Keynote speech at the Junior Research Day - Swiss Design Network Basel, October 28th, 2010.
This talk was intended to give students an overall perspective of the relationships between Sci-Fi and design.
INCORPORATING DIGITAL ARTS IN IGBO-THEMED MOVIE PRODUCTIONS: The Way Forwardikennaaghanya
Film production in developed nations have gone digital, and the old ways of producing movies is gradually dying. The Nigerian Movie Industry, popularly referred to as ‘Nollywood’ is yet to come to terms with this, despite being ranked the third highest grossing movie maker in the world, behind ‘Hollywood’ in the United States of America and ‘Bollywood’ in India. Computer Graphics, Animation and Special Effects created with computers have been embraced by movie studios in developed nations. Film editors, who for decades worked by painstakingly cutting and gluing film segments together, are now sitting in front of computer screens. There, they edit entire features while adding special effects, animations and sound that is not only stored digitally, but also has been created and manipulated with computers. Viewers are witnessing the results of all this in the form of stories and experiences that they never dreamed of before. The emphasis of this paper is to create more awareness on the need for Film Makers, Producers, Directors and all other Stake-holders involved in the making of Igbo–themed Nollywood Movies, to incorporate computer graphics, animations and special effects in their movie productions, and also to encourage more people to get involved in this virgin area of film production. By doing this, the movies produced would be globally accepted and would compete with other movies from around the globe. This in-turn would create positive awareness for the Igbo people, in a globalized society, create employment for them, create wealth for all the other stakeholders involved in the movie industry and most importantly would be generally beneficial in terms of promoting Igbo culture and dignity. Perhaps the most surprising aspect of all this, however, is that the entire digital effects and animation industry is still in its infancy in Nigeria. Igbo Nollywood practitioners must tap-into this very virgin area of film production. The future of Igbo-themed Nollywood Movies looks very bright
In this presentation, we analyse some of the aspect of media experimentation, taking the example of a laboratory for media at the Massachusetts Institute of Technology.
After examining how media research consists in creating new imaginaries (visual or experiental depictions, situations) a.k.a the "future", we then examine how these created facts (fictum, narratives) are usually presented as new and believable (plausible) celebrating things to come and in the same time carry out themes or topics that are in fact part of a bigger, mythical techno-cosmogony.
We conclude by synthetising both our future arguments and fictive counter-arguments in the context of media response abilities when it comes to amplify story-bits in media systems (memetic resonance). We propose in particular to add contextual elements to the repetition of narrative arguments made by story professionnals and also to encourage creative reconfiguration of both memes and their context in a pragmatic, and free attitude, where narratives are not only embodied as stories-objects but also as tools for action, recreation and playful reconfiguration of socio-material practices.
Black Ice & Mirrorshades: An Introduction to CyberpunkChitChat
This presentation was originally prepared for the Wellesley College Science-Fiction/Fantasy Society in February 2004. It covers the sci-fi sub-genre of cyberpunk, which I would argue has had more influence on mainstream pop culture than any since the vision of opportunity presented in early space opera drove the US/Russian space race.
Design Fiction: A short slideshow on design, science, fact and fictionJulian Bleecker
http://cli.gs/DesignFictionEssay
An exploration of the entanglements amongst science fiction and science fact, in order to show how they are not distinct, but infinitely knotted together. Why do this? In order to wonder — what are effective ways of designing the future?
Design fiction is making things that tell stories. It's like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, its ability to speculate about the course of events; all of the unique abilities of science fiction to incite imagination-filling conversations about possible habitable, life-affirming future worlds.
A larger discussion of this slidshow overview is available here: http://cli.gs/DesignFictionEssay
Design Fiction: Something and the Something in the Age of the SomethingJulian Bleecker
Presentation at Design Engaged 2008 of some early thinking on props, prototypes and fiction as frameworks for engaging design activities. Ideas in process.
More at: http://tinyurl.com/45sv3z
(2015) Designing to trigger reflection: state of my telepresence researchesMax Mollon
Mollon, M. (2015). Designer pour faire réfléchir : état de mes recherches sur la téléprésence (“Designing to trigger reflection: state of my telepresence researches”). In Cécile Martin (teacher). Presented at Université Paris-8, Master 2 Numérique : enjeux & technologies (NET), Paris. (Dec. 15th).
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
From the Minitel to the Nabaztag: lessons from French design iconsnicolas nova
Slides from a talk at ixda interaction 18 in Lyon, France, about the lessons one can derive from exploring past technologies. I took the French context and describe the implications of the Minitel, the Nabaztag,T Teletactica as well as the Jacquard Loom for interaction design nowadays.
INCORPORATING DIGITAL ARTS IN IGBO-THEMED MOVIE PRODUCTIONS: The Way Forwardikennaaghanya
Film production in developed nations have gone digital, and the old ways of producing movies is gradually dying. The Nigerian Movie Industry, popularly referred to as ‘Nollywood’ is yet to come to terms with this, despite being ranked the third highest grossing movie maker in the world, behind ‘Hollywood’ in the United States of America and ‘Bollywood’ in India. Computer Graphics, Animation and Special Effects created with computers have been embraced by movie studios in developed nations. Film editors, who for decades worked by painstakingly cutting and gluing film segments together, are now sitting in front of computer screens. There, they edit entire features while adding special effects, animations and sound that is not only stored digitally, but also has been created and manipulated with computers. Viewers are witnessing the results of all this in the form of stories and experiences that they never dreamed of before. The emphasis of this paper is to create more awareness on the need for Film Makers, Producers, Directors and all other Stake-holders involved in the making of Igbo–themed Nollywood Movies, to incorporate computer graphics, animations and special effects in their movie productions, and also to encourage more people to get involved in this virgin area of film production. By doing this, the movies produced would be globally accepted and would compete with other movies from around the globe. This in-turn would create positive awareness for the Igbo people, in a globalized society, create employment for them, create wealth for all the other stakeholders involved in the movie industry and most importantly would be generally beneficial in terms of promoting Igbo culture and dignity. Perhaps the most surprising aspect of all this, however, is that the entire digital effects and animation industry is still in its infancy in Nigeria. Igbo Nollywood practitioners must tap-into this very virgin area of film production. The future of Igbo-themed Nollywood Movies looks very bright
In this presentation, we analyse some of the aspect of media experimentation, taking the example of a laboratory for media at the Massachusetts Institute of Technology.
After examining how media research consists in creating new imaginaries (visual or experiental depictions, situations) a.k.a the "future", we then examine how these created facts (fictum, narratives) are usually presented as new and believable (plausible) celebrating things to come and in the same time carry out themes or topics that are in fact part of a bigger, mythical techno-cosmogony.
We conclude by synthetising both our future arguments and fictive counter-arguments in the context of media response abilities when it comes to amplify story-bits in media systems (memetic resonance). We propose in particular to add contextual elements to the repetition of narrative arguments made by story professionnals and also to encourage creative reconfiguration of both memes and their context in a pragmatic, and free attitude, where narratives are not only embodied as stories-objects but also as tools for action, recreation and playful reconfiguration of socio-material practices.
Black Ice & Mirrorshades: An Introduction to CyberpunkChitChat
This presentation was originally prepared for the Wellesley College Science-Fiction/Fantasy Society in February 2004. It covers the sci-fi sub-genre of cyberpunk, which I would argue has had more influence on mainstream pop culture than any since the vision of opportunity presented in early space opera drove the US/Russian space race.
Design Fiction: A short slideshow on design, science, fact and fictionJulian Bleecker
http://cli.gs/DesignFictionEssay
An exploration of the entanglements amongst science fiction and science fact, in order to show how they are not distinct, but infinitely knotted together. Why do this? In order to wonder — what are effective ways of designing the future?
Design fiction is making things that tell stories. It's like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, its ability to speculate about the course of events; all of the unique abilities of science fiction to incite imagination-filling conversations about possible habitable, life-affirming future worlds.
A larger discussion of this slidshow overview is available here: http://cli.gs/DesignFictionEssay
Design Fiction: Something and the Something in the Age of the SomethingJulian Bleecker
Presentation at Design Engaged 2008 of some early thinking on props, prototypes and fiction as frameworks for engaging design activities. Ideas in process.
More at: http://tinyurl.com/45sv3z
(2015) Designing to trigger reflection: state of my telepresence researchesMax Mollon
Mollon, M. (2015). Designer pour faire réfléchir : état de mes recherches sur la téléprésence (“Designing to trigger reflection: state of my telepresence researches”). In Cécile Martin (teacher). Presented at Université Paris-8, Master 2 Numérique : enjeux & technologies (NET), Paris. (Dec. 15th).
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
From the Minitel to the Nabaztag: lessons from French design iconsnicolas nova
Slides from a talk at ixda interaction 18 in Lyon, France, about the lessons one can derive from exploring past technologies. I took the French context and describe the implications of the Minitel, the Nabaztag,T Teletactica as well as the Jacquard Loom for interaction design nowadays.
Skeuomorphs in interaction design: ornament or affordance?nicolas nova
A talk given at Flashbacks: Nostalgic media and mediated forms of nostalgia International Conference (13-14 September 2012) at the University of Geneva.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
Expert Accessory Dwelling Unit (ADU) Drafting ServicesResDraft
Whether you’re looking to create a guest house, a rental unit, or a private retreat, our experienced team will design a space that complements your existing home and maximizes your investment. We provide personalized, comprehensive expert accessory dwelling unit (ADU)drafting solutions tailored to your needs, ensuring a seamless process from concept to completion.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
Unleash Your Inner Demon with the "Let's Summon Demons" T-Shirt. Calling all fans of dark humor and edgy fashion! The "Let's Summon Demons" t-shirt is a unique way to express yourself and turn heads.
https://dribbble.com/shots/24253051-Let-s-Summon-Demons-Shirt
9. Within SciFI: recurring themes over time
2009: Stephanie Schwartz: the evolution of Science-Fiction themes
10. Terminology and idioms
The vocabulary that describes the Internet stemmed partly from
Science-Fiction from the 1980s-1990s
11. The Minority Report effect
... or how pop culture influences people s expectations, tastes and
cultural baggage about future s artifacts and/or technologies
12. The Minority Report effect
A tendency from people to take it as a reference point "Ah, it s like
Minority Report"
13. The Minority Report effect
A tendency from people to take it as a reference point "Ah, it s like
Minority Report"
14. The Minority Report effect
A tendency from people to take it as a reference point "Ah, it s like
Minority Report"
15. Real product or science-fiction prop?
1968: 2001 A Space Odyssey (Stanley Kubrick)
16. Real product or science-fiction prop?
1999: A modified Nokia 8110, The Matrix
17. Real product or science-fiction prop?
1999: eXistenZ pod (David Cronenberg)
18. Real product or science-fiction prop?
2010: some odd Japanese iPhone charger
19. Beyond SciFi: the circulation of cultural elements
2010: Basile Zimmermann. Redesigning Culture: Chinese Characters in
Alphabet-Encoded Networks , Design and Culture, 2-1, 27-43.
R&D Movie- toys Business
20. Engineering-design / Sci-Fi mutual influence
2008: Human Computer Interaction in Science Fiction Movies by
Schmitz, Endres & Butz
21. Engineering-design / Sci-Fi mutual influence
Things also work the other way around - SciFi as a reference in
scientific research
22. Futures always delayed
2007: Bell, G & Dourish, P. Yesterday's Tomorrows: Notes on
ubiquitous computing's dominant vision
23. Props: decoration/objects staged in films
Things also work the other way around - designers participate in
production of Science-Fiction items
27. 1. Implications not just applications Antony Dunne
"A good science fiction story should be able to predict not the
automobile but the traffic jam" Frederik Pohl
28. The door refused to open. It said, Five cents, please.
(...)
payment to his door for opening and shutting constituted a
mandatory fee.
Not a tip.
You discover I m right, the door said. It sounded smug.
From the drawer beside the sink Joe Chip got a stainless steel knife;
with it he began systematically to unscrew the bolt assembly of his
apt s money-gulping door.
I ll sue you, the door said as the first screw fell out.
Joe Chip said, I ve never been sued by a door. But I guess I can live
through it.
Philip K. Dick: Ubik
31. 2. Process: the past from the future
2009: Constellations (Daryl & Popcube): looking at present objects
from a distant future: Rubik s cube seen as a calculating device
32. 3. Recombine metaphors
Steampunk: devices modification with materials such and design
elements consistent with the Victorian era/19th Century
34. 3. Recombine metaphors
Use existing codes to create probes: Newspaper clipping app to craft
fake news from the future
35. Conclusion
Why should designer care about this?
A cultural
baggage
(understand people s
expectations)
A testbed for
visions (evaluate
product ideas +
implications)
Science Fiction
production tricks as
design tactics
36. References
Bell, Genevieve, Dourish, Paul, 2007. Yesterday's Tomorrows: Notes on ubiquitous
computing's dominant vision. Personal and Ubiquitous Computing 11 (2), pp. 133-143
Bleecker, Julian, 2009, "Design fiction: A short essay on design, science, fact and
fiction", Near Future Laboratory, Los Angeles, CA,
Dourish, Paul, Bell, Genevieve, 2008, "'Resistence is Futile': Reading Science Fiction
alongside ubiquitous computing" Personal and Ubiquitous Computing,
Gyger, P. Les voitures volantes. Souvenirs d'un futur rêvé (Favre, 2005)
Schmitz, M., Endres, C., & Butz, A. 2008. A Survey of Human-ComputerInteraction
Design in Science Fiction Movies. Proceedings of the 2nd international conference on
INtelligent TEchnologies for interactive enterTAINment
Shedroff, N, Noessel, C, 2008, "Make It So: What Interaction Designers can Learn
from Science Fiction", in SXSW Conference, Austin, Texas,
Zimmermann. B. 2010. Redesigning Culture: Chinese Characters in Alphabet-
Encoded Networks , Design and Culture, 2-1, 27-43.