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Authours: Zahra Ebrahim & Carl Hastrich
Edited by Christine Keene
Traditionally, companies, organizations and governments have used speculative design practices: linear, expert-led ideation that extrapolates from internal technological innovation. Speculative design has been more linked to showboating innovation capacity than to gauging broader cultural responses.
As disciplinary boundaries begin to blur and traditional scientific practice meets social practice (Novotony 2008), it becomes clear that the tools to visualize and materialize future scenarios are limited. A tool/method for design research is needed to create ways to test, explore and prototype these futures in order to engage both intellectual and emotional responses.
Design Fiction is the construction of a narrative—a movie, animation, written story, presentation or installation—to immerse an audience in an experience that provokes emotional and intellectual responses. It is the generation of ideas that are not yet possible to provoke a dialogue about what could or should be possible.
Design fiction can be used during the problem framing, at the boundaries of strategic planning, collective visioning and prototyping, where an organization or agency needs to overcome what isn’t possible in order to explore the implications if it were possible.
Generating ideas outside of the boundaries of what is deemed possible, thereby encouraging experimentation of “worldviews”. Design fiction can provide a framework for gauging an audience’s response to a given idea. Success occurs when an idea has been developed to a point that an audience can engage with it. It is an evolution of strategic methodologies that ends with an abstract ideal (e.g., planning and visioning) into simulations that foster an environment to experience the benefits, consequences and implications of their visions.
1) Generation of ideas – The process of making design fiction is research. It begins by identifying an opportunity where “thinking is stuck”, boundaries need pushing and an audience needs engagement.
2) Gaining feedback – Collecting responses to ideas
3) Observing – Audience response to ideas
4) Continuation – Narrative is extended through complementary tools: Expert Interviews, Semi-structured interviews, Cultural Probes, 5 Whys, Focus Groups, Prototyping, Scenario Planning, SWOT Analysis, Competitive Analysis, Design Documentaries, Focus Groups, or Observation.
Philips Design Probes: http://www.design.philips.com/about/design/designportfolio/design_futures/design_probes/projects/
Liam Young’s Productive Dystopias: http://vimeo.com/23425538
Liam Young’s Under Tomorrow’s Sky: http://vimeo.com/47714441
Bleecker, J. (2009). Design Fiction: A Short Essay on Design, Science, Fact and Fiction, 49. Retrieved from http://drbfw5wfjlxon.cloudfront.net/writing/DesignFiction_WebEdition.pdf
Denison, S. (2012). Why design fiction is design research – or should be. Retrieved from http://theenvisionist.com/2012/04/18/design-fiction-is-design-research/
Grand, S. (n.d.). Design Fiction Method Toolbox. FHNW | HGK | Visual Communication Institute/The Basel School of Design. Retrieved from https://itunes.apple.com/us/itunes-u/design-fiction-method- toolbox/id477135032
Grand, S., & Wiedmer, M. (n.d.). Design Fiction: A Method Toolbox for Design Research in a Complex World. Retrieved from http://www.fhnw.ch/hgk/idk/topics/media_data_topics/design-fiction-a- method-toolbox-for-design-research-in-a-complex-world
Starr, A. (2005, July 31). It’s a Bird! It’s a Plane! It’s Architecture! New York Times. Retrieved from http://www.nytimes.com/2005/07/31/arts/design/31star.html?pagewanted=1&_r=3&
Young, L. & Chen, D. (n.d.). Tomorrow’s Thoughts Today. Retrieved from http://www.tomorrowsthoughtstoday.com/