Running a telepresence workshop @ENSAD

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Today my colleagues designers gathered to work on the topic I prepared. They are not all familiar with the concept of critical design/speculative design therefore it will be a challenge to convince them to take this approach (on the topic of telepresence).
Here is the slides I prepared to introduce the workshop session for this week.

On the critical design part, we had a discussion on its final aims comparing to design for “problem solving”, I had to convince them by stressing the relevance of using this approach for exploring alternatives and they compared it to R&D. The fact that it is also a practice used for engaging people into a reflective state had to come later, has a challenge to accomplish (later in the design process).

Course on design fiction @ Pôle supérieur du design de Villefontaine 2014

Design for debate, an introduction to design fiction and my research topic

I had the pleasure to give a presentation of my research and to introduce design fiction again at Pôle supérieur du Design – Villefontaine. My presentation was organised in three categories that respect the 3 necessary steps to make design fiction (according to the 3 parts of my research design space):

  1. Proposing alternatives by design,
  2. Provoking meaningful reactions,
  3. Articulating a discussion/debate

After an introduction to the first branch of my design space (proposing alternatives), I gave some exercises (listed bellow). A week after it was great to already see improvements and appropriations of my advices. (Sorry, this feedback is composed of raw notes in french.)

[slideshare id=34068945&style=border:1px solid #CCC; border-width:1px 1px 0; margin-bottom:5px; max-width: 100%;&sc=no]

 

Intro – Le design fiction est voué à soulever des questions chez l’audience/utilisateur quand au monde dans lequel on vit – et ce, par la confrontation avec des produits de design venus d’un autre monde et dont la conception repose sur d’autres valeurs que celles que l’on connait.

›› Check all the blogpost about this course here ‹‹ 

Next course here

Design legitimacy for critique, a discussion with Alexandre Saunier

The other day I had a good conversation with my friend Alex, he’s an electronic & digital artist, as I was presenting my work he stopped me right in the beginning to ask about critical design legitimacy.
“— Alex: Why is design relevant on the topic of critique? Is it just a fashionable trend?
— Max: No it’s not! OK maybe it has been fashionable during a period of time when popularized by Paola Antonelli and Bruce Sterling (under the name of Design fiction). But it no longer is and I find it more interesting now that we can observe what is left of it, what is it really good for.
— A: So why design and why critique? Art and philosophy have done that for ages.
— M: Critical design is different from critical theory and art, as it does not have the same tools and it does not touch the same people. In the popular culture design produces a familiar typology of objects – commissioned by a client, aiming at a user – that integrates well into our lives (and changes it). Design object have a different place than art or literature objects: they are aimed to be “used”. Therefore they are touching different people (and differently). They can reach the consumer (i.e. pretty much everybody).
— …
— …
— …
— M: Talking about consuming. In our current (consumerist) society, design and designer stand at a different place than philosophers and artists. They are at the interface of industries (plus other stake holders) and consumers. They translate technology and stake holders goals into user needs, at least they participate to making the final artefact appealing. I do not want to enter in a debate on consumerist society, I do not either think that designers have a legitimacy to propose critiques and solutions. But talking about designers role and impact, their place in the society is different and relevant (comparing to art and philosophy), they can (and they must) take action if they want to explore alternative paradigms and to stimulate the audience’s reflective concern for the current state of things.

Alexandre Saunier

Random quotes

About distance between critical theory and critical design
“we launched the term critical design ten years ago in order to describe our work. Sometimes people think it simply means criticism; that we are negative about everything, anti-consumerist and against design. Some people relate it to critical theory; to Frankfurt school and anti-capitalist thinking. We are definitely aware of it, but then again, not in that category either. Critical design is about critical thinking – about not taking things at face value. It’s about questioning things, and
trying to understand what’s behind them. In essence, our objective is to use design as a means for applying skepticism to society at large” p.22
Puolakka, A., & Sutela, J. (2010). Foundations: Dreaming Objects. In OK Do (Ed.), Science Poems

About people literacy for criticism :
“Critical design’s ability to inculcate critical thought and the imagination of alternative futures is dependent on how insightfully people can read designs: aesthetic perception, imagination, insight, and experience are not effects simply caused by visual stimuli (no matter what HCI research says on the subject); they are the result of a skilled and expert cultural subject’s efforts. We know of no practice that theorizes about or, in a very everyday sense creates such subjects, more than criti- cism. Medium-specific analytic skills are the stock and trade of criticism, and it seems obvious to us that critical design can avail itself of and contribute to them.” p.3303
Bardzell, J., & Bardzell, S. (2013). What is critical about critical design?

about defamiliarization
“Understanding what’s critical about critical design might be easier if Dunne and Raby’s work clearly explicated a healthy range of critical outcomes that have emerged from critical designs. […] we read a lot about transgression, provocation, defamiliarization, and estrangement […] A thoughtful reader might wonder whether defamiliariza- tion and ideology really are all that “critical” boils down to.” p.3300

A selection of Design Fiction references

In a previous post about design friction, I talk about a design fiction bibliography. Here it is thanks to Niclas Nova. I might post an updated version in a couple of months – find the original here.

  • Auger, J. (2011). Alternative Presents and Speculative Futures: Designing fictions through the extrapolation and evasion of product lineages., Negotiating Futures / Design Fictions, Swiss Design Network 2011, Basel.
  • Auger, J. (2013). Speculative design: crafting the speculation, Digit. Creat., vol. 24, no. 1, pp. 11–35, 2013.
  • Bassett, C., Steinmuller, E. & Voss, G. (2013). Better Made Up: The Mutual Influence of Science fiction and Innovation”, Nesta Working Paper 13/07.
  • Bleecker, J. (2009). Design fiction: A short essay on design, science, fact and fiction, Near Future Laboratory, Los Angeles, CA,
  • Bleecker, (2011). Design Fiction: From Props To Prototypes, Negotiating Futures / Design Fictions, Swiss Design Network 2011, Basel.
  • Bleecker, J. & Nova, N., (2009). A synchronicity: Design Fictions for Asynchronous Urban Computing. The Architectural League of New York, New York, NY.
  • Candy, S. (2010).  The futures of everyday life: politics and the design of experiential scenarios, PhD thesis. The University of Hawai.
  • DiSalvo, Carl. (2012). Spectacles and Tropes: Speculative Design and Contemporary Food Cultures. The Fibreculture Journal(20).
  • Dunne, A. & Raby, F. (2011). Design noir: The Secret Life of Electronic Objects. Basel: Birkhäuser, 2001.
  • Dunne, A. & Raby, F. (2014). Speculative Everything: design, fiction and social dreaming. MIT Press.
  • Forlano, L. (2013). Ethnographies from the Future: What can ethnographers learn from science fiction and speculative design?, Ethnography Matters.
  • Franke, B. (2011). Design Fiction is Not Necessarily About the Future, Negotiating Futures / Design Fictions, Swiss Design Network 2011, Basel.
  • Galloway, A. (2013). Towards Fantastic Ethnography and Speculative Design, Ethnography Matters.
  • Grand, S. & Wiedmer, M. (2010). Design Fiction: A Method Toolbox for Design Research in a Complex World, DRS, 2010.
  • Hales, D. (2013). Design fictions an introduction and provisional taxonomy, Digital Creativity, 24:1, 1-10
  • Jain, A., Ardern, J. & Pickard, J. (2012). Design Futurescaping, Journal of Futures Studies.
  • Johnson, B.D. (2009). “Science Fiction Prototypes Or: How I Learned to Stop Worrying about the Future and Love Science Fiction”, in Intelligent Environments 2009 – Proceedings of the 5th International Conference on Intelligent Environments, Callaghan, V., Kameas, A., Reyes, A., Royo, D., Weber, M. (Eds.), IOS Press, Barcelona pp. 3-8.
  • Johnson, B.D. (2011). “Love and God and Robots: The Science Behind the Science Fiction Prototype “Machinery of Love and Grace””, in Workshop Proceedings of the 7th International Conference on Intelligent Environments Augusto, J. C., Aghajan, V., Callaghan, V., Cook, D. J., O’Donoghue, J., Egerton, S., Gardner, M., Johnson, B. D., Kovalchuk, Y., López-Cózar, R., Mikulecký, P., Ng, J. W. P., Poppe, R., Wang, M. J., Zamudio, V. (Eds.), IOS Press, Nottingham pp. 99-127.
  • Kirby, D. (2010). The future is now: Diegetic prototypes and the role of popular films in generating real-world technological development. Social Studies of Science 40 (1), pp. 41-70.
  • Kirby, D., 2011 Lab coats in Hollywood: science, scientists and cinema. MIT Press, Cambridge, MA.
  • Morrison, A. (2014). Design Prospects: Investigating Design Fiction via a Rogue Urban Drone, In Proceedings of DRS 2014 Conference. Umeå, Sweden.: 16.06.2014–19.06.2014
  • Raford, Noah. (2012). From Design to Experiential Futures, The Future of Futures: The Association of Professional Futurists.
  • Shedroff N. & Noessel C. (2012). Make It So Interaction Design Lessons from Science Fiction. San Francisco: Rosenfeld.
  • Sterling, B. (2009), Design Fiction, Interactions 16 (3), pp. 20-24.
  • Ward, M. (2013). Design Fiction as Pedagogic Practice Towards a fictionally biased design education, Medium.
  • Zeller, L. (2011) What You See Is What You Don’t Get: Addressing Implications of Information Technology through Design Fiction” Lecture Notes in Computer Science 6770  pp. 329-336.

Research Through Design Fiction: Narrative in Real and Imaginary Abstracts

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Research Through Design Fiction: Narrative in Real and Imaginary Abstracts
Mark Blythe – Northumbria University Newcastle, UK

Abstract: This paper reflects on the uses of prototypes in “Research through Design” and considers “Design Fiction” as a technique for exploring the potential value of new design work. It begins with an analysis of Research through Design abstracts in the ACM digital library and identifies an emerging language and structure of papers in this emerging field. The abstracts: frame a problem space, introduce a study, often involving the deployment of a prototype, and conclude with considerations, reflections and discussion. This format is then pastiched in a series of design fictions written for a project investigating new and emerging forms of reproduction in Art. The fictions take the form of “imaginary abstracts” which summarize findings of papers that have not been written about prototypes that do not exist. It is argued that framing concept designs as fictional studies can provide a space for research focused critique and development.

Material Belief, BioJewellery Questionnaire

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I found this questionnaire from Kerridge. Good for inspiration.

http://materialbeliefs.com/biojewellery/questions.html

For the record, Kerridge also works on public engagement around technology (and science) societal issues.

Kerridge, T. (2009). Does speculative design contribute to public engagement of science and technology? (pp. 1–18). Presented at the Proceedings of the Swiss Design Network Symposium, Lugano.

Abstract:

In the UK there is a considerable and growing body of scientists, funding councils,  scientific societies and science communicators from various professional backgrounds  who have taken on the task of engaging the public with science and technology  (Burchell, 2007; Wynne, 2006). Recent policy commitments to fund these diverse  projects have been linked to the ‘problem’ of perceptions of risk attached to outcomes of  contemporary technologies including biotechnology and nanotechnology (Kearnes et  al., 2006). In this paper I outline some ways in which design practices could contribute  to these commitments to the public engagement of science and technology, by focusing  on Material Beliefs, a project funded by the Engineering and Physical Sciences Research  Council 1. Additionally -­‐ and in the spirit of the conference theme of Multiple Ways -­‐ I  would like to cross over to Science and Technology Studies for some assistance with a  framework through which to stage a tentative and initial discussion of this contribution.

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