Manual for a stranger world
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Manual for a stranger world



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  • Full Name Full Name Comment goes here.
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  • @robotperson Thanks for your comment, slides will be up hopefully this weekendd, I'll send you a tweet when I'm done, cheers. 20 and 22 where not by mistake, but I can see that the other way around would make more sense, I'll give it a try.
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  • Sjors, you should put up your slides from the UX Brighton redux last night. I thought they were different from this set, and I liked the humour :-).
    Small point: I think you've got your figure / ground the wrong way round on slides 20 and 22: I misinterpreted it momentarily.
    Cheers, Rob
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  • @Roundand thanks for your comment, as you say, lean is super useful to get things done, but it is perhaps less useful to dream up things that could be done. Especially those that are very far removed from something tangible.
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  • The trouble with lean approaches is perhaps that they can be so effective that people overlook their bias towards local optimisation - a lean carriage maker would still be wrong-footed by the arrival of automobiles. On a more optimistic note, I think that Lean could still be effective in getting you somewhere visionary, provided, as you say, you have made it your job to have visions in the first place.
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  • It's a case of if all you have is a hammer, everything looks like a nail. Lean is so effective that we start to overlook its bias towards local optimisation. On a more optimistic note, I think Lean methods could also be effective in getting you somewhere visionary, but, as you say so well, only if you make it your job to have visions in the first place.
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    Manual for a stranger world Manual for a stranger world Presentation Transcript

    • Manual for aStranger WorldSjors Timmer
    • We’ve become toopracticalIm a big fan of agile, prototyping, and lean. I think a hands-on, iterative and getting-things-done process is great. But weve lost something, the obsession with makingthings real, limits the scope of things we can make real. It limits us to what ispossible within the constrains of our current world.
    • Companies, due to their nature, are obsessed with tangible details and their deliveryfocussed operations keep us on the path of incremental innovation. We get what weoptimised for, an endless series of extrapolations: faster, lighter, bigger, cheaper. Allvery useful, but what about a different world?
    • A strangerworldWhat about a space far beyond the horizon of the next sprint, the next launch, thenext round of funding? A world of dreams, of ideas, a stranger world?
    • artist,visionary,architectIn architecture there is the curious role for the visionary/artist/architect. Names likeSuperstudio, Archigram and Lebbues Woods are better known for what theyimagined than for what they build.
    • Superstudio
    • Archigram
    • Lebbeus Woods
    • They investigate systems,challenge the rules that governus, and turn answers intoquestionsBy questioning the system as a whole, by challenging the structures that govern us,they turned well worn answers into fresh questions, they created a space to imagine,a framework to dream.
    • ConstantOne of my favourite artist is Constant, originally a painter in the Cobra movement,later a writer/painter with the Situationist and eventually an architect of supposedrealities. He is best known for New Babylon, a fi"teen year long project exploringnew ways of being.
    • New BabylonNew Babylon is based on the premises that through automatisation nobody willhave to work, and being freed from work, you are also liberated from living close towork. This leaves humanity free to roam the planet, free to unleash unboundedcreativity and become Homo Ludens - the playing human.
    • New BabylonTo explore his ideas Constant made models and paintings, gave lectures and wrotearticles.
    • New Babylon
    • ART ARCHITECTUREHe placed himself in a grey borderland between art and architecture; giving youenough to start thinking but never enough to come to a conclusion.
    • New Babylon, perhaps, is not somuch a picture of the future as aleitmotiv – Constant
    • Rather than stipulatingbuilding forms, [...] it suggestspossibilities: ‘This is how itmight look’ – Constant
    • Microso"tHe is thereby different from the all too familiar corporate future visions, where evenutopias are created through customer surveys and focus groups. Visions, where thefuture feels uncannily familiar, a prescriptive path, instead of a wide open ocean.
    • Nokia
    • now futureMost companies take a point in the future
    • now futureFocus on it, and close down all possible other options
    • now futureWhere instead, we should pick a point in the future
    • now futureAnd open things up
    • So, what does thatmean for interactiondesign?What does this mean for us? Similar to Constant we should aim to create buildingblocks that can be used to make more questions. We should take something abstractand make it visible without turning it into a plan.
    • Timo Arnall/Berg – Immaterials: the ghost in the field
    • Timo Arnall – Nearness
    • Brett Victor – Up and down the ladder of abstraction
    • Brett Victor – Inventing on principle
    • Three guidelines fora stranger worldHow can we create spaces that allow us to dream and wonder, how can we startbuilding a stranger world? Designers are well positioned to take a leading role, beingskilled both in theory and practice and capable of articulating ideas by combiningvisualisations, models and theory, they can create ideas that others can use as astarting point to dream differently.
    • 1. make itPersonalAny interesting change has to come from real people, individuals who personallyand passionately feel that things can and should be different. It is up to us, thepeople, to imagine our own futures.
    • 2. make itThoughtful &VisualTheres no shortage of opinions, nor is there a shortage of people making prettypictures. Though what is needed are thoughtful ideas presented in a visual manner.
    • 3. make itOpenSince we cannot think any further than our current culture, we should create pointsto start from. We should give the people from future what we got from those in thepast: building blocks for thought, ready for endless recombinations in ever strangerways.
    • Thank youSjors Timmer@sjors
    • Find moreSlide 1, 13, 14, 15, 16, 17, 18, 20, 22: Constants New Babylon: The Hyper-architecture of Desire  By Mark Wigleypage 33, 108, 121, 198 check also:"ISlide 3: Apple iMac 7: De verloochening van Petrus, Rembrandt Harmensz. van Rijn, 1660: 9: Superstudio: 10: Archigram: 11: Lebbeus Woods: 21: New Babylon: the world of Homo Ludens - Constant: 23: New Babylon: 10 years on - Constant: 24: Microso"t Future Vision: http://www.microso" 25: Nokia Future Vision: 31: Immaterials: the ghost in the field: 32: Nearness: 33: Up and down the ladder of abstraction: 34: Inventing on principle: