledgements. The Dark Laboratory is working with students to create an Ethical Land Acknowledgement Guide, Decolonial Glossary, and Black and Indigneous Relationality Syllabus, 


The rule is love.
— Sylvia Wynter

No Racial Ecological Justice.
No Peace.

Philosophy

Dream.
The Dark Laboratory is an engine for collaboration, design, and study of Black and Indigenous ecologies through creative technology. Co-founded by Tao Leigh Goffe and Jeffrey Palmer, assistant professors at Cornell University, the Dark Laboratory is a collective funded by generous sponsors including the Rural Humanities, a Mellon initiative at Cornell University. We are situated at the intersection of scholarship, artistic praxis to examine Indigenous forms of storytelling by centering local and global non-profit community institutions as educators.

Design.
For the Dark Laboratory the question of rural life involves a deep meditation on how the land is a storyteller. We consider Black and Indigenous grounds of burial and the haunting of empire in the landscape. With an eye toward personal geographies and the layered, sedimented presences of Black and / or Indigenous peoples in the United States, the co-founders look to our Kiowa and African heritage. 

Grow.
As a laboratory devoted to humanistic inquiry, we examine entangled debates regarding stolen lands and stolen life at the crossroads of the University in relation to surrounding ecologies and communities. Dark Laboratory centers the relationality of town and gown to reframe the production of knowledge. How might embodied forms of storytelling such as, weaving, cooking, ceremonial dance, and even singing lullabies be forms of knowledge?

Sustain.
We consider the centuries-long deep and clandestine itineraries of Native and Black people in coalition across the Americas at the edges of the plantation. How, we ask, does nature continue to function as refuge for these coalitions? Of deep interest to the Dark Laboratory interest is the Underground Railroad in Upstate New York as an ongoing site of and monument to Black fugitivity and resource.

Code.
As professors and artist practitioners, we are training and hiring a cohort of undergraduates, graduate students, and community members in research methods. Dark Laboratory provides consulting services and data-driven dossiers on the ethics of cultural representation in Hollywood cinema, corporate mascots, and institutional histories. 

Learn.
Our philosophy is to learn from Black and Indigenous traditions about how to tell a good story. Good has meaning to us as founders in the sense of the “common good,” ethical grounds, and the value of being an engaging storyteller using multimedia. We begin our inquiry in Upstate New York and the soil of Cornell University to ask difficult questions about the layers of Native dispossession and African enslavement as foundational to and entangled in the story of the United States. 

Origin Story

Co-founders Tao Leigh Goffe and Jeffrey Palmer first met at a Board of Trustees dinner during orientation for new faculty at Cornell University in 2019. They happened to be assigned to the same table where flanked by alumni the pair soon realized their shared interest in sonic and visual storytelling. Learning of each other’s kindred investment in race, ecology, and how the land narrates personal geographies of colonialism, they began to meditate on what it means to teach at an institution that is both an Ivy League and Land Grant institution, Prof. Goffe and Prof. Palmer set about reading together, forming a list of texts critical to Black Studies and Indigenous Studies. The seed for Dark Laboratory has germinated to bloom into an inclusive network for all who are invested in study, and how Black and Indigenous histories are distinct, overlapping, and entwined, but also not mutually exclusive categories of being. “

[See also:

“Dark Laboratory, A Virtual Launch Block Party”
https://www.youtube.com/watch?v=8ry6aKeQwiA

https://twitter.com/laboratorydark
https://www.instagram.com/darklaboratory/ ]]]></description>
<dc:subject>film indigenous black media multimedia sound mediaecologies taoleighgoffe jeffreypalmer ruhabenjamin fredmoten simonebrowne tamarevangelistadougherty henrylouisgatesjr stanleynelson claudiarankine tracyrector kamalsinclair tracysmith circestrum evetuck celestelayne mimionuoha markpalmer tiffanylethaboking eddiebruce-jones jannesalo pauljosephlópezoro sydneyskybetter benplatt ariellaazoulay isissemaj-hall sarahjanecervenak gaiagoffe rynstafford matthooley joshuebennett jkameroncarter adomphilogeneheron storytelling plantations livedexperience oralhistory choreography gesture philosophy indigeneity music futurism speculativedesign designfiction design diaspora games gaming videogames newmedia humanities morethanhuman multispecies cornell survivance bloodmemory abolition abolitionism race rural land landback inquiry multidisciplinary interdisciplinary transdisciplinary song dance tradition darklaboratory afro-indigeneity lullabies landscape erasure citation relationality vr fiction speculativefiction ecology</dc:subject>
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    <title>Mercury</title>
    <dc:date>2020-06-19T00:42:52+00:00</dc:date>
    <link>https://www.mercuryos.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://uxdesign.cc/introducing-mercury-os-f4de45a04289 ]

“Mercury is a speculative reimagining of the operating system as a fluid experience driven by human intent.

Humane.
Mercury rejects the Desktop Metaphor and App Ecosystems as fundamentally inhumane. Inspired by Jef Raskin’s principles, Mercury seeks to deliver a more humane take on human-computer interaction.

Fluid.
Instead of asking people to modify the way they think and do around the arbitrary sandboxes of Apps, Mercury responds fluidly to the needs and intentions of its user.

Focused.
The clutter we take for granted in today’s operating systems can be overwhelming, especially for folks sensitive to stimulation. Mercury is respectful of limited bandwidths and attention spans.

Familiar.
Mercury provides a glimpse into the systems of tomorrow using familiar interaction paradigms. It is designed for multi-touch tablets with keyboard support, a category of devices often overlooked as awkward hybrids straddling two worlds.

Architecture
There are no Apps or Folders in Mercury. Instead, content and actions are fluidly assembled based on your intentions.

Modules
Modules are the building blocks of Mercury. Modules can be freely defined using Natural Language Input (text and voice). Think of them as browsers capable of generating UI on demand.

Flows
Mercury is designed to help you enter and stay in flowstate. When one module isn’t enough, you can generate an adjacent Module by tapping the + button or by pressing Tab . Each new module will further inform Mercury as it aims to predict what you might need moving forward. This process can be repeated indefinitely. 

Spaces
Instead of hiding files inside folders and functions inside Apps, Mercury generates Spaces based on your intentions. Spaces can scale from a single module to multiple flows. It all depends on the specificity of your declared intent.

Art Direction
Mercury’s visual identity fuses the rational structures of Western Modernist design with the East Asian instinct to seek tranquility in chaos.”]]></description>
<dc:subject>os ui ux computing jasonyuan dennisjin design speculativedesign</dc:subject>
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    <title>How big tech hijacked its sharpest, funniest critics - MIT Technology Review</title>
    <dc:date>2020-02-25T12:08:32+00:00</dc:date>
    <link>https://www.technologyreview.com/s/615190/how-big-tech-hijacked-its-sharpest-funniest-critics/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Without design fiction, critical hits like Black Mirror would look very different."]]></description>
<dc:subject>designfiction design speculativedesign 2020 timmaughan julianbleecker brucesterling scifi sciencefiction prototyping capitalism superflux anabjain art saschapohflepp nearfuturelaboratory</dc:subject>
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    <title>Calling for a More-Than-Human Politics - Anab Jain - Medium</title>
    <dc:date>2020-02-25T06:12:23+00:00</dc:date>
    <link>https://medium.com/@anabjain/calling-for-a-more-than-human-politics-f558b57983e6</link>
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<item rdf:about="http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/">
    <title>On Design Fiction: Close, But No Cigar - Near Future Laboratory</title>
    <dc:date>2020-01-10T21:53:40+00:00</dc:date>
    <link>http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here: https://mailchi.mp/nearfuturelaboratory/seldom-dispatch-6-from-the-near-future-laboratory-2969593 ]

“We are super excited and thrilled that the term “Design Fiction” is being heard beyond the relatively small community of designers who have been practicing it over the last decade or so. More organizations and teams are now coming to us looking for a fresh and different approach to addressing their needs, concerns, fears, failures and ambitions that the old PowerPoint and Post-it Design Processes simply cannot handle.

This is encouraging for us as we believe the practice of Design Fiction has enormous potential.

We are also concerned — concerned for the many perspectives that present a misconstrued perspective on Design Fiction.

We appreciate the take on Design Fiction by IDEO in their Prototype the Future of Your Business With This 4-Step Design Exercise podcast. We’re fans of their work and have many friends there, so this is encouraging for us as we believe the practice of Design Fiction has enormous potential.

However, IDEOs discussion and description do not embrace the sensibilities of the canonical Design Fiction treatise, “Design Fiction: A Short Essay on Design, Science, Fact and Fiction.” We feel the need to add a few notes to rectify some of the most common confusion about Design Fiction.

[image]

Note #1: Design Fiction is about understanding implications of decision making. Design Fiction is like a design-based A/B test.

— Have an idea or a range of possible ideas?

Run it through the Design Fiction process to understand how these ideas might play themselves out. Design Fiction allows you to engage the implications of your ideas deeply by creating some possible/probable outcomes. In those engagements you are actually creating artifacts that exist in those possible/probable futures. The artifacts you create are things from the future. When you do Design Fiction, you are like some kind of time traveling anthropologist bringing back things you’ve found. When you create these artifacts, you are engaging the context of its existence — why does this exist? what kind of world surrounds it? who are the people and what are their goals and ambitions?

In this kind of Design Fiction process, the discussions with your team and other stakeholders are bound to yield new ideas. The primary activity though, is to work with your team and stakeholders to understand the implications of decision making. Implications come first. New ideas follow.

Yes, we know that organizations often want to be told the solution to their problems and Design Fiction can certainly help here, as just described. Design Fiction is about studying possible implications — not all of them ‘preferred’, but they are always pragmatic and aligned with reality — not reality distorted.

— How do we do this?

Through the Design Fiction process we create design-based tangible artifacts that represent those implications. Sometimes we refer to these artifacts as props, as if they were the objects from that future, brought back to today to be considered, discussed, mulled over, debated and reflected upon.

With Design Fiction so may get your ’new possibilities’, but you will get something more valuable: a richer understanding of the results of your ideas, good, bad, normal. This ultimately better prepares you for what happens when your idea is in the world. It allows you to de-risk based on the unexpected outcomes (which always happen). 

Design Fiction does something no other design process does — it analyzes the outcomes of decision making today, so you have a clearer perspective and understanding of your possible/probable futures.

[video: TBD, A Design Fiction Intervention https://vimeo.com/107034605 ]

Note #2: The Design Fiction process produces tangible future artifacts. It does not produce written stories about a future state. This is a common and understandable misconception, probably based on the fact that the word “Fiction” is in the name.

Design Fiction is not a literary style, nor a purely dystopian visual style, despite its roots in Science Fiction and more specifically the important work of Near Future Laboratory Ambassador, His Eminence, Bruce Sterling, one of the founding fathers of the cyberpunk genre and aesthetic.

If you end up with a draft of a short story or a few paragraphs of a typical UX interaction scenario, or a storyboard, or a little film of someone swiping on a screen to show how your App idea would work — you have not done Design Fiction. 

What you’ve done is write a short story, which can only possibly be read as a short story. You haven’t created a designed artifact that is the result — an implication — of a set of decisions, current conditions and other inputs, and wrote something down about it.

What you should ideally produce is something a casual observer may mistake for a contemporary artefact, but which only reveals itself as a fiction on closer inspection. It should be very much “as if..” this thing really existed. It should feel real, normal, not some fantasy. Nor should it be construed as a representation of the future — like a short story, or an illustration of some kind of interaction. (My favorite example of an artifact based on a recent workshop? A pizza menu — from the near future. An actual menu that describes a future state of food tastes, ingredients, means of payment, etc.)

[image]

Note #3: Creating an artifact forces you to get into the details of your future world in a way that writing a story does not. When writing, it is easy to skip over uncomfortable details in favor of the “big picture”. Design Fiction makes you sweat the details. For example, if you create a Quick Start Guide for a Self Driving Car there are myriad topics that would need to be addressed to describe how to activate, switch into Uber mode, upgrade firmware, etcetera.

 — What should you do then if Design Fiction is more than writing stories? 

You should be creating artifacts from that world and going through the work of actually making them — not writing about them. 

If you’re exploring a future of self-driving cars and the implications for urban policy, create a physical map for a city as might be given out to the local public, or tourists. What would be in the map and why? Have debates with stakeholders about the challenges that would be faced, the failures that might occur, the brand names of services, new kinds of signage, etcetera. Now you’re doing Design Fiction. 

[image]

[video: #m3k – Design Museum Design Fiction https://vimeo.com/305574698 ]

Note #4: Creating artifacts happens early.

Design Fiction is called Design Fiction because it adheres to the principle of making-things-with-which-to-think. If you do this at the end, you’ve missed the point of Design Fiction. You have missed the opportunity to discuss, discover with your team and stakeholders the implications of decision making.

[image]

[video: Lost AI Notice – Design Museum Design Fiction https://vimeo.com/305574970 ]

Note #5: Design Fiction does not bias towards “perfect” or preferred outcomes — not because we wouldn’t like these, but because we’re pragmatic.

We are skeptical optimists. We have been doing this long enough to know that such things are always mired in the intractably complicated ways in which earnestly naive ideas (particularly from Silicon Valley) are disconnected from the way they are received and reacted to in the real world.

Most design processes fail to indicate the risks and challenges of decision making today. They are all “Blue Team” exercises that can only imagine the perfect outcomes. The world does not work this way. Decisions today never lead to ideal outcomes. Design Fiction allows you to run through multiple perspectives, multiple outcomes (Good. Neutral. Bad. Ugly.) It’s your “Red Team” exercise that goes along with the hopeful, optimistic outcome that explore a rich, wide, fulsome set of outcomes represented in tangible artifacts — Instagram Stories, YouTube Unboxing Videos, Customer Testimonial Videos (good ones, bad ones), a lower-thirds chyron crawl describing some epic fail of your idea as shown on Fox News, A Quick Start Guide that forces you to figure out how your “idea” would actually work so you can discover that even you can’t (yet) describe how it would actually work. These truly tangible futures help decision makers assess not only their “ideal” outcomes (which we always hope for and, if you’re honest, rarely get perfectly) but the neutral and completely failed outcomes.

This is also one of the reasons why we have pioneered a perspective on the future that we call “The Future Mundane”. There’s too much richness to summarize here but you can hear Nick Foster talk about Future Mundane at dConstruct. Here is Nick’s original essay on the Future Mundane.

[video: The Future Mundane https://vimeo.com/139358108 ]

3 Main “Take Aways”: 

1. Design Fiction isn’t a literary form. 

2. Design Fiction creates a range of possible future implications of decisions made today. 

3. If you want to do Design Fiction, you should come to the folks who pioneered it — the Near Future Laboratory.”
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=4tf7T2TySG0">
    <title>Anab Jain | Imagining What the Future Looks Like | SkollWF 2019 - YouTube</title>
    <dc:date>2020-01-09T21:35:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4tf7T2TySG0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anab Jain, Co-Founder and Director of Superflux, presented an imagined future as both a cautionary tale and a provocation for the possible. “Bring the future close enough to feel,” she urged the gathering. “Together we can find the tools to transform our greatest challenges into our greatest triumphs.”

Anab Jain is a filmmaker, designer and futurist. She creates worlds, stories and tools that provoke and inspire us to engage with the precarity of our rapidly changing world. Following an extensive career in the design and foresight industry, working for some of the world’s biggest organisations such as Microsoft and Nokia, she co-founded Superflux, an experimental design, foresight and technology studio in London, UK. Alongside her practice, Anab is Professor and Programme Leader for Design Investigations at the University of Applied Arts in Vienna. Over the last 15 years, 

Anab has gained international recognition for her work and commentary on design, innovation, emerging technologies and complex futures. She is the recipient of the Award of Excellence ICSID, UNESCO Digital Arts Award, and Grand Prix Geneva Human Rights Festival, as well as awards from Apple and the UK Government’s Innovation Department. Her work has been exhibited at MoMA New York, V&A Museum, Science Gallery Dublin, National Museum of China, Vitra Design Museum, and Tate Modern. Anab has delivered talks and keynotes at several conferences including TED, MIT Media Lab and MOMA’s first design summit ‘Knotty Objects’, PICNIC, NEXT, WCIT2010, LIFT, SIGGRAPH, Global Design Forum, EPIC, Design Engaged and FuturEverything. 

About the Skoll World Forum:
Each year, nearly 1,000 of the world’s most influential social entrepreneurs, key thought leaders, and strategic partners gather at the University of Oxford’s Saïd Business School to exchange ideas, solutions, and information. The Skoll World Forum on Social Entrepreneurship is the premier international platform for advancing entrepreneurial approaches and solutions to the world’s most pressing problems."]]></description>
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<item rdf:about="https://www.thisishcd.com/episodes/anne-galloway-speculative-design-and-glass-slaughterhouses/">
    <title>Anne Galloway 'Speculative Design and Glass Slaughterhouses' - This is HCD</title>
    <dc:date>2019-06-03T01:10:06+00:00</dc:date>
    <link>https://www.thisishcd.com/episodes/anne-galloway-speculative-design-and-glass-slaughterhouses/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Andy: You’ve got quite an interesting background. I’m going to ask you about in a second. I wanted to start with the quote from Ursula Le Guin that you have on your website. It’s from the Lathe of Heaven. “We’re in the world, not against it. It doesn’t work to try and stand outside things and run them that way, it just doesn’t work. It goes against life. There is a way, but you have to follow it, the world is, no matter how we think it ought to be, you have to be with it, you have to let it be.

Then on the More Than Human website, you have these three questions. What if we refuse to uncouple nature and culture? What if we deny that human beings are exceptional? What if we stop speaking and listening only to ourselves? The More Than Human lab explores everyday entanglements of humans and non-humans and imagines more sustainable ways of thinking, making, and doing. Anne, let’s get started by first talking about what do you mean by all of that?

Anne: The Ursula Le Guin quote I love mostly because a critical perspective or an activist perspective, anything that says we ought to be changing the world in any way, it always assumes that we need to fix something, that the world is broken and that designers especially are well-suited to be able to solve some of these problems. I like thinking about what it means to respond to injustice by accepting it, not in the sense of believing that it’s okay or right, because clearly, it’s been identify as unjust. I love Le Guin’s attention to the fact that there is a way to be in the world.

As soon as we think that we’re outside of it, any choices or decisions or actions that we take are, well, they sit outside of it as well. I like being embedded in the trouble. I like Donna Haraway’s idea of staying with the trouble. It’s not that we have to accept that things are problematic, but rather that we have to work within the structures that already exist. Not to keep them that way, in fact, many should be dismantled or changed. Rather, to accept that there is a flow to the universe.

Of course, Le Guin was talking about Taoism, but here what I wanted to draw attention to is often our imperative to fix or to solve or to change things comes with a belief that we’re not part of the world that we’re trying to fix and change. It’s that that I want to highlight. That when we start asking difficult questions about the world, we can never remove ourselves from them. We’re complicit, we are on the receiving end of things. We’re never distant from it. I think that subtle but important shift in deciding how we approach our work is really important."

…

"Andy: Yes, okay. I was thinking about this, I was reading, in conjunction, this little Le Guin quote, I was trying to think, it’s unusual in the sense that it’s a discipline or a practice of design that uses its own practice to critique itself. It’s using design to critique design in many respects. A lot of what speculative design is talking about is, look what happens when we put stuff into the world, in some way, without much thought. I was trying to think if there was another discipline that does that. I think probably in the humanities there are, and certainly in sociology I think there probably is, where it uses its own discipline to critique itself. It’s a fairly unusual setup.

Anne: I would think actually it’s quite common in the humanities, perhaps the social sciences, where it’s not common is in the sciences. Any reflexive turn in any of the humanities would have used the discipline. Historiography is that sort of thing. Applied philosophy is that sort of thing. Reflexive anthropology is that sort of thing. I think it’s actually quite common, just not in the sciences, and design often tries to align itself with the sciences instead.

Andy: Yes, there was a great piece in the Aeon the other day, about how science doesn’t have an adequate description or explanation for consciousness. Yet, it’s the only thing it can be certain of. With that, it also doesn’t really seem to come up in the technology industry that much, because it’s so heavily aligned with science. Technology, and you’ve got this background in culture studies and science and technology and society, technology is a really strong vein throughout speculative design. Indeed, your work, right? Counting sheep is about the Internet of Things, and sheep. Do you want to tell us a little bit about that and why I am talking to you from the picture things to the Lord of the Rings, it basically looks like you’re living in part of the Shire in Middle Earth?

Anne: I do live in a place that looks remarkably like the Shire. It’s a bit disconcerting at times. The science and technology question in speculative design I think is first of all a matter of convenience. Science fiction, speculation, they lean historically, habitually towards science and tech. It becomes an easy target for critique. Not that it’s not necessary, but it’s right there, so why not? There’s that element to it. It has an easier ability to be transformed into something fanciful or terrifying, which allows for certain kinds of storytelling through speculation, that I think people, both creators and audiences or readers really enjoy.

Now, the irony of all of this, of course is that arguably one of the greatest concerns that people have would be tied to technological determinism, the idea that we’re going to have these technologies anyway, so what are we going to do about it? Now, when you speculate using these technologies, what you’re doing is actually reinforcing the idea that these technologies are coming, you play right into the same technological determinism that you’re trying to critique. In fact, one of the counting sheep scenarios was designed specifically to avoid the technology. It was the one that got the most positive responses."

…

"Andy: With all of this, and I may this pop at the beginning, just before we were recording, that there’s a sense of, because of everything going on in the world, that if only designers could run the world, everything would be fine, right, because we can see all of the solutions to everything. What would you want designers to get out of this kind of work or this kind of perspective?

Anne: Humility. That simple. I am one of those people. It’s because of being an ethnographer as well and doing participant observation and interviewing many people and their ideas about design. I’ve run into far more people who think that designers are arrogant than ones who don’t. This has always really interested me. What is it that designers do that seems to rub non-designers the wrong way? Part of it is this sense of, or implication that they know better than the rest of us, or that a designer will come in and say, “Let me fix your problem”, before even asking if there is a problem that the person wants fixed.

I actually gave a guest lecture in a class just the other day, where I suggested that there were people in the world who thought that designers were arrogant. One of the post-graduate students in the class really took umbrage at this and wanted to know why it was that designers were arrogant for offering to fix problems, but a builder wasn’t, or a doctor wasn’t.

Andy: What was your answer?

Anne: Well, my answer was, generally speaking, people go to them first and say, “I have this problem, I need help.” Whereas, designers come up with a problem, go find people that they think have it and then tell them they’d like to solve it. I think just on a social level, that is profoundly anti-social. That is not how people enjoy socially interacting with people.

Andy: I can completely see that and I think that I would say that argument has also levelled, quite rightly, a lot of Silicon Valley, which is the answer to everything is some kind of technology engineering startup to fix all the problems that all the other technology and engineering startups that are no longer startups have created. It’s probably true of quite a lot of areas of business and finance, as well, and politics, for that matter. The counter, I could imagine a designer saying, “Well, that’s not really true”, because one of the things as human-centred designers, the first thing we do, we go out, we do design ethnography, we go and speak to people, we go and observe, we go and do all of that stuff. We really understand their problems. We’re not just telling people what needs to be fixed. We’re going there and understanding things. What’s your response to that?

Anne: Well, my first response is, yes, that’s absolutely true. There are lots of very good designers in the world who do precisely that. Because I work in an academic institution though, I’m training students. What my job involves is getting the to the point where they know the difference between telling somebody something and asking somebody something. what it means to actually understand their client or their user. I prefer to just refer to them as people. What it is that people want or need. One of the things that I offer in all of my classes is, after doing the participant observation, my students always have the opportunity to submit a rationale for no design intervention whatsoever.

That’s not something that is offered to people in a lot of business contexts because there’s a business case that’s being made. Whereas, I want my students to understand that sometimes the research demonstrates that people are actually okay, and that even if they have little problems, they’re still okay with that, that people are quite okay with living with contradictions and that they will accept some issues because it allows for other things to emerge. That if they want, they can provide the evidence for saying, “Actually, the worst thing we could do in this scenario is design anything and I refuse to design.”

Andy: Right, that and the people made trade-offs all the time because of the pain of change is much greater than whatever it is that they’re currently living with.

Anne: It might not even be that. It might just be that they’re content. What’s wrong with being content? Why do we want to force people to be more than content? There are many cultures and religions around the world that don’t believe in happiness, they believe in contentedness. That goes back to that being in the world, instead of thinking that you have to rise above it somehow.

Andy: That’s quite a subtle point and I imagine there’s also a culture"

…

"Andy: Tell me a bit about that. How has your relationship with your sheep enhanced your sense of humility?

Anne: I think that honestly, I grew up with dogs, I have a cat. My best friend is my cat. She’s 14 years’ old now, but none of the animals I’ve lived with have humbled me and troubled me as totally as the sheep have. I’ve learned more from sheep in four years than a lifetime with other animals. It surprises me and delights me on a daily basis. Sheep are really funny. Both literally and figuratively. They have good sense of humour. They like to play. Some of them don’t like to play at all and will just come and headbutt you and then bugger off in another direction. The thing that I think is the most interesting and relevant to this is that their individuals. Unlike pets which we tend to always assume are individuals. A farm animal and especially a flock animal tend to be more easily grasped as a mass, as the flock, rather than as individual sheep.

I made a point when I got sheep to meet them add individuals. What this meant was that I was forced to acknowledge that I liked some more than others, just like I do with people. That some like me more than others, just like with people. That we negotiate ways of being together. That I can’t do anything with the sheep without their cooperation. I suppose I could, but it would require brute force and violence, which would annihilate any relationship. You might have to kill or hurt them at least. That’s counterproductive on many levels. In order to get to the point where they can be shorn, they can be given vaccination, they can have their huffs trimmed.

Like, general maintenance that requires handling that they don’t enjoy, we have to have a relationship of trust the rest of the time. The sense though, my sheep know things better than me in all sorts of ways. They smell differently, they see differently, they live at a completely different time scale. They live very slowly and in short increments. It’s the most profoundly different way of being in the world than I’ve experienced as a human. I look at my cat and she’s a little predator. It tickles the competitive part of me.

Whereas, when I sit in the middle of the flock of sheep, I am at one with the world. I know that sounds funny, but it was the first time in my life I actually felt that feeing. I finally started to understand what though Taoists had been talking about all this time. I was like, oh, my god, this is what they mean. Where you just be. It’s a funny psychological state too because if a flock of sheep or a flock of any prey animal is calm, you can rest assured that you are safe. To sit in the middle of a bunch of sheep that are calm is the safest I have ever felt in my entire existence.

Andy: It’s interesting as humans. I feel like at the moment, everyone is just on high alarm the whole time, so no one feels safe at all. It’s that ripple effect.

Anne: Yes, exactly, so I would rather be with my sheep."]]></description>
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<item rdf:about="http://sdcitybeat.com/culture/features/%E2%80%98san-diego-2049%E2%80%99-offers-a-glimpse-of-possible-futures/">
    <title>‘San Diego 2049’ offers a glimpse of possible futures - San Diego CityBeat</title>
    <dc:date>2019-06-02T22:37:12+00:00</dc:date>
    <link>http://sdcitybeat.com/culture/features/%E2%80%98san-diego-2049%E2%80%99-offers-a-glimpse-of-possible-futures/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI presidents and VR border workers are envisioned at the yearlong UC San Diego program"

…

"A local needs to get to their job taking care of a wealthy La Jolla socialite who plans to “go under” for a lengthy stay in virtual reality. But they can’t get to that job because the dedicated scooter lane on Interstate 5 has been compromised due to flooding. To make matters worse, the collective AI who was just elected the U.S. president hasn’t yet announced his (her? its?) infrastructure-funding plan. 

Welcome to San Diego in 2049, as imagined by students and affiliates of UC San Diego. The yearlong program, known simply as “San Diego 2049,” is an exercise in “speculative design for policy making,” according to organizers. It is sponsored by the UCSD’s Center for Human Imagination and just wrapped up with its culminating event: A competition between three teams of graduate students tasked “to design a vision for the San Diego border region in 2049 and create an intervention into that future.”

If the submissions to the competition are any indication, the future of the San Diego region is inextricably linked to the future of the rest of the planet. Noted the event’s keynote speaker and best-selling science fiction author, Kim Stanley Robinson, “You can’t talk about the fate of San Diego 30 years from now without talking about the fate of the rest of the planet 30 years from now. It’s a global fate and there’s no such thing as a pocket utopia.”

Robinson, a UC San Diego alumnus, should know. He’s the winner of the trifecta of literary science fiction prizes (the Hugo, Nebula and Locus awards) and an expert at world-building, one of the three criteria for the student competition. The other two criteria are “rhetorical strength of the intervention” and “successful realization of the intervention within its given medium” (it is academia, after all). 

The results of this theoretical exercise in world-building could be summed up by what Robinson described as an “attenuated peninsula.”

“We’re going to fall one way or another,” he added. “We can either fall into a mass extinction event caused by human action, or we can rally our resources and our expertise and our community and grow together a quite prosperous and glorious future.”

Somewhere in between lies the student submission known as “Fronteras”, a choose-your-own-adventure-style game created for the online platform Twine by a team of UCSD graduate students in varying departments. The game imagines the San Diego border region as a technological playground, an amalgam of “the tourism, caregiving and transportation industries changing immigration policy driven in part by climate change,” said Literature Ph.D. student Jeanelle Horcasitas. 

In the game, people called “transfronterizas” are able to cross the U.S.-Mexico border, but only if they are VR workers who take care of the bodily needs of “patrons” while they’re immersed in idyllic virtual reality worlds. Meanwhile, ContraVR radicals have begun meeting at the putrid beaches of Baja California, wearing Aztec-style masks to protect themselves from toxins. The radicals are planning to infiltrate SeAR, a virtual reality version of Sea World. 

Whether there will even be beaches and sea ports in San Diego 30 years from now is still up for debate. Robinson noted that even with a five-centimeter sea-level rise, “the beaches will be in deep trouble, and with a one-meter rise, they’ll be gone.” As research for one of his novels, Robinson said he consulted with geoengineers to determine if excess water could be pumped back onto sea ice using oil industry pumping technology (an irony that tickles him, he admitted).

And it can be done, he said. There’s just one catch.

“It would take 10 million windmills and use seven percent of all electricity generated worldwide,” Robinson said. 

“This is one way of saying this is a fantasy,” he added. “It’s not going to happen, and that’s true of many geoengineering ideas.”

One solution, according to Robinson’s geoengineering sources, might be to drill through the remaining ice and pump the water out until the glaciers bottom out on rock and slow down again, preventing their slide into the ocean. He proposed that the U.S. Navy (a major employer in San Diego) and all the world’s militaries should “shift their wars on nation states to helping people” instead.

But that requires leadership. Intelligent leadership. So what’s more intelligent than artificial intelligence?

That’s the conceit behind “The Intelligent Governance Network”, a second student project (and the winner of the San Diego 2049 competition). It begins from the premise that a massively crowd-sourced artificial intelligence becomes President of the United States 30 years from now. Among the website’s elements is an excerpt from a televised debate between human and AI presidential candidates in 2049. 

“We are able to use the wisdom of the crowd in the best way imaginable and grow together as one,” claims the fictional IGN candidate (which looks a little like a fire hydrant with a brain). “The idea of strong leaders is an idea that has led to countless wars and an endless amount of suffering… The time has come for humans to fully trust in the altruistic infrastructure that the Intelligent Governance Network was built on.”

But will San Diegans be motivated to trust in leadership and make the changes necessary to protect the world as we know it? The students behind the third project, Goose and Gander, seem to have their doubts. Inspired by satirical and absurdist approaches to speculative design, students James Bruce and Joaquin Reyna wrote a work of short fiction that imagines a world where people are motivated to address pressing social concerns in order to protect their most cherished belonging: A goose. In their world, waterways are protected to provide habitats for geese, and transportation is improved because it’s better for the planet, and therefore better for the geese. 

“We wanted to make a really annoying satire,” admitted student James Bruce, “and the premise is that a lot of policy is based on the stupidest reasons.” Noting the move toward wide-scale implementation of self-driving cars, for example, Bruce pointed out that among the touted benefits of a self-driving car is that it “lets you not have to worry about driving and talking to the person next to you.” 

“Yeah, we have that already,” he pointed out. “It’s called a bus.”

One thing everyone at the San Diego 2049 seemed to agree on was, in Robinson’s words, “we’re in the fight of our lives” when it comes to addressing the challenges of San Diego 30 years from now. 

“California is in a good position to lead the way,” he added. “It has the political will to do the right things. I see such an amazing number of skillful creative collaborative people working together, and UC San Diego is one of the greatest intellectual centers on this planet. When I come here, I see this place and I think it could happen.” 

And, as Robinson pointed out, it’s important to remember that “at every moment in history what humans were facing was unprecedented.” 

“Maybe that doesn’t make us particularly unusual. What I can say is what we’re facing is more unprecedented than ever before.”"]]></description>
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<item rdf:about="http://speculativeedu.eu/interview-superflux/">
    <title>SpeculativeEdu | Superflux: Tools and methods for making change</title>
    <dc:date>2019-02-19T21:32:27+00:00</dc:date>
    <link>http://speculativeedu.eu/interview-superflux/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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    <title>Refiguring the Future Conference | Day One - YouTube</title>
    <dc:date>2019-02-10T23:29:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lwgwRdxQtI4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[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.   ]]]></description>
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<item rdf:about="http://scratchingthesurface.fm/post/176505451135/86-anab-jain">
    <title>Scratching the Surface — 86. Anab Jain</title>
    <dc:date>2018-08-09T01:43:22+00:00</dc:date>
    <link>http://scratchingthesurface.fm/post/176505451135/86-anab-jain</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anab Jain is a designer, futurist, filmmaker and educator. As Co-founder and Director of Superflux, she hopes to realise the vision of the Studio as a new kind of design practice, responsive to the challenges and opportunities of the twenty-first century. She also teaches at the University Applied Arts in Vienna and gave a TED Talk last year on design’s role in imagining new futures. In this episode, Anab and I talk about Superflux’s blend of client and speculative work, her background in filmmaking, and pushing up against disciplinary boundaries."]]></description>
<dc:subject>anabjain jarrettfuller 2018 jamescscott simonedebeauvoir speculativefiction speculativedesign design andreitarkovsky film filmmaking education teaching transdisciplinary crossdisciplinary jean-lucgodard criticaldesign designeducation kellereasterling infrastructure lcproject openstudioproject camerontonkinwise scratchingthesurface superflux</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://iasext.wesleyan.edu/regprod/!wesmaps_page.html?crse=015295&amp;term=1189">
    <title>Critical Design Fictions CSPL 225</title>
    <dc:date>2018-05-19T21:31:48+00:00</dc:date>
    <link>https://iasext.wesleyan.edu/regprod/!wesmaps_page.html?crse=015295&amp;term=1189</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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 ]]]></description>
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<item rdf:about="https://vimeo.com/user1028527">
    <title>miriam on Vimeo [Miriam Simun]</title>
    <dc:date>2018-05-19T20:28:27+00:00</dc:date>
    <link>https://vimeo.com/user1028527</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: GhostFood
https://vimeo.com/85584034 ]

[See also:
https://twitter.com/miriamsimun
http://www.miriamsimun.com/

https://www.media.mit.edu/people/simun/overview/
http://www.headlands.org/artist/miriam-simun/
https://cyber.harvard.edu/people/msimun
https://hyperallergic.com/tag/miriam-simun/
http://designinquiry.net/miriam-simun/

"Miriam Simun presents at the 2013 Creative Capital Artist Retreat"
https://www.youtube.com/watch?v=RyrpVcSwDwk

"Miriam Simun Presents "Survival Trilogy" at the 2015 Creative Capital Retreat"
https://www.youtube.com/watch?v=rTuApVRdSF4

"New Yorkers sample cheese made from human breast milk"
https://www.reuters.com/article/us-cheese-breastmilk/new-yorkers-sample-cheese-made-from-human-breast-milk-idUSTRE7413X020110502 ]]]></description>
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    <title>Miriam Songster</title>
    <dc:date>2018-05-19T19:40:28+00:00</dc:date>
    <link>http://songster.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Via: 
https://vimeo.com/85584034

[See also:
https://twitter.com/gianttruffle
https://consenses.org/artists/miriam-songster/ ]]]></description>
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    <title>GhostFood on Vimeo</title>
    <dc:date>2018-05-19T19:15:58+00:00</dc:date>
    <link>https://vimeo.com/85584034</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GhostFood explores eating in a future of and biodiversity loss brought on by climate change. The GhostFood mobile food trailer serves scent-food pairings that are consumed by the public using a wearable device that adapts human physiology to enable taste experiences of unavailable foods.

Created in collaboration with Miriam Songster. Commissioned by the Robert Rauschenberg Foundation for Marfa Dialogues/NY, with additional support provided by Takasago, NextFab Studios and Whole Foods. Marfa Dialogues/NY is a collaboration between the Robert Rauschenberg Foundation, Ballroom Marfa and the Public Concern Foundation. GhostFood was presented by Gallery Aferro in Newark, Rauschenberg Project Space in New York and by SteamWorkPhilly in Philadelphia."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=o341S4xh1r0">
    <title>Impakt Festival 2017 - Performance: ANAB JAIN. HQ - YouTube</title>
    <dc:date>2017-11-14T06:32:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=o341S4xh1r0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[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/ ]]]></description>
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<item rdf:about="https://medium.com/design-fictions/an-ikea-catalog-from-the-near-future-e293938148bc#.6abcn9v66">
    <title>An Ikea Catalog From The Near Future – Design Fictions – Medium</title>
    <dc:date>2017-02-20T05:25:08+00:00</dc:date>
    <link>https://medium.com/design-fictions/an-ikea-catalog-from-the-near-future-e293938148bc#.6abcn9v66</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[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 ]]]></description>
<dc:subject>2015 ikea designfiction speculativedesign speculativefiction internetofthings iot nearfuturelaboratory</dc:subject>
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<item rdf:about="https://vimeo.com/139358108">
    <title>The Future Mundane on Vimeo</title>
    <dc:date>2017-02-20T03:52:16+00:00</dc:date>
    <link>https://vimeo.com/139358108</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nickfoster design future breakage accretion 2015 scifi sciencefiction russelldavies nicolasnova context speculativedesign mundanity futuremundane designfiction speculativefiction nearfuture nearfuturelaboratory</dc:subject>
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<item rdf:about="http://ethnographymatters.net/editions/speculative-ethnography/">
    <title>Speculative Ethnography | Ethnography Matters</title>
    <dc:date>2016-03-04T06:58:10+00:00</dc:date>
    <link>http://ethnographymatters.net/editions/speculative-ethnography/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This month’s theme is about the relationships between ethnography and fiction. It is not necessarily something that we explored a lot here at Ethnography Matters, which is why it seemed an interesting topic for this September edition. Another reason to address this now is because of recent experimental ways of “doing ethnography” (e.g. the work by Ellis & Bochner or Denzin), as well as curious interdisciplinary work at the cross-roads of design, science-fiction and ethnography (e.g. design fiction)."

[Includes:
September 2013: Ethnography, Speculative Fiction and Design"
http://ethnographymatters.net/blog/2013/09/17/september-2013-ethnography-speculative-fiction-and-design/
"This month’s theme is about the relationships between ethnography and fiction. It is not necessarily something that we explored a lot here at Ethnography Matters, which is why it seemed an interesting topic for this September edition. Another reason to address this now is because of recent experimental ways of “doing ethnography” (e.g. the work by Ellis & Bochner or Denzin), as well as curious interdisciplinary work at the cross-roads of design, science-fiction and ethnography (e.g. design fiction).

Of course, in Anthropology, the border between ethnography and fiction has always been very thin. Consider how ethnographers have written fictional novels or made speculative films, more or less based on field research. Also think about “docufictions” by Jean Rouch, a blend of documentary and fictional film in the area of visual anthropology. There are lots of reasons for using fictional methods, but there’s a general interest in going beyond scientific format/language by making ethnographic accounts more “engaging, palatable, and effective“."

"What Would Wallace Write? (if he were an ethnographer)"
http://ethnographymatters.net/blog/2013/09/29/what-would-wallace-write-if-he-were-an-ethnographer/

"Ethnography and Speculative Fiction"
http://ethnographymatters.net/blog/2013/09/27/ethnography-and-speculative-fiction/

"Ethnographies from the Future: What can ethnographers learn from science fiction and speculative design?"
http://ethnographymatters.net/blog/2013/09/26/ethnographies-from-the-future-what-can-ethnographers-learn-from-science-fiction-and-speculative-design/

"Towards Fantastic Ethnography and Speculative Design"
http://ethnographymatters.net/blog/2013/09/17/towards-fantastic-ethnography-and-speculative-design/ ]
]]></description>
<dc:subject>ethnography speculativeethnography 2013 annegalloway lauraforlano clareanzoleaga jan-hendrikpassoth nicholasrowland nicolasnova speculativedesign speculativefiction fiction ethnographicfiction anthropology visualanthropology documentary fantasy docufictions</dc:subject>
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<item rdf:about="http://www.core77.com/posts/47064/UCSD-Parsons-and-the-Cooper-Hewitt">
    <title>UCSD, Parsons and the Cooper Hewitt: Institutions of education and culture making a commitment to design's intellectually-oriented practice - Core77</title>
    <dc:date>2016-03-04T06:38:02+00:00</dc:date>
    <link>http://www.core77.com/posts/47064/UCSD-Parsons-and-the-Cooper-Hewitt</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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 ]]]></description>
<dc:subject>speculativedesign design parsons brucetharp stephanietharp jackgreenstein discursivedesign benjaminbratton mitmedialab hiromiozaki designfiction designfictiongroup sputniko!anthonydunne fionaraby dunne&amp;raby newschool speculation daisyginsberg nerioxman anarajcevic medialab cooper-hewitt thenewschool ucsd cooperhewitt</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=fbyIiX5mw_Y">
    <title>UCSD Speculative Design (Stream 2 - wc1080) - YouTube</title>
    <dc:date>2016-03-04T06:33:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fbyIiX5mw_Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://www.core77.com/posts/47064/UCSD-Parsons-and-the-Cooper-Hewitt ]]]></description>
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<item rdf:about="http://crapfutures.tumblr.com/post/139786385254/counter-constraint-1-non-progress-dogma">
    <title>crap futures — counter-constraint #1: non-progress dogma</title>
    <dc:date>2016-02-23T09:45:57+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/139786385254/counter-constraint-1-non-progress-dogma</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world’s fairs also offer their insights into this dichotic system. For example, Futurama’s hidden agendas are strikingly revealed in E. L. Doctorow’s novel World’s Fair (1985). As a family leaves the exhibit, the father says: ‘“When the time comes General Motors isn’t going to build the highways, the federal government is. With money from us taxpayers.” He smiled. “So General Motors is telling us what they expect from us: we must build them the highways so they can sell us the cars.”’

Bel Geddes’s vision of super-highways largely came true, but so did various dystopian imaginaries that were generated out of the Futurama vision. In ‘Futurama, Autogeddon’, Helen Burgess describes the way in which ‘a messy, always-under-construction, polluted highway system, beaming cheerfully forward into the future, is reflected back to us in the second half of the century as a degraded landscape in J. G. Ballard’s Crash and The Atrocity Exhibition. In these tales,’ Burgess writes,

Bel Geddes’ optimistic narrative of the Interstate has collapsed … because the Interstate system is unsustainable - both narratively and ecologically. The ghosts of the highway call back to us from these future narratives, reminding us that death is just around the next bend.

Progress dogma as an eternally recurring phenomenon

The progress boosterism in the West of the 19th century was followed by two highly regressive world wars. Yet the postwar period saw an almost immediate return to … optimism! Progress dogma was reborn! America, isolated from the worst ravages of the two World Wars, kept blowing the trumpet for progress, and the other western countries followed. The lessons of history continued, and continue, to fall on deaf ears.

Designing counter-constraints

We realise now that we’ve not set ourselves an easy task. These are massive, complex systems that are more easily identified and critiqued than challenged with alternatives. But inaction is no solution. So we’ll go on, inspired by historical examples of how critical approaches have impacted on specific research directions and undermined progress dogma. The public inquiry into genetically modified food development in Europe and the consequent demonising of an entire scientific area (‘Frankenstein foods’) led by certain newspapers is one example of technology being steered away from its intended trajectory. In that case, however, the approach was problematic because the debate was simplified as a contest between good and evil, dystopia vs. utopia, rather than being an open and constructive dialogue. As this article suggests, the reality is often more nuanced and complex than a simple binary opposition can express.

So how do we move toward a more constructive approach to counter-constraints?
Here, as a discussion starter, are some first steps:

1. Stop assuming that, through technology, the future will be better than the present.
2. Be wary of too-positive presentations of technological future solutions.
3. Don’t assume that any of society’s problems will be solved by technology alone.
4. Do assume that for every benefit a new technology brings there will be unforeseen implications.
5. Remember to ask: ‘Progress for whom?’
6. And: ‘What in this specific case does progress actually mean?’
7. Remember that progress is easily confused with automation. Or efficiency.
8. Watch Adam Curtis’s The Century of the Self (and then watch it again).
9. Find ways of encouraging a critical perspective in others, without being a dystopian dick about it.
10. Actively start building the future you want, with or without technology.

One approach where we have first-hand experience and that begins to address point 10 is speculative design, which aims to facilitate a more critical and considered approach to future-formation. By countering the constraints that limit normative design to slavishly serving the market, speculative design is free to present futures that are neither explicitly utopian or dystopian. Using this approach we can explore possible scenarios when specific emerging technologies collide with everyday life. Or we can see what happens when we apply alternative configurations of contemporary technologies or systems to generate fresh perspectives on particular problems (a counter-constraint to constraint no. 2: legacies of the past, which we’ll return to in a future post). Speculation is time well spent.

We’ll give further thought to counter-constraints over a game of ping-pong on our rough-hewn autoprogettazione table, followed by coffee and toast. More, much more, to come. "]]></description>
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</item>
<item rdf:about="http://www.digitalmanifesto.net/manifestos/212/">
    <title>Digital Manifesto Archive: Design Fiction's Odd Present vs. Science Fiction's Near Future</title>
    <dc:date>2016-02-18T21:03:56+00:00</dc:date>
    <link>http://www.digitalmanifesto.net/manifestos/212/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="https://jentery.github.io/508/">
    <title>English 508 (Spring 2016)</title>
    <dc:date>2016-02-18T20:39:54+00:00</dc:date>
    <link>https://jentery.github.io/508/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://jentery.github.io/508/notes.html ]

[From the description page:
https://jentery.github.io/508/description.html

"In both theory and practice, this seminar brushes against four popular assumptions about digital humanities: 1) as a service to researchers, the field merely develops digital resources for online discovery and builds computational tools for end-users; it does not interpret texts or meaningfully engage with “pre-digital” traditions in literary and cultural criticism; 2) digital humanities is not concerned with the literary or aesthetic character of texts; it is a techno-solutionist byproduct of instrumentalism and big data; 3) digital humanities practitioners replace cultural perspectives with uncritical computer vision; instead of privileging irony or ambivalence, they use computers to “prove” reductive claims about literature and culture, usually through graphs and totalizing visualizations; and 4) to participate in the field, you must be fluent in computer programming, or at least be willing to treat literature and culture quantitatively; if you are not a programmer, then you are not doing digital humanities.

During our seminar meetings, we will counter these four assumptions by examining, historicizing, and creating “design fictions,” which Bruce Sterling defines as “the deliberate use of diegetic prototypes to suspend disbelief about change.” Design fictions typically have a futurist bent to them. They speculate about bleeding edge technologies and emerging dynamics, or they project whiz-bang worlds seemingly ripped from films such as Minority Report. But we’ll refrain from much futurism. Instead, we will use technologies to look backwards and prototype versions of texts that facilitate interpretative practice. Inspired by Kari Kraus’s conjectural criticism, Fred Moten’s second iconicity, Bethany Nowviskie and Johanna Drucker’s speculative computing, Karen Barad’s notion of diffraction, Jeffrey Schnapp’s small data, Anne Balsamo’s hermeneutic reverse-engineering, and deformations by Lisa Samuels, Jerome McGann, and Mark Sample, we will conduct “what if” analyses of texts already at hand, in electronic format (e.g., page images in a library’s digital collections).

Doing so will involve something peculiar: interpreting our primary sources by altering them. We’ll substitute words, change formats, rearrange poems, remediate fictions, juxtapose images, bend texts, and reconstitute book arts. To be sure, such approaches have vexed legacies in the arts and humanities. Consider cut-ups, constrained writing, story-making machines, exquisite corpses, remixes, tactical media, Fluxkits, or détournement. Today, these avant-garde traditions are ubiquitous in a banal or depoliticized form, the default features of algorithmic culture and social networks. But we will refresh them, with a difference, by integrating our alterations into criticism and prompting questions about the composition of art and history today.

Instructor: Jentery Sayers
Office Hours: Monday, 12-2pm, in CLE D334
Email: jentery@uvic.ca
Office Phone (in CLE D334): 250-721-7274 (I'm more responsive by email)
Mailing Address: Department of English | UVic | P.O. Box 3070, STN CSC | Victoria, BC V8W 3W1

Philosophers have hitherto only interpreted the world in various ways; the point is to change it. —Karl Marx"]

[via: "when humanities start doing design without designers because design's too self-absorbed to notice being appropriated"
https://twitter.com/camerontw/status/700175377197563904
includes screenshot of Week 7 note from https://jentery.github.io/508/notes.html ]]]></description>
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</item>
<item rdf:about="http://sd.ucsd.edu/">
    <title>Hello World</title>
    <dc:date>2016-01-07T06:27:11+00:00</dc:date>
    <link>http://sd.ucsd.edu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://twitter.com/ucsdsd_ ]]]></description>
<dc:subject>speculativedesign sandiego ucsd</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://events.arts.ac.uk/event/2015/11/28/Design-Futures-in-Sub-Saharan-Africa-Post-Western-Perspectives/">
    <title>Design Futures in Sub-Saharan Africa: Post-Western Perspectives</title>
    <dc:date>2015-11-22T04:34:24+00:00</dc:date>
    <link>http://events.arts.ac.uk/event/2015/11/28/Design-Futures-in-Sub-Saharan-Africa-Post-Western-Perspectives/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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. "]]></description>
<dc:subject>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</dc:subject>
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<item rdf:about="http://cargocollective.com/selwa/Radical-Sensing">
    <title>Radical Sensing - Selwa Sweidan</title>
    <dc:date>2015-08-16T05:40:20+00:00</dc:date>
    <link>http://cargocollective.com/selwa/Radical-Sensing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Radical Sensing is a speculative design project rooted in the sense of smell. Radical Sensing imagines a future in which people have chosen to replace their noses with a "super smelling" neuroprosthetic or a "post-nose” that amplifies, isolates, decodes and records scent with simple gestures and downloadable customizations.

Radical Sensing poses questions about the future of prosthetics. Can the voluntary removal of body organs, in favor of augmented replacements, become normative? 

Radical Sensing proposes a rearchitecting of the body, externally (though a wearable nose) and internally (through the neurological and experiential changes that arise when ehancing and even sharing the act of smelling).

Through performative prototyping, 3D modeling, user interviews, and a smell recording device - Radical Sensing raises questions about what it means to experience an enhanced sense of smell in the future, and what arises when we "live in our nose" in the present."

[See also:
https://vimeo.com/122488780
https://vimeo.com/124908121
https://vimeo.com/136255169 ]]]></description>
<dc:subject>smell senses speculativedesign selwasweidan prosthetics neuroprosthetics</dc:subject>
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<item rdf:about="http://ctheory.net/articles.aspx?id=757">
    <title>CTheory.net: Conversations in Critical Making: 6 Critique and Making</title>
    <dc:date>2015-08-15T21:09:02+00:00</dc:date>
    <link>http://ctheory.net/articles.aspx?id=757</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GH: What useful things can be taken from the concept of critical design as established by Anthony Dunne and Fiona Raby?

AG: Critical design is a bit silly. Designers have always been great at branding, and this is no exception. Design is a fundamentally critical process from the get-go. That's what the design process means. Design is an iterative process in which one revisits ideas, refashions them, recalibrates them, and produces multiple versions. That's why people say "everyone is a designer" today. We live in the age when everyone is a curator, everyone is a DJ, and everyone is a designer. We need to take seriously the notion that, whereas a generation ago critique was more or less outside mainstream life, today critique is absolutely coterminous with the mainstream. Hence a designer might engage with a so-called critical design project on Monday, but on Tuesday produce client work for IKEA. It's normal.

GH: Do you have the same response to speculative design?

AG: I'm interested in communism. And love. And darkness. I'm interested in smashing the state. And the total elimination of petroleum. I'm interested in the end of racism. I'm interested in the next 44 presidents being women--fair is fair! Speculation is mostly harmless, I suppose. But speculative thinking has been affiliated with idealist philosophy and bourgeois thought for so long--think of Marx's aversion to Hegel--that it's difficult for me to see much hope there. I've said it many times before: we don't have a speculation deficit; we have a motivation deficit. We should keep imagining new worlds, yes absolutely! But it's supplemental. Any child can tell you how to make the world just and fair and joyful. This is not to denigrate the creative work of Dunne and Raby, who are very talented at what they do. But rather to direct the focus where it should aim. The problem is not in our imagination. The problem is in our activity."]]></description>
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<item rdf:about="http://www.disegnodaily.com/article/tomorrow-today-design-fiction-and-social-responsibility">
    <title>Tomorrow Today: Design, Fiction and Social Responsibility | DisegnoDaily</title>
    <dc:date>2015-07-02T00:18:46+00:00</dc:date>
    <link>http://www.disegnodaily.com/article/tomorrow-today-design-fiction-and-social-responsibility</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="http://morethanhumanlab.tumblr.com/post/121308092025/on-anthropology-not-ethnography-and-design">
    <title>more-than-human lab - On anthropology, not ethnography, and design</title>
    <dc:date>2015-06-12T07:04:14+00:00</dc:date>
    <link>http://morethanhumanlab.tumblr.com/post/121308092025/on-anthropology-not-ethnography-and-design</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Let me begin by restating what, I think, anthropology is. It is, for me, a generous, open-ended, comparative, and yet critical inquiry into the conditions and potentials of human life in the one world we all inhabit. It is generous because it is founded in a willingness to both listen and respond to what others have to tell us. It is open-ended because its aim is not to arrive at final solutions that would bring social life to a close but rather to reveal the paths along which it can keep on going. Thus the holism to which anthropology aspires is the very opposite of totalisation. Far from piecing all the parts together into a single whole, in which everything is ‘joined up’, it seeks to show how within every moment of social life is enfolded an entire history of relations of which it is the transitory outcome. Anthropology is comparative because it acknowledges that no way of being is the only possible one, and that for every way we find, or resolve to take, alternative ways could be taken that would lead in different directions. Thus even as we follow a particular way, the question of ‘why this way rather than that?’ is always at the forefront of our minds. And it is critical because we cannot be content with things as they are.

[…]

Like participant observation, design offers anthropology a way of working that avoids the schizochrony of ethnographic inquiry, and a viable alternative to traditional anthropology-by-means-of-ethnography. The observations, descriptions and propositions of design anthropology are not retrospective but prospective: their purpose is not to interpret but to transform. Design, in short, is not and cannot be a practice of ethnography; it is rather an alternative way to ethnography of doing anthropology – a way that releases the speculative and experimental possibilities of the discipline that the traditional appeal to ethnography has suppressed.”

—Tim Ingold: Design Anthropology Is Not, and Cannot Be, Ethnography (.doc) [https://kadk.dk/sites/default/files/08_ingold_design_anthropology_network.doc ]"]]></description>
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<item rdf:about="http://www.cd-cf.org/articles/critical-design-and-the-critical-social-sciences/">
    <title>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</title>
    <dc:date>2015-05-22T06:05:28+00:00</dc:date>
    <link>http://www.cd-cf.org/articles/critical-design-and-the-critical-social-sciences/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="http://www.cd-cf.org/">
    <title>Critical Design Critical Futures</title>
    <dc:date>2015-05-21T06:29:10+00:00</dc:date>
    <link>http://www.cd-cf.org/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>criticaldesign design criticism designcriticism speculativedesign designfiction</dc:subject>
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<item rdf:about="http://www.flagofplanetearth.com/">
    <title>The International Flag of Planet Earth</title>
    <dc:date>2015-05-19T06:11:36+00:00</dc:date>
    <link>http://www.flagofplanetearth.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>flags earth design speculativedesign</dc:subject>
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<item rdf:about="https://vimeo.com/99370137">
    <title>Lisa Ma - Human Invasives Interaction on Vimeo</title>
    <dc:date>2015-03-28T06:36:33+00:00</dc:date>
    <link>https://vimeo.com/99370137</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here: https://www.youtube.com/watch?v=v-VADQ-NG4E ]

[See also: 

“Designer Lisa Ma wants us to eat grey squirrels”
http://www.wired.co.uk/magazine/archive/2014/01/play/pests-on-a-plate

http://www.lisama.co.uk/

“The future of activism isn’t loud. There’s a world of innovation in the field of activism that we are wasting away.”

"Lisa Ma socializes activism. Combining ethnographic research and speculative design, Lisa Ma creates platforms of engagement from surprising insights and processes that deeply resonate with the global technological community.

Placing herself as a critical explorer, Lisa Ma has built, for the city of Ghent - a political culture of consuming the invasive species that the vegetarian town would otherwise pay to poison; for a joystick factory in Shenzhen - coined the scheme of Farmification to save the worker community through technology innovation; for London Heathrow Airport - gather opposing communities between planning historians, activists to construct heritage tours of the surrounding villages under threat from the airport expansion. Through sweet storytelling of unlikely events, Lisa Ma bridges organisations with communities and through everyday clashes of values between what we do and what we believe in to make us think deeper about the future.

Lisa Ma holds a MA in Design Interactions at Royal College of Art in London and BA from Central Saint Martins. She worked as a designer/strategist with Pentagram and Deutsche Telekom's Creation Centre before making collaboration projects with Ted Global in Edinburgh, Kanvas TV in Belgium and Broadway with Arts Council."]]]></description>
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<item rdf:about="https://vimeo.com/112105187">
    <title>Anab Jain, “Design for Anxious Times” on Vimeo</title>
    <dc:date>2015-02-08T02:36:31+00:00</dc:date>
    <link>https://vimeo.com/112105187</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="http://www.nicolasnova.net/pasta-and-vinegar/2015/1/26/new-book-on-design-ethnography">
    <title>New book on 'Design Ethnography' — pasta and vinegar</title>
    <dc:date>2015-01-26T22:30:09+00:00</dc:date>
    <link>http://www.nicolasnova.net/pasta-and-vinegar/2015/1/26/new-book-on-design-ethnography</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here's the book blurb:

<blockquote>"What do designers mean when they say they’re going to do “ethnography” and “field research”? What are the relationships between observing people and designing products or services? Is there such a thing as a “designerly” way of knowing people? This book is a report from a research project conducted at HEAD – Genève that addressed the role of people-knowing in interaction/media design. It describes the wide breadth of approaches used by designers to frame their work, get inspiration or speculate about plausible futures. This book presents practitioners’ tactics and illustrates them with several cases. Unlike many resources on user-centered design, it takes a broader approach to design by considering cases in which design is not only a problem-solving activity, but a tool to speculate about the near future, reformulate problems or propose a critical discourse on society. In doing so, this book helps designers, students and consultants to challenge their own perceptions and update their approaches."</blockquote>

The book is a collective effort, with texts from John Thackara, Julian Bleecker, Sara Ljungblad, Gilles Baudet, Anab Jain and Jon Ardern, James Auger, Virginia Cruz and Nicolas Gaudron, Liam Young, Fabian Hemmert, Steve Portigal, Gordan Savičić and Selena Savić, Anne-Catherine Sutermeister and Jean-Pierre Greff. 

It can be purchased online here at we-make.it [http://we-make.it/shop/ and http://wemakeitberlin.tictail.com/product/design-ethnography ]"]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futurism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nearfuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fieldresearch"/>
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</item>
<item rdf:about="https://twitter.com/JosieHolford/status/553014669611630592">
    <title>JosieHolford on Twitter: &quot;It's a way - an expanding set of thinking practices @MrBlendy for getting from where we are now to where we want to be. #dtk12chat&quot;</title>
    <dc:date>2015-01-08T05:43:14+00:00</dc:date>
    <link>https://twitter.com/JosieHolford/status/553014669611630592</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“[Design thinking] It's a way - an expanding set of thinking practices @MrBlendy for getting from where we are now to where we want to be.”

“So basically - is design thinking about strategizing our collective futures? #dtk12chat”
https://twitter.com/JosieHolford/status/553016235374686208]]></description>
<dc:subject>josieholford designthinking utopia speculativefiction speculativedesign future futures 2015 howwethink education learning schools design thinking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:03e5f8058850/</dc:identifier>
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</item>
<item rdf:about="http://www.parsonscharlesworth.com/NEW-SURVIVALISM-Alternative-Bug-Out-Bags">
    <title>NEW SURVIVALISM: Alternative 'Bug Out Bags' - Parsons &amp; Charlesworth</title>
    <dc:date>2014-11-24T09:11:39+00:00</dc:date>
    <link>http://www.parsonscharlesworth.com/NEW-SURVIVALISM-Alternative-Bug-Out-Bags</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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 ]]]></description>
<dc:subject>2014 timparsons jessicacharlesworth speculativefiction designfiction speculativedesign survivalism future</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9d58d42d35bb/</dc:identifier>
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</item>
<item rdf:about="http://mediadesignpractices.net/">
    <title>MDP: Media Design Practices MFA at Art Center College of Design</title>
    <dc:date>2014-11-02T02:55:37+00:00</dc:date>
    <link>http://mediadesignpractices.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Media Design Practices. We are dedicated to defining new practices in design. Our graduates are prepared for a lifetime of invention.

…
Our vision is to educate designers not for the world as it is, but as it is becoming, to think hard about what it means to use our agency as designers to make the world as we may want it to be.

To take this on, we offer two tracks: Lab and Field. Each track, in its own way, orients the designer toward the challenges of the future and the changing role of design.

In the Lab track, students work in a studio context, using design to pose questions through applied and speculative projects that engage with emerging communication technologies and cultural practices. We move beyond the problem-solving paradigm to position the designer as a researcher with a distinct point-of-view who uses design to understand and engage with the world. We are expressly preparing media designers to take high performing roles in domains that are future-oriented and whose effects are far-reaching: information and communication technology, foresight units, industry R&D, scientific research labs, communication media, knowledge production, infrastructure and policy-making, and entrepreneurial or independent practices.

In the Field track, run in collaboration with Designmatters, students work in a real-world context where social issues, media infrastructure, and communication technology intersect. With the Field track, we take on the ethics, politics, and practices of design in the realm of social change (including the rhetoric of “good”). Our students experience the power dynamics of high-, low-, and no-tech communications in a social context firsthand. We are preparing designers to take an active role in the creation of new models for international development and civic engagement through work in communities, institutions, governments, and entrepreneurial endeavors. Our graduates build viable lifelong design practices that engage directly with the human condition.

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

Both tracks share a commitment to inquiry through design, disciplinary and cultural hybridity, and a belief that critical reflection is at the core of an engaged design practice.

Students in both tracks share the same studio, workshops, facilities, and a weekly colloquium, all of which creates a healthy dialogue between the work that is created for two very different contexts. The juxtaposition of the tracks creates a unique situation among graduate programs, one that encourages vital issues to arise.

By necessity, we work incredibly hard. We believe it's not worth it unless there is a contribution to be made; we are not the least bit interested in replicating the status quo. If this sounds like the kind of design you'd like to be part of, we invite you to join us — as a student, a partner, or a guest.

— Anne Burdick, Chair"

[See also: https://vimeo.com/84281017
http://www.artcenter.edu/accd/programs/graduate/media_design.jsp ]]]></description>
<dc:subject>accd artcenter design education media webdev designeducation altgdp speculativedesign designmatters ethics crticaldesign anneburdick inquiry lcproject openstudioproject interdisciplinary transdisciplinary webdesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a71f12ce9343/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=vF6WRXtKMSQ">
    <title>Improving Reality 2013 - Paul Graham Raven - YouTube</title>
    <dc:date>2014-10-15T00:06:32+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vF6WRXtKMSQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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 ]]]></description>
<dc:subject>2013 paulgrahamraven infrastructure designfiction speculativedesign speculativefiction criticaltheory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dc9589c95a80/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
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</item>
<item rdf:about="http://www.z33.be/en/projects/future-fictions">
    <title>Future Fictions | z33</title>
    <dc:date>2014-09-25T18:37:37+00:00</dc:date>
    <link>http://www.z33.be/en/projects/future-fictions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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"]]></description>
<dc:subject>speculativefiction speculativedesign future designfiction annegalloay 2014 karenverschooren</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9526874aa901/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annegalloay"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://penguinrandomhouse.ca/hazlitt/feature/novel-and-future-near-future">
    <title>The Novel and the Future of the Near Future | Hazlitt Magazine | Hazlitt</title>
    <dc:date>2014-09-21T01:55:30+00:00</dc:date>
    <link>http://penguinrandomhouse.ca/hazlitt/feature/novel-and-future-near-future</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
<dc:subject>ryanbigge designfiction speculativefiction speculativedesign blackmirror 2014 brucesterling charliebrooker</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:707a59b787e3/</dc:identifier>
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</item>
<item rdf:about="http://extrapolationfactory.com/">
    <title>The Extrapolation Factory</title>
    <dc:date>2014-09-20T20:39:56+00:00</dc:date>
    <link>http://extrapolationfactory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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"]]></description>
<dc:subject>hriswoebken elliottmontgomery extrapolationfactory designfiction design futures future speculativedesign speculativefiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95ae832ec975/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hriswoebken"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elliottmontgomery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:extrapolationfactory"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/@pedroliveira_/cheat-sheet-for-a-non-or-less-colonialist-speculative-design-9a6b4ae3c465">
    <title>Cheat Sheet for a Non (or Less) Colonialist Speculative Design — Medium</title>
    <dc:date>2014-09-16T19:51:38+00:00</dc:date>
    <link>https://medium.com/@pedroliveira_/cheat-sheet-for-a-non-or-less-colonialist-speculative-design-9a6b4ae3c465</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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 ]]]></description>
<dc:subject>speculativedesign criticaldesign luizaprado pedrooliveira 2014 colonialism designcolonialism imperialism dunne&amp;raby designfiction speculativefiction fionaraby</dc:subject>
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    <title>DRAFT - How We Future - Review of Dunne &amp; Raby _Speculative Everything_ | cameron tonkinwise - Academia.edu</title>
    <dc:date>2014-08-22T05:32:11+00:00</dc:date>
    <link>https://www.academia.edu/7710031/DRAFT_-_How_We_Future_-_Review_of_Dunne_and_Raby_Speculative_Everything_</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>camerontonkinwise speculativefiction designfiction fionaraby anthonydunne crticism 2014 dunne&amp;raby speculativedesign</dc:subject>
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<item rdf:about="http://a-pare.de/">
    <title>A PAREDE ツ hello[at]a-pare.de</title>
    <dc:date>2014-07-10T02:16:48+00:00</dc:date>
    <link>http://a-pare.de/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
<dc:subject>luizaprado pedrooliveira criticaldesign speculativedesign designresearch gender sound berlin brazil brasil aparede designfiction</dc:subject>
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<item rdf:about="https://medium.com/@prbeckman/reflections-on-the-utility-of-the-poetic-imagination-3d4cd9480fd6">
    <title>Reflections on the Utility of the Poetic Imagination — Medium</title>
    <dc:date>2014-06-22T06:28:43+00:00</dc:date>
    <link>https://medium.com/@prbeckman/reflections-on-the-utility-of-the-poetic-imagination-3d4cd9480fd6</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
<dc:subject>designfiction speculativedesign criticaldesign speculativefiction 2014 prbeckman process imagination creativity prototyping sciencefictionprototyping</dc:subject>
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<item rdf:about="https://medium.com/designing-the-future">
    <title>Designing the Future — Medium</title>
    <dc:date>2014-06-22T06:27:02+00:00</dc:date>
    <link>https://medium.com/designing-the-future</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Posts on Design Fiction, Critical Design, and Speculative Design"]]></description>
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<item rdf:about="http://ablersite.org/2014/06/16/studio-lab-workshop/">
    <title>studio : lab : workshop | Abler.</title>
    <dc:date>2014-06-17T23:33:24+00:00</dc:date>
    <link>http://ablersite.org/2014/06/16/studio-lab-workshop/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been saying for some years now that my wish is to be as close to science-making as possible: that is, not merely teaching complementary art and design practices for young scientists in training, but to be in the formative stages of research and development much further upstream in the process. Asking collaboratively: What research questions are worthy questions? What populations and individuals hold stakes in these questions? Are there important queries that are forgotten? Could parallel questions be pursued in tandem—some quantitative, others qualitative? And how do we engage multiple publics in high-stakes research?"

To put it another way: What happens when extra-disciplinary inquiry lives alongside traditional forms of research—especially when those traditional forms occupy the disciplinarily privileged status of the STEM fields? Inviting both generalist and specialist approaches starts to hint at what a “both-and” disposition could look like. As here in David Gray’s formulation of specialists and generalists:

[image]

Breadth, he says, is the characteristic of the generalist, and depth the characteristic of the specialist. A thriving academic research program surely needs both: but not just in the forms of symposia, scholarly ethics, or data visualization to (once more) “complement” or even complicate the science. It’s the last note of Gray’s that I’m particularly paying attention to, because it’s what good critical design and hybrid arts practices often do best: They act as boundary objects. 

Gray says those objects can be “documents, models, maps, vocabulary, or even physical environments” that mark these intersections of broad and deep ideas. Well, I’d say: especially physical environments and phenomena. At the scale of products or screens or architectural spaces, these objects can act as powerful mediators and conduits for ideas. They can become modes of discourse, opportunities for public debate, sites of disciplinary flows.

It’s these kinds of objects that I’d like to be a feature of the studio/lab/workshop I’ll bring to Olin: An ongoing pursuit of ideas-in-things that live at all the various points along a continuum between practical use, on the one hand, and symbolic or expressive power on the other. Two poles in the manner still most accessibly captured by Anthony Dunne and Fiona Raby—both of which I’d like to be present.

And what does this mean for the habits of mind we cultivate? I return often to the ideas of Jack Miles in this essay—also about generalists and specialists, with a key useful heuristic: that specialists tend to embody the disposition of farmers, while generalists tend to embody the virtues of hunters. Both are necessary, and both need each other. The careful tending to a field whose needs are more or less known, protected, and nurtured further, on the one hand. And the more landscape-crossing, round-the-next-bend pursuit of the not yet known and its promised nourishment, on the other.

I want students to try out and value both operative modes, no matter where their own career paths take them. Knowing that others are also asking valuable questions in different disciplinary ways ideally breeds humility: a sense that what one has to offer could be enriched when conjoined in conversation with others whose expertise may not be immediately legible from within a silo.

And not just humility: I want students in engineering to know that their practices can be both private and public, that their status as citizens can be catalyzed through making things. Things that may be practical, performative, or both.

In practical terms, we’ll be looking at labs like Tom Bieling’s Design Abilities group in Berlin, Ryerson’s EDGE Lab, the Age and Ability Lab at RCA, and the newly-formed Ability Lab at NYU Poly. But we’ll also be looking methodologically at Kate Hartman’s Social Body Lab at OCAD, at the CREATE group at Carnegie Mellon, and of course Natalie Jeremijenko’s Environmental Health Clinic.

Possible paths to pursue: A “design for one” stream of prosthetic devices made for one user’s self-identified wish or need. An ongoing partnership with any of a number of schools or clinics in the Boston area where provisional and low-tech assistive devices could make education more responsive to children’s up-to-the-minute developmental needs. Short-term residencies and workshops with critical engineers and artists working with technology and public life. Public, investigative performances and installations that address issues of ability, dependence, and the body in the built environment.

These things will take time! I can’t wait to begin."]]></description>
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<item rdf:about="http://www.superflux.in/blog/failed-states">
    <title>Failed States: A Tactical Design Workshop | superflux</title>
    <dc:date>2014-06-09T22:12:30+00:00</dc:date>
    <link>http://www.superflux.in/blog/failed-states</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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. "]]></description>
<dc:subject>superflux anabjain failedstates speculativefiction speculativedesign designfiction speculativecriticaldesign criticaldesign justinpickard immigration migration future government switzerland design complexity uncertainty prediction 2014 surveillance networks danielschiboz nicolasnova marionschmidt</dc:subject>
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<item rdf:about="http://www.drs2014.org/en/presentations/350/">
    <title>DRS 2014: Privilege and Oppression: Towards an Intersectional Critical Design</title>
    <dc:date>2014-06-03T19:55:38+00:00</dc:date>
    <link>http://www.drs2014.org/en/presentations/350/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="http://disegnodaily.com/features/alexandra-daisy-ginsberg-and-the-problem-of-design-fictions">
    <title>Alexandra Daisy Ginsberg and the problem of design fictions | Features | Disegno Daily</title>
    <dc:date>2014-05-13T18:38:26+00:00</dc:date>
    <link>http://disegnodaily.com/features/alexandra-daisy-ginsberg-and-the-problem-of-design-fictions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["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."]]></description>
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<item rdf:about="https://twitter.com/annegalloway/status/465644738255659008">
    <title>Twitter / annegalloway: Compiling a list of non-sci-tech ...</title>
    <dc:date>2014-05-13T00:16:04+00:00</dc:date>
    <link>https://twitter.com/annegalloway/status/465644738255659008</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Compiling a list of non-sci-tech based speculative/critical design projects and it’s remarkably short. What are some of people’s favourites?"]]></description>
<dc:subject>speculativedesign criticaldesign designfiction annegalloway 2014 design</dc:subject>
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<item rdf:about="http://blog.ted.com/2014/03/21/instead-of-futurists-lets-be-now-ists-joi-ito-at-ted2014/">
    <title>Instead of futurists, let’s be now-ists: Joi Ito at TED2014 | TED Blog</title>
    <dc:date>2014-03-26T03:27:22+00:00</dc:date>
    <link>http://blog.ted.com/2014/03/21/instead-of-futurists-lets-be-now-ists-joi-ito-at-ted2014/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Update 8 July 2013: video now at http://www.ted.com/talks/joi_ito_want_to_innovate_become_a_now_ist ]

"Remember before the internet? Ito calls this period ”B.I.” In this stage of the world, life was simple and somewhat predictable. “But with the internet, the world became extremely complex. The Newtonian laws that we so cherished turned out to be just local ordinances … Most of the people who were surviving are dealing with a different set of principles.”

In the B.I. world, starting a business had a clear timeline: says Ito, you hired MBAs to write a business plan, you raised money, and then you built the thing you wanted to build. But in the AI world, the cost of innovation has come down so much that you start with the building—and then figure the money and business plan. “It’s pushed innovation to the edges, to the dorms rooms and startups, and away from stodgy organizations that had the money, the power and the influence.”

During Nicholas Negroponte’s era at the MIT Media Lab, the motto he proposed was: “Demo or die.” He said that the demo only had to work once.But Ito, who points out that he’s a “three-time college dropout,” wants to change the motto to: “Deploy or die.” He explains, “You have to get it into the real world to have it actually count.”

Ito takes us to Shenzhen, China, where young inventors are taking this idea to the next level. In the same way that “kids in Palo Alto make websites,” these kids make cell phones. They bring their designs to the markets, look at what’s selling and what others are doing, iterate and do it over again. “What we thought you could only do in software, kids in Shenzhen are doing in hardware,” he says.

He sees this as a possibility for the rest of us, too. He introduces us to the Samsung Techwin SMT SM482 Pick & Place Machine, which can put Samsung machine can put 23,000 components on an electronics board, something that used to take an entire factory. “The cost of prototyping and distributing is becoming so low that students and software can do it too,” says Ito. He points to the Gen9 gene assembler. While it used to take millions and millions of dollars to sequence genes, this assembler can do it on a chip, with one error per 10,000 base pairs. In the space of bioengineering. “This is kind of like when we went from transistors racked by hand to Pentium, pushing bioengineering into dorm rooms and startup companies,” he says.

Of course, this new model is scary. “Bottom-up innovation is chaotic and hard to control,” he says. But it’s a better way. It’s a way that lets you pull resources—both human and technical—when you need them rather than hoarding what you think you’ll need before you start. And we need to educate children to think along on these lines. “Education is what people do to you and learning is what you do for yourself,” says Ito. “You’re not going to be on top of mountain all by yourself with a #2 pencil … What we need to learn is how to learn.”

Ito urges us to follow a compass rather than a map. Instead of planning out every exact points before you start, allow yourself to make the decisions you need as you go in the general direction of where you need to be.

“I don’t like the word ‘futurist,’” he says. “I think we should be now-ists. Focus on being connected, always learning, fully aware and super present.”"]]></description>
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