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Design Futures through Design Fiction
This document discusses how design fiction and speculative design can be used to explore possible futures through fictional prototypes and worlds. It provides examples of early speculative design works from Bel Geddes, Superstudio, and Archigram. Design fiction is defined as using diegetic prototypes to suspend disbelief about change and explore potential objects and services rather than entire fictional worlds. Examples are given of how games can also act as a form of speculative design and critical design to allow consideration of alternate presents and futures. The document argues that speculative design works should enable a plurality of futures, be plausible, allow for both showing and telling stories, be iterative processes, avoid reductionism, and remain in a perpetual beta state.
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Design Futures through Design Fiction
- 1. Design Futures throughDesign Fiction Professor Paul Coulton Chair of Speculative and Game Design, Lancaster University, UK @ProfTriviality
- 2. Research Practice R r Researchinto Design Research through Design Research for Design Process Artifact New Knowledge research questions emerge from context and criteria
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- 6. Vapourware Vaporware is aterm commonly used to describe software and hardware that’s is announced, and sometimes marketed, but never actually produced ATARII 2700
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- 9. Future Present Future Time Probable PlausiblePossible Josepth Voros Impossible - based on current scientific knowledge
- 10. Possible Present Future Time Probable -likely to happen Plausible - could happen Possible - might happen Future
- 11. Critical Design Present Future Time ProbablePlausible Possible Preferable
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- 13. PREFERABLE SHOULD BEA QUESTION WE ASK OURSELVES NOT SIMPLY THE AIM
- 14. Speculative Design Auger use fiction nocommercial constraints prototype driven
- 15. Speculative Design use fiction nocommercial constraints prototype driven irreverant Auger Coulton
- 16. Design Fiction “deliberate useof diegetic prototypes to suspend disbelief about change... It means you’re thinking very seriously about potential objects and services and try to get people to concentrate on those – rather than entire worlds or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories” Bruce Sterling
- 17. Design Fiction “deliberate useof diegetic prototypes to suspend disbelief about change... It means you’re thinking very seriously about potential objects and services and try to get people to concentrate on those – rather than entire worlds or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories” Bruce Sterling
- 18. Diegesis mimesis and diegesisdescribe ways of presenting a story. In mimesis, the story is acted out. In diegesis, the story is narrated. Mimesis is show. Diegesis is tell.
- 19. Diegetic Prototypes “have amajor rhetorical advantage even over true prototypes: in the fictional world – what film scholars refer to as diegesis – as these technologies exist as real objects that function properly and that people can actually use.” Kirby 2009
- 20. Present adapted from JamesAuger Present Future Domestication Emerging Technology Speculative Futures Design Fictions Vapour Fiction Past Speculative Futures Design Fictions Vapourware Alternate Presents or Lost Futures
- 21. Present Present History, Reality, and Fiction Past Future Gonzatto,R. F., van Amstel, F. M., Merkle, L. E., & Hartmann, T. (2013). The ideology of the future in design fictions. Digital creativity, 24(1), 36-45.
- 22. Past “We look atthe present through a rear-view mirror. We march backwards into the future” Marshall Mcluhan
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- 24. Design Fiction “So adesign fiction is (1) something that creates a fictional world, (2) has something being prototyped within that fictional world, (3) does so in order to create a discursive space.” “Although this definition appears straightforward, complexity arrives when we consider what something may be” Lindley and Coulton
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- 27. World Building In responseto the recent European Directive the UK government sanctioned the use of drones by commercial providers subject to pilots holding an approved Drone Pilot Proficiency Certificate (DPPC). As the government anticipated the main use has been in providing services to local authorities that aid in the enforcement of local by-laws. Whilst many commercial providers have followed the traditional path of employing dedicated enforcement officers to pilot the drones, in this paper we present on-going research that 'gamifies' the enforcment activities to allow members of the local community to act as enforcement officers. In particular we have worked with retired members of the police and armed services as drone pilots in relation to the enforcement of by-laws relating to parking offences and dog fouling in a small UK city. The initial results indicate that not only does this age group find the game-like activity enjoyable they feel that they are providing an important service to their community.
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- 32. Voigt-Kampff A MACHINE FROMTHE FUTURE
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- 39. allowing players toconsider alternate presents and plausible futures Games as Speculative Design
- 40. Critical Games thus farthe focus of the critical games created has primarily been either: critiques of current events or practices; or critiques of games themselves
- 41. Critical Games Phone Story- Mollie Industria giant joystick - Mary Flanagan
- 42. Persuading through Games PersuasiveTechnology Procedural Rhetoric(Gamification) VS Persuasive Games liminal liminoid
- 43. Persuasive Technology B.J Fogg Captology- reduce a problem so that it can be addressed through the promotion of minor behavioural change for easily understood and uncontroversial goals.
- 44. Persuasive Technology High Ability Low Ability High Motivation Low Motivation Target Behaviour D esired Trajectory ofU sers FACILITATOR SPARK SIGNAL SIGNAL The Facilitatoris a trigger that also makes the desired behaviour easier to perform. The Signal is a trigger that identifies an appropriate time to perform a particular behaviour for those already motivated to perform that behaviour. The Spark is a trigger that provides the initial inspiration to change behaviour. B.J Fogg
- 45. Rhetoric Pathos (empathy) Ethos (credibility) Logos (logic) CONTEXT Aristottle Logos - wouldutilise facts, statistics, analogies, and logical reasoning. Ethos - would draw upon credibility, reliability, trustworthiness and fairness. Pathos - would appeal to our emotions and draw upon feelings of fairness, love, pity, or even greed, lust, or revenge.
- 46. Rhetoric of Design RhetorAudience Speech Intent Expectations Rhetoric
- 47. Graphic Designer Audience Image Intent Expectations VisualRhetoric Rhetoric of Design
- 48. Designer Users Product Intent Expectations Design asRhetoric Rhetoric of Design Richard Buchanan
- 49. Game Game Designer Player Rules Interaction GameDesign as Rhetoric Rhetoric of Design the basic representational mode of videogames is “procedurality”, enacted through rule- based representations and interactions and, when used to reveal processes or concepts of another system, present the player with a procedural rhetoric Ian Bogost
- 50. Interactive System Interaction DesignerUser System Logic Interaction Interactive Systems as Rhetoric Rhetoric of Design Coulton
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- 56. Scale Charles and RayEames Powers of 10
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- 58. Games as SpeculativeDesign Should: Enable a Plurality of Futures Be Plausible Enable both Mimesis and Diegesis Be Iterative Not Resort to Reductionism Perpetual Beta
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