Speculative Design – A Race to What? At the next instalment of RMIT’s SOL:ID lecture series, on Friday 13 September, three leading thinkers in speculative design, Roland Snooks (Kokkugia), Harry Lee (game developer, Freeplay games festival) and Ammon Beyerle (Eurisko), will critically reflect on their own practices and audience questions as they grapple with the topic. The lecture is at RMIT Design Hub where Snooks, Lee and Beyerle will explore the increasingly murky territory of speculative design posing questions such as: Are designers currently only using technology for the purpose that it was built, or are they actually providing productive thinking towards the future?Are speculative design competitions appropriating money towards a non-built world within the heads of intellectuals, and could this money be re-appropriated within these firms and throughout the design industry towards a more holistic future?
About We work closely with clients and collaborators on projects that acknowledge the reality of our rapidly changing times, designing with and for uncertainty, instead of resisting it. We are particularly interested in the ways emerging technologies interface with the environment and everyday life, and with proven experience in design, strategy and foresight, Superflux is in a unique position to explore the implications of these new interactions. Ultimately, we strive to embed these explorations in the here-and-now -- using rapid prototyping and media sketches to turn them into stimulating concepts, experiences, products and services. Our business has two parts. The consultancy is client-facing, offering bespoke services, while the lab is a research space where we develop and test new ideas.
United Nations The United Nations (UN) is an intergovernmental organization to promote international co-operation. A replacement for the ineffective League of Nations, the organization was established on 24 October 1945 after World War II in order to prevent another such conflict. At its founding, the UN had 51 member states; there are now 193. The headquarters of the United Nations is in Manhattan, New York City, and experiences extraterritoriality. Further main offices are situated in Geneva, Nairobi and Vienna. During the Second World War, US President Franklin D. The organization won the Nobel Peace Prize in 2001, and a number of its officers and agencies have also been awarded the prize. History 1943 sketch by Franklin Roosevelt of the United Nations' original three branches: The Four Policemen, an executive branch, and an international assembly of forty UN member states. Background 1942 "Declaration of United Nations" by the Allies of World War II Founding the UN 1945 The UN in 1945. Cold War era
Speculative Design: Playing Devil's Advocate | About the AR Speculative designs that escape from conventional capitalist systems offer visonary directions forward At least according to its dictionary definition, design is a straightforward process with an unambiguous objective: to ‘do or plan something with a specific purpose in mind’. While this is certainly an adequate explanation for everyday use, it is a little superficial, representing design only within conventional capitalist systems. But must design always target a specific purpose? What can design mean and achieve if liberated from the demands of corporate shareholders and brand strategists? Since the 1960s, a number of irreverent ‘speculative designers’ have explored the potential of such emancipated practice. Clive Sinclair in his C5 tricycle, which was voted one of the ‘biggest innovation disasters’ of all time Consider the example of British designer Clive Sinclair’s infamous C5: a flopped concept for a battery-assisted personal urban tricycle (how much more radical does it get?).
FCJ-142 Spectacles and Tropes: Speculative Design and Contemporary Food Cultures | Fibreculture Journal: 20 Carl DiSalvoGeorgia Institute of Technology, Atlanta Abstract: Speculative design is a particularly inventive mode of design that is concerned with developing imaginative futures or alternate presents. Often, the purpose of speculative design is to prompt reflection on contemporary conditions and express possible implications of current trends in science and technology. Like all design, speculative design reproduces as well as invents culture and there are limits to the work it does. In this essay, I trace the ways speculative design reproduces contemporary food cultures through two projects: Guide to Free Farming (2009) and Family Whiskey (2010). Introduction Speculative design is a practice of creating imaginative projections of alternate presents and possible futures using design representations and objects. As speculative design continues to develop as a practice, it is incumbent upon critics to provide ways of analyzing its construction and the work that it is, and is not, doing.
Chiropractors Metropolitan areas with the highest concentration of jobs and location quotients in this occupation: Top paying metropolitan areas for this occupation: Nonmetropolitan areas with the highest employment in this occupation: Nonmetropolitan areas with the highest concentration of jobs and location quotients in this occupation: Top paying nonmetropolitan areas for this occupation: About May 2015 National, State, Metropolitan, and Nonmetropolitan Area Occupational Employment and Wage Estimates These estimates are calculated with data collected from employers in all industry sectors, all metropolitan and nonmetropolitan areas, and all states and the District of Columbia. The percentile wage estimate is the value of a wage below which a certain percent of workers fall. (1) Estimates for detailed occupations do not sum to the totals because the totals include occupations not shown separately. (3) The relative standard error (RSE) is a measure of the reliability of a survey statistic. Technical Notes
Speculative Fiction, Speculative Design: Observatory: Design Observer England Swings SF, Doubleday, 1968 I had barely walked into Out of This World: Science Fiction But Not As You Know It, an exhibition at the British Library in London, when I noticed a book cover that blew me away. I present it here for your enjoyment, or perhaps your dismissal. Never having seen this strange dust jacket before, I immediately wanted to know who designed it. England Swings SF, Judith Merril’s collection of “speculative fiction” by writers from SF’s “British” new wave, was published in 1968 by Doubleday in New York. I’ll come back to the designer, but let’s treat the England Swings SF cover as the work of “anonymous” for a few moments longer. England Swings SF, back cover, Doubleday, 1968 Richard Merkin (1938-2009) Happily, the cover, unlike so many others back then, comes with a credit, “Jacket by Richard Merkin,” though without specific reference to illustration or design.
From Design Fiction to Experiential Futures This is the second chapter I wrote for the book, “The Future of Futures“. It explores the role design fiction, experiential futures and visual media in foresight work. It also includes several examples of good design fiction, which are formatted nicely in the original publication. Download this chapter as a formatted PDF, here. I have another chapter in the book, which is about the effect of crowdsourcing, big data and the web on scenario planning and foresight. You can read it here. From Design Fiction to Experiential Futures by Noah Raford, PhD Experiential futures, design fiction, artifacts from the future or speculative fiction. Of course, “experiential” and immersive activities have always played an important role in certain kinds of futures work, particularly in the early days of scenario practice at GBN. These approaches come with certain risks, however. Experiential futures is a powerful addition to the foresight toolbox. Examples Superflux, Song of the Machine Fly Me to the Moon
Design Fiction: “Speculative Everything” by Dunne & Raby | Beyond the Beyond Design Fiction: “Speculative Everything” by Anthony Dunne and Fiona Raby Since its subject is ‘everything,’ “Speculative Everything” says a lot. It’s been five years since the appearance of the seminal Dunne and Raby video, “Technological Dream Series No 1: Robots.” Still, given these five long years, it’s startling to see how much hard work remains as yet undone, how tentative and explorational this book is, how much creative room there is. Each chapter of this book deserves thoughtful response, but I will settle on one point. I’m inclined to think these distinctions will not fade, but intensify. Someday, we may see regional forms of speculative design that are as full of character as regional clothing, cinema, cuisine and popular music. It took some nerve, at first, to use real-world design skills to talk about technosocial situations that just don’t exist. Much remains unclear.