Transcript
Design Fiction Sparking the collective imagination of the future
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Status...
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Merge the insight cluster 1
cluster 2
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John Heskett From “Design: A Very Short Introduction”
“Design is to design a design to produce a design.”
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John Heskett From “Design: A Very Short Introduction” noun (2)
verb
“Design is to design a design to produce a design.” noun (1) noun (3)
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John Heskett From “Design: A Very Short Introduction” noun (2)
verb
“Design is to design a design to produce a design.” noun (1) noun (3)
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Buuuuuuuuuuuuut…
Design in praxis always have one important alteration
“Design is to design a design to produce a design.”
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Buuuuuuuuuuuuut…
Design in praxis always have one important alteration
“Design is to design designs to produce a design.”
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The process Data
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Concept
The process Data
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Concept
The process Data
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Concept
Iterative, explorative, but terminal
CC
CG
FR
Pro t o t y p ing
im p le me n t !
Concept Selected
Further addition (FA)
CG
S k e tch ing
FA
Further reduction (FR)
Re s e a rch
New ones added
Initial number reduced
Initial number of concepts based on PDS
Concept Generation
PDS
Front-end Design Work
...we cycle in a funnel between concept convergence and concept generation
CC = Controlled Convergence CG = Concept Generation tirsdag den 15. september 15
CC
CC
CG
CC
Steve Pugh 1990
Design as translation Design seeks to generate meaning from chaos “A designer begins to act as a translator. Both visualizing ideas as they are developed and refined and also translating vague descriptions, gestures, or references to new ideas, into more actionable concrete representations that can be explored further (...) “ Jon Kolko (2011)
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Design as translation Design seeks to generate meaning from chaos
“ (...) The medium that a designer manipulates is human behavior and experience, and the material is the digital fabric: bits, bytes, pixel and processors. Jon Kolko (2011)
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It’s a tough balance... From Buxton’s “Sketching User Experiences” (2007)
“Design is compromise.” bet ween tirsdag den 15. september 15
forms functions styles problems solutions stakeholders knowledge domains
The challenge qua Buxton The hard part of working with reflective design problems
Getting the right design... ...and getting the design right
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The challenge qua Buxton The hard part of working with reflective design problems
do we solve the right problem?
Getting the right design... ...and getting the design right do we solve the problem appropriately? tirsdag den 15. september 15
why is this important tirsdag den 15. september 15
Design is about products! Everything designed by humans can essentially be called a ‘product’
“By ‘product’ I mean a range of phenomena that is very broad, including information, artifacts, activities, services, and policies, as well as systems and environments”
“We are focusing on how human beings relate to other human beings through the mediating influence of products.”
Richard Buchanan 2011 ‘Design Research & The New Learning’ tirsdag den 15. september 15
Design is about products! Everything designed by humans can essentially be called a ‘product’ “We regard the form of a products as a synthesis of what is useful, usable, and desirable - that is, the content and structure of performance, human affordances, and product voice.” UTILITY
UTILITY
‘product’
USABILITY
‘product’
DESIREABILITY
USABILITY
DESIREABILITY
Richard Buchanan 2011 ‘Design Research & The New Learning’ tirsdag den 15. september 15
okay why are products different tirsdag den 15. september 15
Local hill climping The first idea gives us a space to explore... I got an idea!
Greenberg et al 2011 tirsdag den 15. september 15
Local hill climping After some time and work we reach ‘the local maxima’ ...we iteratively climb the hill
? a e d i d o o g But is it a Greenberg et al 2011 tirsdag den 15. september 15
The problem is quite clear The local maxima is not always equal to the global (optimal) maxima
Greenberg et al 2011 tirsdag den 15. september 15
...history has a lot of examples So get ‘the right design’ before working to get ‘the design right’
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The inertia of innovation We need tools that allow us to avoid the pit fall of local hills
“In terms of stifling innovation, good ideas are more dangerous than bad ones. They take hold, assume momentum, and therefore result in intertia” Buxton 2007
...intertia must be avoided tirsdag den 15. september 15
...and Buxton won’t shut up! Billy Boy makes a clear summary of why exploration matter
“Without informed design - technology is more likely to do bad than good” Buxton 2007
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ERGO... We need a new model ...of how to explore ideas and problems outside the local hill
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multiple stories?
Greenberg et al 2011 tirsdag den 15. september 15
...once upon a possible world A theoretical framework som poetics may be our beginning In order to embrace fiction as a central practice in design as well as in art and literature an alternative theory of fiction has been developed more recently within poetics. The so-called possible world theory (or possible world semantics) is based on the assumption that fictions can be properly understood as ‘possible worlds’, which can be either easy or difficult to access from our real world. Accessibility can be characterized, for instance, in terms of basic ontological laws that enable and constrain entities’ behaviour in a possible world as compared to the real world.
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...once upon a possible world A theoretical framework som poetics may be our beginning Possible world 1
Possible world 2
You and I Here and now
Possible world 3
Science fictional world
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’ s d l r o w ‘ e r u Possible fut
The Future is kinda messy - but it’s also ‘hand made’
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Design + fiction “A kind of halfway between fact and fiction (...) telling stories that appear real and legible (...) Offering some sort of reflection on how things are, and how they might become something else.” – JULIAN BLEEKER - near future laboratory
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a formal definition exist "Design fiction is the deliberate use of diegetic prototypes to suspend disbelief about change." Bruce Sterling, 2012
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One at a time
The deliberate use of diegetic prototypes? "Deliberate use" means that design fiction is something that people do with a purpose. "Diegetic" is from film and theatre studies. A movie has a story, but it also has all the commentary, scene-setting, props, sets and gizmos to support that story. Design fiction doesn't tell stories -- instead, it designs prototypes that imply a changed world. "Suspending disbelief" means that design fiction has an ethics. Design fictions are fakes of a theatrical sort, but they're not wicked frauds or hoaxes intended to rob or fool people. A design fiction is a creative act that puts the viewer into a different conceptual space -- for a while. Then it lets him go. Design fiction has an audience, not victims. Bruce Sterling, 2012
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Let me try giving it a go Design fiction uses techniques of fiction and drama to test the future, to see what future technologies or systems might work, on how they might be received and what their impact might be. It presents a series of alternative possible futures and shows which path might be preferable (or the opposite) ...that’s what this week is about tirsdag den 15. september 15
it’s all in the ‘what if ?’
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What if X condition(s) were true? What if? “A proposable good solution to a design problem, within a certain context ” Professor Jon Kolko, 2009
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...a lot of design fiction comes from real past science fiction
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75 years of imagining a concept
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Minority Report
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...and head on to 2012
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Remember the diegesis “Filmic depictions of future technologies are actually ‘diegetic prototypes’ that demonstrate to a larger audience a technology’s need, benevolence, and viability. Diegetic prototypes have a major rhetorical advantage over true prototypes: in the diegesis these technologies exist a ‘real’ objects already implemented, which people actually use.” David A. Kirby “The Future is Now”
...stories matter a lot in terms of domesticating an idea tirsdag den 15. september 15
Props & Prototypes Think of design as prop-making for the near future. Design makes objects (non-humans) around which stories/conversations ensure, and imaginary worlds come into being.
...the same goes for the ‘immateriality of services’ tirsdag den 15. september 15
A good example
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...and it can be very rough
Which lead’s us to why design fiction is also sketching
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Advertise the future
design fiction as diegetic informercials
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75 years of imagining a concept
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it’s all in the ‘what if ?’
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...t wo tools for today
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First let’s build a concept scenario tirsdag den 15. september 15
FACT
Histories
Signals
Lessons
Necessities
(example)
(data)
PAST
FUTURE
Myths
Scenarios
Dragons
Possibilities
(misconceptions)
(design fiction) FICTION
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Vistisen, 2013
FACT
Histories
Signals
Lessons
Necessities
(example)
(data)
PAST
FUTURE
Myths
Scenarios
Dragons
Possibilities
(misconceptions)
(design fiction) FICTION
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Vistisen, 2013
FACT n g ag e e o t rd a h re a rs e g a n Te e h e zo o t o t it is v ir e h t g in r u d n de n t Th e zo o is h ighly de p e as on e s d n a r e h t a e w e h t on
Histories
Signals
Lessons
Necessities
(example)
(data)
f u ll t o It h a s b e e n u n s uc c s e s gh re ach t h e g ue s t t h ro u mo bile a pp s
PAST
FUTURE
Myths
Scenarios
Dragons
Possibilities
(misconceptions)
(design fiction) FICTION
tirsdag den 15. september 15
Vistisen, 2013
FACT n g ag e e o t rd a h re a rs e g a n Te e h e zo o t o t it is v ir e h t g in r u d
m ite d li is o o z e h t r o f g in d Fu n in t h e ne x t five ye a rs
n de n t Th e zo o is h ighly de p e as on e s d n a r e h t a e w e h t on
No e c o n om ic a l ro om f s t af f h ire s
Histories
o r ne w
Signals
Lessons
Necessities
ue s t w il l In 2020 90% o f a ll g ga us e dig it a l me dia du r in v is it
f u ll t o It h a s b e e n u n s uc c s e s gh re ach t h e g ue s t t h ro u mo bile a pp s
(example)
(data)
PAST
FUTURE
Myths
Scenarios
Dragons
Possibilities
(misconceptions)
(design fiction) FICTION
tirsdag den 15. september 15
Vistisen, 2013
FACT n g ag e e o t rd a h re a rs e g a n Te e h e zo o t o t it is v ir e h t g in r u d
m ite d li is o o z e h t r o f g in d Fu n in t h e ne x t five ye a rs
n de n t Th e zo o is h ighly de p e as on e s d n a r e h t a e w e h t on
No e c o n om ic a l ro om f s t af f h ire s
Histories
o r ne w
Signals
Lessons
Necessities
ue s t w il l In 2020 90% o f a ll g ga us e dig it a l me dia du r in v is it
f u ll t o It h a s b e e n u n s uc c s e s gh re ach t h e g ue s t t h ro u mo bile a pp s
(example)
(data)
PAST
FUTURE t o v is it Te e n age rs do n’t wa n t m il ie s t h e zo o w it h t h e ir f a
Myths
Scenarios
Dragons
Possibilities
(misconceptions)
(design fiction)
t urbs is d y g lo o n h c te l a it ig D ce of t h e ph ys ic a l e x p e r ie n t h e zo o
e n a ble l il w f f a t s re o m ly n O ie n c e s mo re in v o lv ing e x p e r f o r t h e v is it o rs
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FICTION
Vistisen, 2013
FACT n g ag e e o t rd a h re a rs e g a n Te e h e zo o t o t it is v ir e h t g in r u d
m ite d li is o o z e h t r o f g in d Fu n in t h e ne x t five ye a rs
n de n t Th e zo o is h ighly de p e as on e s d n a r e h t a e w e h t on
No e c o n om ic a l ro om f s t af f h ire s
Histories
o r ne w
Signals
Lessons
Necessities
ue s t w il l In 2020 90% o f a ll g ga us e dig it a l me dia du r in v is it
f u ll t o It h a s b e e n u n s uc c s e s gh re ach t h e g ue s t t h ro u mo bile a pp s
(example)
(data)
PAST
FUTURE t o v is it Te e n age rs do n’t wa n t m il ie s t h e zo o w it h t h e ir f a
c ame e b rs e g a n e te if t a h W o? re s p o n s ible f o r t h e zo
Myths
Scenarios
Dragons
lle nge Possibilities Wh at if we c o u ld ch a fle x ible
t urbs is d y g lo o n h c te l a it ig D ce of t h e ph ys ic a l e x p e r ie n t h e zo o
t h e f am il ie s in g ad ve n t u re - c om bin in ph ys ic a l a n d dig it a l?
(misconceptions) e n a ble l il w f f a t s re o m ly n O ie n c e s mo re in v o lv ing e x p e r f o r t h e v is it o rs
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(design fiction) FICTION
ye r wa s la l a it ig d e h t if t a h W o us? mo re o r le s s au t o n om Vistisen, 2013
next up is you first sketch of this workshop
(which is not a video sketch)
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Storyboards Depict your design space as a pieces of a visual story
“Scenarios keep the designer of computer systems and applications in the swamp, but by their very nature also provide scaffolding to get a view of the design situation from at bit higher up.” Carroll, 1999
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Storyboards
Depict your design space as a pieces of a visual story
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Storyboards Using different sketching patterns we may also add a little depth
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Storyboards ...or mix it up through multiple modalities
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Assignment 1) Map out your problem space in the the design fiction matrix 2) Begin to discuss ‘what if scenarios’ that could exist and how this possible world might look like from the user view point. State your ideas by actually asking ‘What if X’? 3) Sketch out a detailed storyboard putting placing this possible world into a narrative piece of design fiction 4) Try to make at least 3-5 different scenarios with different ideas
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Remember the web-page! 1) You must write up your groups reflections in order to reach 80% participation 2) Aim for at least 250 words about each method (including reflections from you meeting with the clients) 3) Use the framework presented by Ramesh
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Remember tomorrow!
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suited up since 1997
...any questions? tirsdag den 15. september 15
One more thing... ...not a watch (promise!) tirsdag den 15. september 15
Animatics
Taking a simple storyboard and making it into a video
...animatics
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(low-fi)
Animatics
Taking a simple storyboard and making it into a video
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