2019_candy.potter_ - Énergies, Temps & Cosmotechniques

Design and futures === > [!tldr] Tags > #cat/litterature #type/book > [!info] Meta Data >**FirstEditor**:: [[Candy, Stuart]] **Editor**:: [[Potter, Cher]] ~ > **Title**:: Design and futures > **Year**:: 2019 > **Citekey**:: [[2019_candy.potter]] > **itemType**:: book > **Publisher**:: Tamkang University Press > **Location**:: Taipei > **ISBN**:: 978-1-7099-9008-3 > **ISSN**:: > > [!Cite] > Candy Stuart et Potter Cher (eds.), _Design and futures_, Taipei, Tamkang University Press, 2019, 132 p. > > %%[@2019_candy.potter]%% > **URL**:: . > > **Related**:: . > > **Attachment**::[PDF](zotero://open-pdf/library/items/PH2K67D5). --- > [!important] Synthesis > **Contribution**:: > > [!Abstract] > > Essays zu Design und Zukunft. Design and Futures is a landmark collection of essays, manifestos and peer-reviewed articles, edited by Stuart Candy (Carnegie Mellon University) and Cher Potter (Victoria and Albert Museum), documenting 'design futures' discourse and practice around the world. Originally appearing in back-to-back issues of the open access Journal of Futures Studies (Tamkang University Press, Taiwan), the present compilation preserves the original formatting while unifying all 30 pieces between covers for the first time. Topics range from worldbuilding and curriculum design to temporality and decolonisation, as well as new methods and processes that build on over a decade of experiential futures, speculative design and related practices. Design and Futures will be an essential reference for anyone working or studying in either field >> --- # Note Editors' Note: This is a single-volume compilation and reissue of the two publications listed below. Contents, pagination and referencing are unchanged. Design and Futures, Volume I (Journal of Futures Studies 23(3), March 2019) / Design and Futures, Volume II (Journal of Futures Studies 23(4), June 2019). --- # Annotations%% begin annotations %% ### Imported: 2026-02-04 5:25 pm Quote > Turning Foresight Inside Out: An Introduction to Ethnographic Experiential Futures Quote > “how individuals living in conditions of environmental toxicity develop the ability to imagine possible futures and take positive action in their communities.” (Kornet, 2015, p. 3) Quote > the designer served a dual role: as a futures researcher eliciting detailed narratives from participants, and as a kind of translator or medium, strategically reifying their thinking and concerns into experiential scenarios so that they could be seen, felt, and talked about more readily Quote > The first stage brought futures to light; the next brought them to life. Quote > The process we describe has the potential to advance and mobilise in new ways a proposition pursued by critical and academic futurists for decades, that the future must be pluralised (Boulding, 1988; Slaughter, 1998; Hurley, 2008), which “opens it up for envisioning and creating alternative futures to the status quo” (Gidley, 2017, p. 44). Quote > What has changed lately, with the ‘experiential turn’ in the 2000s (Candy & Dunagan, 2016), is that foresight’s efforts to map images of the future has begun to be systematically articulated to a full array of strategies for mediating them, and designers are increasingly exploring futures in the plural as well (Candy, 2010; Dunne & Raby, 2013; Yelavich & Adams, 2014; Selin, 2015; Candy & Dunagan, 2017; Escobar, 2018). Quote > I. Images of the Future Quote > Critical futures scholarship argues that ‘the future’ does not exist as such, but is inherently a domain of ideation and imagination. It “cannot be experienced directly, but only though images, thoughts, feelings and the multiple ways these are subsequently expressed in the outer world” (Slaughter, 2018, p. 444). Quote > “[E]ngagement with the future is an encounter with a non-tangible and invisible world that nevertheless has real and material consequences” (Adam & Groves, 2007, p. xv) Quote > ‘images of the future’ Quote > was proposed by sociologist Fred Polak Quote > (Polak, 1973 [1955]) Quote > Textor pioneered anticipatory anthropology, “the use of anthropological knowledge and ethnographic methods, appropriately modified and focused, to anticipate change” (Textor, 1985, p. 4). Quote > “ethnocentrism refers to one’s being excessively centred in one’s own culture, and tempocentrism to one’s being excessively centred in one’s own timeframe.” (Textor in Mead, 2005, pp. 16-17, emphasis added) Quote > Ethnographic Futures Research Quote > “Just as the cultural anthropologist conventionally uses ethnography to study an extant culture, so the cultural futures researcher uses EFR to elicit from members of an extant social group their images and preferences (cognitions and values) with respect to possible or probable future cultures for their social group.” (Textor, 1980, p. 10) Quote > A semi-structured interview format is used to draw out participants’ projections. “Instead of simply asking ‘What do you believe is going to happen?’, in EFR you ask: ‘Within the context of overall trends and possibilities as you perceive them, what potential changes in your sociocultural system do you (1) want, (2) fear, and (3) expect?” (Veselsky & Textor, 2007, pp. 31-32). Quote > Experiential Futures (XF) is a family of approaches for making futures visible, tangible, interactive, and otherwise explorable in a range of modes Quote > combining ‘ethnographic’ and ‘experiential’ elements Quote > Map1: Inquire into and record people’s actual or existing images of the future (probable; preferred; non-preferred; a combination). Multiply: Generate alternative images (scenarios) to challenge or extend existing thinking (optional, especially in first iteration). Mediate: Translate these ideas about the future/s into experiences; tangible, immersive, visual or interactive representations. Mount: Stage experiential scenario/s to encounter for the original subject/s or others, or both. Map2: Investigate and record responses. Quote > rarely are these futures expressed in a form other than words. Quote > the explorations of possible futures emanating from design tend to give form to their creators’ own narrative ideas (Dunne & Raby, 2013; Durfee & Zeiger, 2017), whereas EXF projects incorporate map as well as mediate images of the future Quote > EXF is perhaps best described using a typology lucidly set out in recent work by Jose Ramos, as a protocol for ‘futures action research’ (Ramos, 2017, pp. 825–827). Quote > In other words we are not concerned with trying to establish foreknowledge of what the future will be, but with helping a nascent design/futures community to extend critical and participatory foresight work into a deeply embodied mode, by scaffolding processes to more effectively explore the futures thinking of diverse communities, using design (meant broadly here) to loop from an interior register to an exterior –– thinkable, feelable, discussable –– one Quote > design methodology language, EXF is a framework for ‘research through design’ (Frayling, 1993; Gaver, 2012), noting especially Bill Gaver’s insistence that design “is a generative discipline, able to create multiple new worlds rather than describing a single existing one. Its practitioners may share many assumptions about how to pursue it, but equally, they may build as many incompatible worlds as they wish to live in” (Gaver, 2012, p. 943) Quote > we might characterise the EXF Cycle as an example of ‘intermediary knowledge’ (Höök & Löwgren, 2012; Dalsgaard & Dindler, 2014; Höök et al., 2015). The framework sits between the concrete specificity of particular designs (the five projects) and the more abstract register of theories (such as the question of how images of the future bend the arc of history) Quote > those higher-order questions of how futures thinking circulates in communities and influences change %% end annotations %% %% Import Date: 2026-02-04T17:25:42.365+01:00 %%