Researching design fiction with design fiction

The term design fiction was first used in 2005 by Bruce Sterling [18:30] and in 2009 Julian Bleecker built on the idea by combining it with various other characterisations [cf. 1,2,10] and catalysed a step change in design fiction discourse. Since then design fiction has gained significant traction across academic contexts; at symposia and conference events; and through its practice within commercial design studios and industry. Despite becoming a popular way of framing speculative design, the characterisation of design fiction as research approach still remains “up for grabs” [19:22] as it is “enticing and provocative, yet […] remains elusive” [7:1]. In 2013 Bleecker remarked in terms of his studios own practice “I don’t think we’ve figured it out” and that “studying it, understanding it and trying to devise some of the principles - of what we’re calling design fiction - is what we’re trying to do” [1]. Adopting a research through design approach [5,6], this doctoral research intends to shed light on the questions raised by Bleecker by researching design fiction, with design fiction

Design (Non) Fiction:Deconstructing/Reconstructing the Definitional Dualism of AI

2001: A Space Odyssey (Kubrick, 1968) speculates on humanities technological ascension through the exploration of space and the ultimate transcendence of humanity galvanised by the invention of AI. Every detail of this portrayal was an exercise in World Building, with careful considerations of then state-of-the-art technology and informed predictions. Kubrick’s speculative vision is comparative to the practice of Design Fiction, by suspending disbelief and leveraging a technologies emergence to question the future’s sociotechnical landscape and its ramifications critically. Discovery’s AI system, Hal9000, is a convincing speculation of intelligence with Kubrick’s vision showcasing current and long-term aims in AI research. To this end, Hal9000 uniquely portrays Artificial General Intelligence (AGI) underpinned by visualising ‘narrow’ AI subproblems; thereby, simultaneously highlighting then current research agendas within AI and manifesting them into the aspirational research agenda of human-computer symbiosis. As a result of Kubrick’s mastery in suspending a viewer’s disbelief despite portraying a particular reality for AI, and humanities fascination with artificial life, the term AI simultaneously refers to the grand vision of AGI as well as relating to the contemporary reality of narrow AI. This confusion, along with establishing AI’s ontology, are current challenges that need addressing to create effective and acceptable realisations of AI. This paper responds to the ontological confusion by reviewing and comparing Kubrick’s speculative methodology to the practice of Design Fiction by unpacking Hal9000 as a diegetic prototype while defining the active threads of ‘AI’s Definitional Dualism’. The paper will also present a Design Fiction submerged in the reality of narrow AI and the adoption of a More-Than Human Centred Design approach to address the complexity of AI’s ontology in alternative ways. Finally, this paper will also define the importance of researching the semantics of AI technology and how film and Design Fiction offer a discursive space for design research to transpire

Design Fiction Diegetic Prototyping: A Research Framework for Visualizing Service Innovations

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.Purpose: This paper presents a design fiction diegetic prototyping methodology and research framework for investigating service innovations that reflect future uses of new and emerging technologies. Design/methodology/approach: Drawing on speculative fiction, we propose a methodology that positions service innovations within a six-stage research development framework. We begin by reviewing and critiquing designerly approaches that have traditionally been associated with service innovations and futures literature. In presenting our framework, we provide an example of its application to the Internet of Things (IoT), illustrating the central tenets proposed and key issues identified. Findings: The research framework advances a methodology for visualizing future experiential service innovations, considering how realism may be integrated into a designerly approach. Research limitations/implications: Design fiction diegetic prototyping enables researchers to express a range of ‘what if’ or ‘what can it be’ research questions within service innovation contexts. However, the process encompasses degrees of subjectivity and relies on knowledge, judgment and projection. Practical implications: The paper presents an approach to devising future service scenarios incorporating new and emergent technologies in service contexts. The proposed framework may be used as part of a range of research designs, including qualitative, quantitative and mixed method investigations. Originality: Operationalizing an approach that generates and visualizes service futures from an experiential perspective contributes to the advancement of techniques that enables the exploration of new possibilities for service innovation research

Writing essays by pictures : redrawing the textbook

This opinion piece considers the textbook as an academic genre and wonders whether, as it could be seen to have been developed based on now outmoded concepts and technologies, the textbook is outmoded itself. It is argued that learning resources need to be designed with the different types of knowledge to be learnt in mind. This is demonstrated with the example of Writing Essays by Pictures, a recently published stand-alone resource that aims to facilitate the researching and writing of a basic research based essay for first year undergraduate students

Visualizing Fantasy Fiction: Design of a Class in Digital Scholarship and Visualization, including Research, Organization and Digital Visualization, that Does Not Require Programming or IT support

This paper outlines a course to integrate digital visualizations into undergraduate research. These visualizations will include mapping and timelines of events, and the ability to hyperlink the events, characters, and story lines in a fantasy fiction story such as Lord of the Rings or A Game of Thrones. The digital scholarship will involve the methodology for collecting, organizing, and representing the data for the visualizations. The topic for the visualizations in this paper is fantasy fiction; however the methods to develop these visualizations will be applicable to many academic disciplines, including the humanities and social sciences. The paper outlines the justification for this class, the appropriate audience for this class, and the tools needed. Types of projects and homework assignments to implement the visualizations are suggested. It concludes with a syllabus outlining a typical schedule for this class

Alternative Presents and Speculative Futures: Designing fictions through the extrapolation and evasion of product lineages.

The core question addressed by this invited keynote and conference paper is how fictions are designed to negotiate, critique and realise the multiplicity of possible new technological futures. Focusing on methods, processes and strategies the presentation initially describes how things/technologies become products, employing the perspective of domestication to describe the transition from extraordinary to everyday. This development suggests a product history, a traceable lineage that goes back through generations, each one a small iteration of the previous. By modelling this lineage, design fictions can do two things: 1. Project current emerging technological development to create Speculative Futures: hypothetical products of tomorrow. 2. Break free of the lineage to speculate on Alternative Presents. These fictions effectively act as cultural litmus paper, either offering vignettes of how it might be to live with the technology in question or challenging contemporary applications of technology through demonstrable alternatives. The presentation focused on how these two types of fiction are created, how they differ from science fiction, other modes of future thinking and technological critique - more specifically how both methodologies utilise designed artefacts. What informs the development, aesthetics, behaviour, interactions and function of these objects? Once created, how and where do they operate? How can we gauge and understand their impact and meaning? As a consequence of the presentation Auger was invited to run workshops and projects in Basel (Hochschule für Gestaltung und Kunst) and HEAD (Haute école d’art et de design), Geneva and is advising on the design of a new masters programme at the Basel Hochschule

Towards an Ethic of Reciprocity: The Messy Business of Co-creating Research with Voices from the Archive

Do contemporary practices of attribution go far enough in acknowledging the contribution that others make to our work, particularly when they speak from the archive? The autobiographical fiction Faces in the Water (1961) from acclaimed author Janet Frame (1924-2004) draws on her experiences of residing in various New Zealand mental hospitals between 1945 and 1953. It is a rare and comprehensive account of the patient experience of these institutions that provided a critical lens for my doctoral research. Perhaps more importantly, through this text Frame taught me how difficult histories should be written, about the ambiguities we must accept and the value adjustments to be made in order to make sense of confounding inhumanity. Nowhere within my dissertation is the depth of this contribution acknowledged; a position developed out of respect for her family’s active opposition to the ‘patronising’ and ‘pathologising discourse’ that continues to haunt contemporary receptions of Frame’s work. Within this paper I employ autoethnography to make explicit the process of working through a question that haunted me well beyond the completion of my doctoral research: whether contemporary practices of citation and acknowledgement are sufficient to value research contributions from beyond the grave. I will examine whether Frame’s contribution is commensurate with contemporary qualifications for co-authorship and the burdens of academic practice that act to suppress these conversations

Proximate and ultimate factors in evolutionary thinking on art

Art is often described as an evolutionary adaptation, but not enough thought has been given to arguments in support of this claim. This can lead to a variety of explanatory issues, such as unjustly describing artmaking as an adaptation, not recognizing its complex nature, and its potentially even more complex evolutionary trajectory. This paper addresses one subject in particular, which is the conceptual distinction between ultimate and proximate levels of explanation. More specifically, this brief analysis investigates to what extent functional, adaptive explanations and proximate mechanisms might be confused, leading to strong adaptationist claims that may not be in accordance with the available evidence. In this paper, two hypotheses are discussed from this perspective, and it is argued that both of them, upon closer and more extensive analysis, might not stand the adaptationist test