Speculative Design and Experiential Futures Stuart Candy
Speculative design and experiential futures are practices for influencing what is possible by materialising the imaginary.
This is an edited version of a presentation by design futurist Stuart Candy to the Stanford d.School class "Decay of Digital Things" (http://decay.io) at the invitation of Elizabeth Goodman (@egoodman) on May 1, 2014.
Speculative Everything: Be a Dreamer with Critical Design and Design FictionMino Parisi
Talk about how be a Dreamer with Critical Design, Design and Ethics. Slides talked about this topics:
- How design will evolve in the Future?
- What's Speculative and Critical Design?
- Who will we design for in the Future?
- What role will design play in the Future of technology?
- How designers will shape the Future?
- Designing futures with Speculative Design Thinking Process
- Who inspires our design mindset?
- What does Ethics mean in design?
Speculative Design and Experiential Futures Stuart Candy
Speculative design and experiential futures are practices for influencing what is possible by materialising the imaginary.
This is an edited version of a presentation by design futurist Stuart Candy to the Stanford d.School class "Decay of Digital Things" (http://decay.io) at the invitation of Elizabeth Goodman (@egoodman) on May 1, 2014.
Speculative Everything: Be a Dreamer with Critical Design and Design FictionMino Parisi
Talk about how be a Dreamer with Critical Design, Design and Ethics. Slides talked about this topics:
- How design will evolve in the Future?
- What's Speculative and Critical Design?
- Who will we design for in the Future?
- What role will design play in the Future of technology?
- How designers will shape the Future?
- Designing futures with Speculative Design Thinking Process
- Who inspires our design mindset?
- What does Ethics mean in design?
This is a short talk and workshop (30' + 90') to give a first introduction to design thinking. Gives theory foundation, notes a few different approaches, and then dives into one of them.
This presentation was first done at ImpactON / StartupChile evening in 2015.
A summary of the basic principles of design thinking, human centered innovation and its application to strategy. Created by Natalie Nixon of Figure 8 Thinking.
A fast-forward tour about Design Thinking by webkeyz.
How design thinking differs from scientific thinking? Why to use it? When to use it? And how design thinking can impact your life?
System Thinking: Design Tools to Drive Innovation Processes Roberta Tassi
The increasing complexity of the world around us raises new challenges for designers, who are called to build cohesive experiences across broad ecosystems of products and services. Dealing with innovation and highly complex services, involving a large number of actors and many different channels, requires the adoption of new skills and techniques, that enable a more effective collaboration with all the stakeholders involved and support the dialogue around articulated systems and large amount of information.
Looking at the theory, Service Design Tools (www.servicedesigntools.org) is a first comprehensive repository of methods and examples that could orientate a designer - or any other professional - approaching the challenges of designing services, to help identifying the right method according to the step of the process, the type of participants and the kind of information that need to be discussed. Jumping to the practice, the power of adopting a systemic approach and shaping tools and frameworks that can re-order and re-distribute knowledge within multifaceted teams to drive innovation processes has changed the way in which highly complex services are conceived and developed across segments - from healthcare to financial -.
The ambition now is to see this evolving more and more into the way societal problems with large scale impact are addressed - bringing the benefit of system thinking into social innovation processes and organisation changes.
Euclid Annual Symposium, Brno 2015
Developed by students at Stanford University, the Design Thinking approach was created to establish a new way to grow innovative products, processes and services. The Design Thinking process consists of six iterative stages which enable participants to seek flexible solutions and innovations concerning the issue they treat.
One important aspect of Design Thinking is the creation and cultivation of ideas within a well-coordinated team. Thus, the team spirit is a decisive element during Design Thinking operations and encourages to produce the best possible results. In addition to the team side of Design Thinking, a flexible and productive environment is crucial to develop inventive ideas and products. The more workable an environment, is the easier it is for employees to visualize and transmit thoughts and new concepts.
This is a short talk and workshop (30' + 90') to give a first introduction to design thinking. Gives theory foundation, notes a few different approaches, and then dives into one of them.
This presentation was first done at ImpactON / StartupChile evening in 2015.
A summary of the basic principles of design thinking, human centered innovation and its application to strategy. Created by Natalie Nixon of Figure 8 Thinking.
A fast-forward tour about Design Thinking by webkeyz.
How design thinking differs from scientific thinking? Why to use it? When to use it? And how design thinking can impact your life?
System Thinking: Design Tools to Drive Innovation Processes Roberta Tassi
The increasing complexity of the world around us raises new challenges for designers, who are called to build cohesive experiences across broad ecosystems of products and services. Dealing with innovation and highly complex services, involving a large number of actors and many different channels, requires the adoption of new skills and techniques, that enable a more effective collaboration with all the stakeholders involved and support the dialogue around articulated systems and large amount of information.
Looking at the theory, Service Design Tools (www.servicedesigntools.org) is a first comprehensive repository of methods and examples that could orientate a designer - or any other professional - approaching the challenges of designing services, to help identifying the right method according to the step of the process, the type of participants and the kind of information that need to be discussed. Jumping to the practice, the power of adopting a systemic approach and shaping tools and frameworks that can re-order and re-distribute knowledge within multifaceted teams to drive innovation processes has changed the way in which highly complex services are conceived and developed across segments - from healthcare to financial -.
The ambition now is to see this evolving more and more into the way societal problems with large scale impact are addressed - bringing the benefit of system thinking into social innovation processes and organisation changes.
Euclid Annual Symposium, Brno 2015
Developed by students at Stanford University, the Design Thinking approach was created to establish a new way to grow innovative products, processes and services. The Design Thinking process consists of six iterative stages which enable participants to seek flexible solutions and innovations concerning the issue they treat.
One important aspect of Design Thinking is the creation and cultivation of ideas within a well-coordinated team. Thus, the team spirit is a decisive element during Design Thinking operations and encourages to produce the best possible results. In addition to the team side of Design Thinking, a flexible and productive environment is crucial to develop inventive ideas and products. The more workable an environment, is the easier it is for employees to visualize and transmit thoughts and new concepts.
RCA Design Products Guest Lecture: From theory to making and back again – or,...Kat Braybrooke
Guest Lecture // Royal College of Art's Design Products MFA series "Exploring Emergent Futures":
“What is called ‘making’ in North America and Europe,” he said, “is, frankly, a luxurious pastime of wealthy people... all over what is called the Global South there are makers everywhere, only they are not called makers. There are fab labs everywhere, only they are not called fab labs.”
— Chris Csikszentmihályi, director MIT Centre for Future Civic Media
What’s happening here? And how can we fix this? This presentation is a call for new perspectives on making that are critical, hands-on and research-based – helping us think both *through* and *with* objects to bring about fundamental + sustainable lifestyle alternatives. It looks at different theoretical approaches to machine materiality, from hacking to social science and "jugaad" to psychogeography, and from Actor Network Theory and Material Semiotics, to Situationism and Relational Aesthetics, to Critical Making and Critical Design.
It also asks two big questions that have been nagging at me from my own experiences with community making + fabrication.
First, how can we better correlate the making of objects with critical reflection about their effects?
Second, how can we engage in sustainable making (both environmental and social) without producing material excesses or disempowering lesser-served communities?
*** Note: This version does not include full lecture notes or further sources for reading. If you'd like either, feel free to get in touch @codekat as I'm happy to share these. ****
Alhamza1Husain AlhamzaMiss.BennettComposition II March 6.docxnettletondevon
Alhamza1
Husain Alhamza
Miss.Bennett
Composition II
March 6,2017
Monstrosity in the Media
The media plays a valuable role in forming, and the regulation monstrosity. Over the decades. How people represent monsters and ideas of monstrosity in the media has went through many alterations and modifications. Customarily, the media had an image about monsters and painted it to the world, showing monsters as intimidating others and connected monsters to violence and unspeakable behaviors. Though, the picture of monstrosity in the media has went through many renovation, where monsters are seen as a kind of romantic heroes. According to Cohen, monsters embody meaning machines, which affirms their adaptability (11). They are tamed so they are not meaning carefully monstrous. Since the public tends to be highly fond by monsters, the media twist, and reforms them into beautiful celebrities.
A lot of monster media plays with the psychological warfare with the idea of the monsters in our view points. Everyone looks to what makes them afraid, and what leaves them with nightmare through a different eye. Some movies such as The Chainsaw Massacre are just for mental scares, because you never see blood. You just hear the screams and terror from the voices of the victims through the shadows. While there are many and unique types of monsters, they come in all kind of shape or form.
The idea of monsters began with seeing them as people with mutations. I believe we all have a monster living within us, and we get scared when we take a peek inside others or the monsters in movies because they do not act like us, and are very unpredictable. That is why horror films and monsters conspiracy so much because fairly they are an unrepeatable part of us.
The popular culture and entertainment media portrays a universal presence of monsters. The concluding, in this aspect, represent creatures that are deemed so ugly as to scare people.
A monster can also be defined as a creature or object that puts horror and makes people quiver with fear by brutality or mischief. The media illustrate monsters as having astonishing capabilities and skills that permits their fame or superstitious status. In the last years, there has been a flow in movies and on television shows that feature monstrous characters, including zombies, vampires, witches, werewolves, and wraiths. At the same time, the representation of monsters in the media has moved, given that the vampire is no longer seen as a monster, but as a misunderstood creature with feelings of sorrow. The accomplishment of recent television shows, such as The Vampire Diaries (2009), HBO’s True Blood (2008), and The TwilightSaga (2009-2012), have sparked fame within the world of monsters who hang on to remnants of their humanity (Somogyi and David 197).
In the film, “A History of Horror with Mark Gatiss (Part 1 of 3) Frankenstein goes to Hollywood,” the narrator notes that modern horror films and the monsters within symbolize the bottl.
From park bench to satellite: designing from the ground upegoodman
Talk for IDSA 2011, in New Orleans.
Often the most exciting opportunities are ones that we make for ourselves. By engaging with the people and places around us, we can reimagine the possibilities for social interaction in the everyday. Surveying diverse models for making and remaking urban green spaces, this talk will present tactics for working with cities, neighborhoods and communities to inspire, inform and instruct the design process from the ground up. Along the way we will explore the unique challenges that designers encounter when addressing urban issues as well as groups of individuals.
Moving Interaction Design Off the Desktop and Into the World: Lessons from th...egoodman
Interaction design is increasingly moving off the desktop and into the world, into mobile applications, appliances, and automotive, biomedical, and environmental design. These new design contexts do not just raise new possibilities for how their users live and work, they also change the way designers work. Working from her experience as a designer and ethnographic research with design practitioners, Elizabeth will examine some new challenges and possibilities for interaction design and describe successful strategies and tactics.
Electronic Resources and Libraries keynoteegoodman
I gave this talk as a keynote at the Electronic Resources and Libraries conference at UCLA in spring 2009. It attempts to outline some ideas for new library services.
Between Filth and Fortune- Urban Cattle Foraging Realities by Devi S Nair, An...Mansi Shah
This study examines cattle rearing in urban and rural settings, focusing on milk production and consumption. By exploring a case in Ahmedabad, it highlights the challenges and processes in dairy farming across different environments, emphasising the need for sustainable practices and the essential role of milk in daily consumption.
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.
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
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.
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2. SPECULATIVE CULTURE
“The way that our society imagines
itself through its forward-looking
disciplines”
— Bruce Sterling
Blade Runner
3. “When people think of
design, most believe it is
about problem solving. […]
There are other
possibilities for design:
one is to use design as a
means of speculating how
things could be —
speculative design.”
Speculative design
image goes here
Dunne + Raby
Energy Futures
WHAT IS
SPECULATIVE DESIGN?
Dunne + Raby
Speculative Everything, p2
5. DESIGN FICTION
“During the Indian Civil War, the Dharavi
slums of Mumbai were flooded with refugees
looking to escape the conflict. The Mumbai
authorities, distracted by defence of the city
and facing an already over-populated and
poverty stricken slum could do little to
maintain a semblance of civilised life in the
area. Sometime later a cache of biological
samples appeared through the criminal
networks of Mumbai, in the vain hope that it
might provide new marketable narcotic
opportunities. The collective drive and
expertise of the refugees managed to turn
theses genetically-engineered fungal samples
into a new type of infrastructure providing
heat, light and building material for the
refugees. Dharavi rapidly evolved its own
micro-economy based around the
mushrooms.”
Tobias Revell
New Mumbai
10. SPECULATIVE DESIGN SHOULD…
“open up all sorts of possibilities that can be
discussed, debated, and used to collectively
define a preferable future for a given group of
people: from companies, to cities, to societies.”
Speculative Everything, p6
14. TOSUM UP
Speculative design is…
Intended to be provocative rather
than predictive or prescriptive
Illustrative of relationships of
production, consumption, and circulation
Instantiated in objects as well as words
Amy Congdon
Biological Atelier: “Extinct”
Editor's Notes
Speculative design is about the present, in the guise of discussing the future.It is not supposed to be predictive or prescriptive What are those disciplines? ASK FOR EXAMPLESFilm…for example.
The future is what we are speculating aboutThe future is what we are interested inWhat kinds of futures do we imagine?Preferable intersects plausible and probable…and even goes outside of what is probable.
Creating plausible – not necessarily preferable – futures by using the techniques of science fiction. What comes first, the fictional story or the object it supports? Which way would you prefer to work – from the object to the future within which it makes sense, or from the scenario to the object that demonstrates it?
Specific/mundane…ie, Corner Convenience
ASK: HOW WOULD YOU DESCRIBE THIS IMAGE?Clean / open / unspecific / “prop-like”?
ASK: HOW WOULD YOU DESCRIBE THIS IMAGE?Grimy / detailed / specific / “real”?
What kinds of outcomes might characterize a successful speculative design project?A failed one?
How do we do that?
LOOK CLOSELY AT THE PHOTOSo what’s the point, here? How does this physical exhibit in a corner store operate? Who is participating? How do they participate? When does the participation start/end? Does seeing this on the Internet count as participation?
What kinds of problems, for what kinds of people, are we taking on? Who is imagined inhabiting these speculative fictions? What kinds of crises do they assume? Are those sudden “crises” elsewhere felt as just everyday life?
ASK: HOW DO WE CHOOSE WHICH FUTURES TO EXPLORE? Here’s an example of a very different way of working with futures – Neil Beloufa’s “ethnological sci-fi documentary”“The video portrays a series of Malian men simply speaking of the future in the present tense, but the tension between the fictive nature of their visions (which are often more animist than Star Wars), the reality of the men themselves, the play with post-colonial expectations of exoticism, and the spooky way in which the film is flawlessly shot creates a provocative narrative tableau that presents us with all our expectations of Africa and then subverts them with a subtlety not usually attributed to sci-fi. The men are hopeful, their visions strange and beautiful, the meaning is slippery, and Beloufa’s video is all of the above. Kempinski will be showing as a part of Beloufa’s upcoming Los Angeles solo debut at Chung King Project/François Ghebaly.” --From http://www.artslant.com/ny/artists/rackroom/19590
Reminder: this is just my perspective! And just an intro. There are other people who might characterize speculative design differently. The goal here is to introduce the aspects of speculative design as a method/agenda that might be most useful for the work we are hoping to do in this class.
