Signage for invisible UI

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Why do I blog this? Seen in the Arlanda Express in Stockholm this week, this intriguing signage is meant for an invisible interface, the (standard) automatic door which always leads perplexed user to wonder how to open it. Although I like the icons here, I had to help two persons during the trip to downtown.

Wearable computing

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The kind of wearable computing you find at the market in Geneva. It's been a while these sound-activated t-shirts exist and I find it fascinating to see them around in 2015. Future mundane at its best here.

On Cuban repair cultures

Here’s a list of services offered in an AC-intense mobile phone repair shop in Trinidad (Cuba): "desbloqueo decodificatión y liberación de celulares, código de usuario, cambio de idioma, cambio de frecuencia, reparación de software (flasheo), reparación de celulares Chinos, reparaciones generales de hardware (display, flex, táctiles, bocinas, micrófonos, régiment de carga), eliminación de humedad a móviles, instalación de aplicaciones, actualización de sistema Android, actualización de sistema IOS, configuración del coreo nauta, información et asesoria gratuitas."

A rather broad and interesting inventory. Some of the services can generally be fond in this type of shop ((I regularly visit these stores while traveling here and there )); unlocking the SIM card and change components (speaker, microphone ...) in particular. I also understood "eliminación of humedad has móviles" is not related to the climatic constraints of moisture as one might think, but rather to the fact that many people, there as elsewhere, seems to drop the phone in the water 📱💦. The other services are less common : assistance with phone configuration (language, messaging software, update OS) or app installation. The precision concerning the Chinese mobile phone repair is obviously intriguing too.

Basically, this type of store is not very different from those I have just a few meters from my home in Geneva. However, Cuba has many other shop/counters/garage/apartment????) offering repair services for all kinds of other artifacts : for automobiles of course (from 1951 Plymouth to the latest Audi), electro-mechanical watch/clock, garden and kitchen hardware, bikes, etc.

Plastic and metal parts sold on the street in Trinidad.

Plastic and metal parts sold on the street in Trinidad.

Electronic shop in Viñales.

Electronic shop in Viñales.

Given the difficulty to acquire property on the island, this is not hardly a surprise, but it reflects a important“repair culture". However, unlike many titles of articles or reference guide saying that a visit to Cuba is a “frozen in time", it is a lively present. With, one the one hand, a variety of technical objects both old and new, not necrotic at all. And, on the other hand, altered artifacts, with more or less recent parts. The best example being the bicitaxi (bicycle taxi) that are certainly rudimentary at first but whose sound consists bluetooth speakers hanging on the ceiling (cardboard, metal or wood) and controlled by a smartphone (iPhone or Android ). Similarly, American cars are certainly old, but the driver may well have a bluetooth headset for phone calls, and a USB key inserted into car stereos with tons of mp3s collected in in music stores delivering content more or less fresh downloaded from the Internet (and potentially via the Paquete Semanal). The government also contribue to this, as attested by the Soviet-like toll arches on Havana highways ... on which fixed cameras read the registration plates (according to our taxi driver) in a very contemporary robot world-readable fashion. This type of arrangement is also not limited only to hardware tinkering, it is found in fact in the service of such design… with Airbnb being available for in some casa particulares (guest capita ) with a payment made through an intermediary in an agency in Miami.

A repairman in Trinidad.

A repairman in Trinidad.

Another consequence of this culture of DIY also concerns the recycling of objects, materials and spare parts from multiple devices. Some examples encountered : along with the inevitable mention of 1950s US cars, I ran across a lawn mower made up of a screw motor metal rods and a small motorcycle tank, a leaf blower assembled with a vacuum cleaner motor mounted on a leather harness and a North American switch, a Lada VAZ-2101 engine placed in the hood of a 1957 Dodge, etc. This kind of bricolage is also described by the anthropologist Sarah Hill in a fascinating article titled "Recycling History and the Never-Ending Cuban Life of Things" ... who goes into more detail on what I describe here. Without idealizing these practices, it would be intriguing to compare this practices with other recycling and repair cultures including Gambiarra described Felipe Fonseca in Brazil.

Engine from a taxi car in Habana.

Engine from a taxi car in Habana.

Without offering the same conditions (political, social, technological and other) that the Western world, the island is far from being “frozen in the past” as I’ve seen written here and there. And one can also wonder wether this type of lively hybridization cannot be also considered as our future. It seems reasonable to think that a culture of recycling or DIY could become widespread in the Western world due to the scarcity multiple commodities / rare metals.

Our Approach of Design Fiction

One of our objectives at Near Future Laboratory is to help carry Design Fiction to maturity and any interrogation or critique from the public is a source of reflection and an opportunity for describing our understanding as to what Design Fiction is, how it’s best practiced, and in what ways it can evolve.

We frequently receive requests from journalists, students, fellow practitioners and clients to describe Design Fiction and shed some light on our approach as a micro-multinational company. All the questions are legitimate as Design Fiction was, not a long time ago, still an emerging practice. We have gathered here a potpourri of the recent recurrent questions. Many thanks to their authors for their curiosity.

This is the Q&A on our approach of Design Fiction as of Summer 2015.

We are interested in foresight; futures research and in this idea that we can’t predict, but anticipate and speculate on near future worlds

Q — You are working on future exploration. How is speculation incorporated in your work?

NFL — At The Near Future Laboratory, three of us have a background in academic research, and one in industrial design, all with a proven experience of multi/inter/un-disciplinary work. We are interested in foresight; futures research and in this idea that we can’t predict, but anticipate and speculate on near future worlds. We grew interest in design and how designers work, and think there is a strong potential in connecting between these two fields, future and design. This appeared particularly true with the recent increasing capacity to design, build and prototype tangible things fast and at low budget.

In 2009, we chose the notion of Design Fiction and began to develop it. We started to investigate how design can help to materialize and to make tangible scenarios about a near future by using very mundane artefacts that we can craft and design. We introduced and appropriated the term ‘diegetic prototypes’ to account for the ways in which cinematic depictions of future technologies demonstrate to large public audiences a technology’s need, viability and benevolence. These technologies only exist in the fictional world — what film scholars call the diegesis — but they exist as fully functioning objects in that world. For instance, we produced catalogs, newspapers or user manuals from the future, which are objects that could be designed to exemplify and to materialize these scenarios about possible futures for clients as well as for our own investigations.

Today, for each project we engage with a growing list of Design Fiction archetypes (e.g. unboxing videos, user reviews), we test alternative approaches, draw their processes and debate the best practices of Design Fiction.

Somebody’s future is somebody else’s present. We are particularly attentive to “weak signals” of the everyday life in form of behaviors, new rituals and frictions.

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Q — What is the difference between your work at the Near Future Laboratory and that of other more traditional designers?

NFL — We are a bit peculiar in our studio structure. We are what you might call a ‘micro-multinational’ company with headquarters in Venice Beach, San Francisco, Geneva and Barcelona. We came together through our academic careers, but mostly driven through our curiosities about the emerging practices of a peculiarly transforming world — the networked world. As academics, we were trained to question and interrogate emerging social, technological, cultural practices that we observed — and there were plenty of weird emerging social practices around the first, second and third dot-com events. Those observations led us to consider implications and consequences, and develop our own set of techniques for understanding and then communicating our insights.

The Near Future Laboratory crew

We are particularly attentive to “weak signals” of the everyday life in form of behaviors, new rituals and frictions. For instance in TBD Catalog we depict a fantastic near future translated into its inevitably fraught, low-battery, poor reception, broken firmware, normal, ordinary, everyday sensibilities. It is neither boom, nor bust. It is just the near future as if it was now.

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We have largely eschewed the traditional academic channels of research papers, academic conference talks and the like. Producing evocative little pamphlets, fictional product catalogs, software that is quite counter to prevailing intuition about what software should be, little hardware devices that are designed to be used less rather than more — these are the kinds of provocations we like to produce. Not academic papers or typical research studies. We found it more engaging and more to our own individual sensibilities to produce material that was available to larger, more public audiences. We also have a strong instinct towards making things — props, prototypes, objects, software, devices, films — that we felt told stories about implications of modern society more effectively than pure academic prose.

Q — Which are the steps of the process of thinking and designing a new and still unknown product?

NFL — Depending on projects and client, the starting point of a Design Fiction can be a new technology (e.g. self-driving cars), evidences of a practice (e.g. gestural interaction with technology), a vision described in a few sentences (e.g. the bank of the future), a full investigation (e.g. the future of water) or a whole field (e.g. big data in sport). Alternatively, we developed our own Design Fiction Product Design Work Kit  to help define the core elements of a designed product.

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Then we run materialization of conversations amongst a small group often composed of a mix of visual/industrial/product designers, makers, researchers, curators, creatives, engineers and writers. Together we express the pragmatic concerns, ambitions, fears, everyday needs and wishes of the inhabitants of some envisioned near future. Also, we consider the evolution of the ways and means of production of the near future, as well as shifts in the dynamics of creativity, law, norms, economic models, aesthetic, social and personal values and incumbent measures of cultural achievement.  We then turn talk into deliberate actions and artifacts (i.e. “diegetic prototypes”), that is material from a near future represented as fully functioning objects in that world: a product catalogue, a manual, an app, a Kickstarter, a magazine, advertisement, popular book review or cover jacket, news broadcast, talk show interview, unboxing video, medical prescription, a video showing a days in the life of a particular character, etc.

In Design Fiction we make implications without making predictions.

Q — What is the aim of designing products that do not really exist? Or asked differently, how do you know that the future will be approximately like the one you describe?

NFL — Design Fiction doesn’t so much “predict” the future. It is a way to consider the future differently; a way to tell stories about alternatives and unexpected trajectories; a way to discuss a different kind of future than the typical bifurcation into utopian and dystopian.

In Design Fiction we make implications without making predictions. We propose and build elements of a possible future without being too precious or detailed about them. Our aim is to spark conversations about the near future, check the sanity of visions and uncover hidden perspectives. Our work serves to design-develop prototypes and shape embryonic concepts in order to discard them, make them better, or reconsider what we may take for granted today.

For instance in our Pilot Helios Quick Start Guide, we consider what would be the experience of a self-driving car owner: when driving, no driving, when using the car in an automatic mode or not. We listed the main issues about how to adapt to that, the problem that may appear, the kind of regulation likely to be adopted, etc. Since we worked with a good group of 15 designers from various part of the world to do that, the answers were quite broad and enabled us to embrace a wide range of options that describe how such service may come to be.

The Design Fictions act as a totem for discussion and evaluation of changes that could bend visions and trajectories

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Q — In your Design Fictions, do you also take into account the technical characteristics of the products and services?

NFL — With our engineering backgrounds, we are fairly aware of the technical features of a device and the technologies that lay beneath them. However, technical constraints do not lead to fertile creative process and discussions. We do not stop to think that — because something is not technologically possible or too expensive today — it should be removed from consideration. What if there is a breakthrough or what is there are legal, social, ethical or economic changes that make a certain limitation become possible? We want our clients or the public in general to suspend their disbelief as to what is possible and focus on the implications for the company, a product, its customers and society in general, because our techno-cultural-political world is weird.

Our approach of Design Fiction is a way to perform “micro” future studies that pays particular attention on the everyday life and the standard objects or services that might fill possible futures.

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Q — What is your interest in using Design Fiction methods when it comes to deal with possible futures?

NFL — We do not position ourselves as “optimists” or “pessimists” when it comes to technological evolutions. We are not exuberant about the future of 3D printing, nor Google-powered autonomous vehicles. At the same time, we aren’t apocalyptics who believe Algorithms will lead us to Terminator-like smoldering ruin. We are not in the business of making predictions — rather, we make multiple propositions meant to lead to productive conversations about what’s next. Creating representations of our perspectives in material form produces these conversations and discussions. This is our goal.

To contrast with other similar design approaches, we think Design Fiction is a bit different from critical design, which is a bit more abstract and theoretical compared to our own interest in design happening outside of galleries or museums. Design Fiction is about exploring a future mundane. It tackles a future-oriented problem or opportunity with an everyday-object to address it to anyone who could be concerned in few years.

In many cases, time horizons of innovation have shorten and we believe that the 5-10-30 years timeline is no longer useful today

The old models of scenario planning from the mid-century and newer models referred to as design research from the late 20th century considered to future to be 5-10-30 years forward. In many cases, time horizons of innovation have shorten and we believe this timeline is no longer useful today. The effects of the network, the ways and pace by which ideas circulate, the availability of exceptional scales of funding and resources for even the craziest of ideas by very anxious, eager, intrepid entrepreneurs, the importance of “fixing” the world’s problems much quicker than 10 years — all of these indicate that we need a new set of tools to develop solutions to our ideas that don’t work at the old-fashioned scales of large governments and world organizations. We need tools, approaches and ways of thinking that are based on the pace of the modern human creative apparatus, that can find possibilities in unexpected places that are not known in advance. This is what Design Fiction is able to do and why it is an important creative design tool.

That being said, our interest is not to focus on abstract and theoretical perspectives, but rather to make people conscious about certain changes and opportunities. They can be technological, social or political. This goal makes us think about the right artifact or the right format to start a discussion with people about these stakes and uncover hidden perspectives. When we say people, we mean anybody, not necessarily specialists. Hence, we are interested in very mundane and banal type of artifacts to create this discussion. It’s not necessarily about making people believe that these things have already happened in reality, with a fictional product for example, but to raise awareness that there are weird possibilities and changes going on.

Unlike other foresight studies which remain generally quite polished and theoretical, we are less formal in our approach. We do not invest too much time in measuring and analyzing the macro variables of change, the “big shifts” or “large crisis”. We are influenced by design and have a more implicit way of operating that starts with finding the appropriate representations of a possible future. Our approach of Design Fiction is a way to perform “micro” future studies that pays particular attention on the everyday life (e.g. the rituals, the behaviors, the frictions), its short term evolutions (3-5 years) and the standard objects or services that might fill these possible futures. The Design Fictions act as a totem for discussion and evaluation of changes that could bend visions and trajectories. This emphasis on the relation of individuals with technology contrasts with classical future scenarios that analyze the world at longer terms and a large range of variables.

For our clients a successful Design Fiction means that they can feel, touch and understand near future opportunities and with convincing material of potential changes of their customers, markets, technologies, or competition.

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Q — You make your work public in museums, galleries, magazines and your shop, but is Design Fiction useful for companies?

NFL — We divide our efforts between self-initiated projects that we make public and private consultancy for clients. Projects like TBD Catalog showcase the influence of designers, writers, researchers, entrepreneurs, artists and engineers in our approach of Design Fiction. Design Fiction demands creative skills as much as a capacity to understand and analyze the world, technologies, people and its evolutions. Companies approach us for our multi/inter/un-disciplinary points of view as well as our ability to propose potential near futures. Their requests rarely specifies a need for “Design Fiction”. Rather, the discussion with clients often from R&D, Innovation, or Marketing starts with more specific needs around the development of new products or services and strategic choices related to them.

Design Fiction is one approach among others, but its contribution focus on the near future and is tangible. For instance, instance of participating to workshops of multi-disciplinary experts with a powerpoint filled with ideas for a technology, we propose to create the user manual for the envisioned product or produce a video that showcases how an employee appropriates the technologies with its features and limitations. These artifacts are meant to materialize changes, opportunities and implication in the use of technologies. They particularly point out details in situations of use with the objective to avoid a “general discussion”. For instance in our Quick Start Guide project, the outcome of that Design Fiction is not the guide per se. Rather the outcome is the discussions provoked by the many diverse “real” situations described in the guide and that highlight the challenges, the issues, the frictions and the necessity to think a service into its details.

For our clients a successful Design Fiction means that they can feel, touch and understand near future opportunities and with convincing material of potential changes of their customers, markets, technologies, or competition. For instance TBD Catalog is an alternative to traditional ways of imagining, constructing and discussing possible near futures. Rather than the staid, old-fashioned, bland, unadventurous “strategy consultant’s” report or “futurist’s” white paper or bullet-pointed PowerPoint conclusion to a project, we wanted to present the results in a form that had the potential to feel as immersive as an engaging, well-told story. We wanted our insights to exist as if they were an object or an experience that might be found in the world we were describing for our client. We wanted our client to receive our insights with the shift in perspective that comes when one is able to suspend their disbelief as to what is possible.

The point is to be creative, to discuss, to debate and produce artifacts

Q — In projects like TBD Catalog are the products already invented or did you thought about all of them? Where did you take the ideas from?

NFL — Ideas and concepts come from our research mixed with evidences, imagination and dialog between people of multiple disciplines and backgrounds. Because the future is unevenly distributed and somebody’s future is somebody else’s present it is common to stumble on some concepts that are already real products/services or Kickstarter projects. Our approach is then to consider what these objects, products or service might feel or look like in one, two or three iterations? Or how might people talk about them in the near future? We don’t actually care at all if our creative process comes up with some idea that someone else has already imagined, discussed, built or sketched. The point is not to be “the first” — the point is to be creative, to discuss, to debate and produce artifacts.

Q — Which kind of improvement could be brought to your approach of Design Fiction? For instance, do you look at methods and tools borrowed from ethnography?

NFL — In projects like Curious Rituals, we employed our expertise in ethnography particularly to study and understand people’s behavior, people’s habits and their rituals, with technologies . So far we have not used ethnographic methods after the production of a Design Fiction, but mostly before as a way to feed the design process. However, there is surely something interesting to think about, in terms of getting back to the people who shaped our perspective about the future and to explain what we did with all their insights. There is also room for exploration on that side.

Some smartphone evolution diagrams

Two visualizations (among many others) from unknown authors.

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This two-pages document is from a magazine called EPOCA:

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A simple series with some design parameters presented with icons from 3oneseven:

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The next one is made by Bogdan Răuţă for usell.com:

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Why do I blog this? I recently started a project about smartphone gestures, a sort of follow-up to Curious Rituals. These representations (which are not perfect of course) are relevant for that matter, as they show how different parameters evolved over time. 

Fortress of Solitude: exploring the near-future of “smart home”

"Fortress of Solitude" by Space Caviar (Simone Niquille), sound by M.E.S.H:

"is an essay film in three chapters investigating the technology used to make the home smarter. The internet and alternative network protocols are the backbone to home automation. Much of the technology infused into homes and our everyday lives have a history of defense funding or only exist because of military research. Is the smart home in fact a militarisation of the domestic, home.mil? Is our home becoming a data machine rather than architecture for living? Are our most privates spaces broadcasting our lives involuntarily instead of providing shelter?"

Why do I blog this? Both because the topic is important wrt to recent project (cloud computing project, as well as smart cities scouting reports), and because the format itself is intriguing. This is a great exemple of how design work materialize issues, situations and consequences of domestic technologies.

The World Of Self-Driving Cars

It’s easy to get all..Silicon Valley when drooling over the possibility of a world chock-full of self-driving cars.

The fact of the matter is that a world where self-driving cars are a reality will be as prickly as the world today, only Algorithms will be the source of our frustration rather than other drivers..at least until the underground of self-driving car retrofits, mods and hacks come along and everything goes all amuck despite Google-Apple-Facebook-Amazon’s best efforts to convince us things are better..

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It’s easy to speculate breathlessly about the world of the future when the self-driving car is normal, ordinary and everyday. However, when an idea moves from speculation to designed product the work necessary to bring it into the world means that it is necessary to consider the many facets of its existence — the who, what, how, when, why’s of the self-driving car. To address these questions we took a sideways glance at it by forcing ourselves to write the quick-start guide for a typical self-driving car.

A Quick Start Guide as Design Fiction Archetype

To spark a conversation around the larger questions regarding a technology that could substantially change mobility in the future we followed a Design Fiction approach to produce this Quick Start Guide.

Our Quick Start Guide is a 14-page z-fold document from the near future. It’s a reminder that every great technology needs instructions for the uninitiated. That instruction may be a document, a tutor from a friend, ‘rider’ instructions — something that gives a feel of the things car owners might do first and do often with their first self-driving vehicle. Get your copy.

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This Design Fiction archetype is a natural way to focus on the human experiences around complicated systems. It implies a larger ecosystem that indeed may be quite complex. It also allows one to raise a topic of concern without resolving it completely — often an approach that’s necessary in order to not be bogged down in details before it’s necessary. For example, mentioning that it costs more to park your car rather than sending it back on the roadway as a taxi is a way to open a conversation about such a possibility and its implications for reclaiming space used by parking garages. In the Quick Start Guide, you will find:

  • What do you do if you forget a bag of groceries — or your sleeping child — after sending your self-driving car off for the evening to earn a few shekels in ‘Uber’ mode?
  • Is there a geo-fencing mechanisms to control where the car goes — and how fast it goes?
  • How do you activate and lock the “Child Safe Mode” for your teenage son to take to football practice?
  • Does it conform to ISO1851 Codified Child Rearing Mandates and Findings?
  • How does the car pickup groceries — and how do you upload the list — when you send it on errands?
  • Will you pick a car based on the size and features of its Cold-n-Hot Grocery Trunk?
  • What do you do when the display shows “Unknown Profile”?
  • Does your self-driving car obey the most recent DoT Emergency Maneuvers requirements?
  • How do you activate ValetPark®, Amazon PrimeValet®, EverDrive™, RE-FRESH™ and of course the agnostic Interior Ambience by Amazon®?
  • Which countries/protectorates/jurisdictions allow a total car history reset?
  • How to install your Dynamic Insurance plug-in from your insurance providers’ download site?
  • What supplementary fees does the car charge for using Apple Roadways?
  • And more…

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The Design Fiction Workshop

The Quick Start Guide was produced as part of a workshop at IxDA 2015 in collaboration with students from the California College of the Arts and conference participants. In a short amount of time, we  identified the key systems that implicate the human aspects of a self-driving car and we brought to life such experiences in a very tangible, compelling fashion for designers, engineers, gurus, and anyone else involved in the development of a technology. Through the collective production of Quick Start Guide it became a totem through which we could discuss the consequences, raise design considerations and hopefully shape decision making.

The Design Fiction approach led to:

  • Better thinking around new products, a richer story and good, positive, creative work.
  • Identify topics that may not come up when discussing the larger system.
  • Create rather than just debate, and represent topics concisely to focus the work and challenge us to describe features succinctly.
  • Experience the consequences and implications of a world with self-driving vehicles.

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The Assumptions

Visions of exciting future things rarely look at the normal, ordinary, everyday aspects of what life will be like to turn the thing on, fix a data leak, set a preference, manage subscriber settings, address a bandwidth problem, initiate a warranty request for a chipped screen or increase storage. It’s those everyday experiences — after the gloss of the new purchase has worn off — that tell a rich story about life with a self-driving vehicle. In this project, we made a few category assumptions.

  1. The self-driving vehicle is all about the data. When Amazon, Facebook, Microsoft, Google and/or Apple become part of the vehicle “ecosystem” — either by making cars, having their operating system integral to the car, owning roadways or whatever their strategy teams are dreaming up — they will do it because #data. To them it will be about knowing who is going where, when they’re going there, to get what; it will be about knowing when your tires are wearing down; it will be to give you discounts when send your car to get Pizza Hut for dinner; it will be to have your car go through the Amazon Pantry Pickup Warehouse to do your grocery shopping. The data.
  2. As fundamental as mobility is to humans, owning a network of millions of interoperable vehicles is big business. Apple’s vehicle ecosystem will be always moving, as will Google-Uber’s. It will cost you more to park your self-driving car because it can earn money for them (and maybe you) by putting it into “Taxi” or “Uber” mode when it’s dropped you off at work. This led us to consider what one might need to do if one’s car has strangers in it while you’re at work, or the movies, or asleep. And what will happen to all those parking garages?
  3. Roadways will be the new platform play. How will (or will not) roadways that are owned by Amazon, Facebook, Microsoft, Google and/or Apple interoperate? Will Google have the best, fastest, least congested roadways in Los Angeles? What are the consequences of switching to semi-partial manual drive mode? What happens when those Fast and Furious guys figure out how to jailbreak their vehicle’s OS and supercode the engine?

Get Your Quick Start Guide

To experience those assumptions, get the copy of your first self-driving car Quick Start Guide.

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Acknowledgments

The Quick Start Guide is a Near Future Laboratory project produced based on a workshop at IxDA 2015 in collaboration with students from the California College of the Arts and conference participants:

  • Rafi Ajl (CCA)
  • Phil Balagtas (GE Global Research)
  • Sankalp Bhatnagar (Carnegie Mellon University)
  • Julian Bleecker (Near Future Laboratory)
  • Maru Carrion-Lopez (CCA)
  • Wendy Cown (Charles Schwab & Co.)
  • Bill DeRouchey (Aviation GE)
  • Blake Engel (Nextbit)
  • Nick Foster (Near Future Laboratory)
  • Cristina Gaitan (CCA)
  • Susan Hosking (GE Global Research)
  • Shani Jayant (Intel)
  • Flemming Jessen (Designit)
  • Zhouxing Lu (Indiana University Bloomington)
  • Chris Noessel (Cooper)
  • Anna Mansour (Intel)
  • Nicolas Nova (Near Future Laboratory)
  • Angelica Rosenzweigcastillo (GE Global Research)
  • Margaret Shear (Margaret Shear | Experience Design)
  • Liam Woods (CCA)
  • Aijia Yan (Google).

Special thanks to John Sueda, Ben Fullerton and Raphael Grignani.

Probable Possible Preferable Futures

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Futures research, foresight and speculative design often use the notion of "possible", "potential", "plausible" and "preferable" future. See for instance the work by Stuart Candy who uses the diagram above based on the work of different researchers. This typology is described in more details in these two articles:

Hancock, T. & Bezold, C. (1994). Possible futures, preferable futures. Healthcare Forum Journal, vol. 37, no. 2, 23–29

Voros, J. (2001). A Primer on Futures Studies, Foresight and the Use of Scenarios, prospect, the Foresight Bulletin, No 6, Swinburne University of Technology

Why do I blog this? It seems that this graph spread like an internet meme, and it's relevant to get back to how it has been produced, why and how.

Design Ethnography poster

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Here's a photo of the poster we presented two weeks ago at the European Academy of Design Conference in Paris. It's based on a research project conducted at HEAD – Genève which led to this book (we're working on a second edition). The diagrams depicts the different profiles of designers (regarding the way to carry out field research in their projects) and the set of steps they go through (from producing data to analyzing them and creating design elements out of it). This is the type of process I am using in my workshops about design ethnography, as a pedagogical tool to help participants. We're going to use it in the upcoming studio organized with Annelore Schneider at the Geneva School of Art and Design in order to explore the future of mobile photography.

The graphic design has been done by Fabienne Kilchör and Sebastien Fasel from emphase.ch

Short Cuts between art, design and technology

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"Short Cuts" is a fascinating exhibit at Centre Pasquart (Biel, Switzerland) curated by my colleague Daniel Sciboz, with the collaboration of Jean-Louis Boissier :

"At a time in which the digital is omnipresent, the interdisciplinary group exhibition Short Cuts highlights the dialogue between two generations of artists who operate between art, design and technology. This comparison makes clear how technology and its influences are present in the electronic arts of our own times as well as in the concrete and kinetic art of the 60s and 70s. In these works we see graphic design, algorithms, innovative production processes of series and new kinds of aesthetic forms. Comparable with the view through a kaleidoscope, the exhibition allows access to a variety of formal and discursive approaches which refer to the interplay between the increasingly digitalised world in which we live and artistic practices influenced by digital media."

Some examples below, among many inspiring pieces.

Sphère-trame by François Morellet

Sphère-trame by François Morellet

Archive U.768 by NORM

Archive U.768 by NORM

Archive U.768 by NORM

Archive U.768 by NORM

Karl Gerstner's Le Grand Oeuvre revisited as a game by Douglas-Edric Stanley and Antonin Fourneau

Karl Gerstner's Le Grand Oeuvre revisited as a game by Douglas-Edric Stanley and Antonin Fourneau

Retrocompatible Museum by Antonin Fourneau and Douglas-Edric Stanley

Retrocompatible Museum by Antonin Fourneau and Douglas-Edric Stanley

http://www.neogeocity.com by Rafael Rozendaal (left) and FRAMED 2.0 by Yugo Nakamura and William Lai.

http://www.neogeocity.com by Rafael Rozendaal (left) and FRAMED 2.0 by Yugo Nakamura and William Lai.


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