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  • À l’imaginaire numérique de transgression de toutes les limites répond l’imaginaire écologique d’un être humain devant redécouvrir les limites du « système Terre » auquel il est intimement lié
  • quête éperdue de futurs désirables.
  • Basée sur l’exploration d’une pluralité de scénarios du futur, bien au-delà de la prospective traditionnelle grâce à des fictions de toutes formes et tonalités,  cette pratique crée des passerelles entre science-fiction et innovation 
  • récolter des imaginaires déjà connus
  • plonger l’humain le plus incertain, voire le plus récalcitrant, dans une multiplicité de devenirs non anticipés, rebelles ou apparemment improbables pour lui permettre d’habiter des mondes alternatifs
  • utiliser les imaginaires suppose une immersion profonde. Travailler sur un nombre restreint de références, c’est prendre le risque de voir le monde au prisme d’un parti pris et de s’enfermer dans l’esprit d’une époque ou d’une oeuvre
  • Réaliser des allers et retours entre le présent et une grande gamme de futurs projetés permet ainsi de montrer limites, forces et conséquences de chaque parti pris concurrent
  • Et surtout d’en construire d’autres, à contre-pied des principes implicites régissant les discours contemporains sur l’avenir. Car l’exploration d’une pluralité de visions et mondes potentiels permet de développer une capacité de projection dans le futur et d’ouvrir le champ des possibles.

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Bruce Stierling : design Fiction : utilisation intentionnelle d'artefacts pour rompre avec la défiance des mutations

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  • Le Design Fiction, par sa capacité à explorer et matérialiser les implications d’évolutions à venir, s’impose de plus en plus comme un préalable à l’élaboration de stratégies urbaines et territoriales
  • Avec Martin Lauquin, Creative Strategist @ onepoint et co-fondateur du collectif @ Making Tomorrow Pauline Audinet, Leader Innovation @ onepoint et membre du collectif @ Making Tomorrow

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  • design can be used as a tool to speculate about possible futures and think critically about today and prospective implications of actions
  • Speculative design is described as “creating an idea of possible futures” (Dunne and Raby, 2013, p. 2)
  • Those futures can be postive but also negative and will reflect the world we are living in today. Everything starts with a „What-if“ question to open up spaces of discussion and debate. With the power of design it is possible to question, provoke and inspire.
  • Speculative Design is useful in terms of “debate potential ethical, cultural, social and political implications” (Dunne and Raby, 2013, p. 47)
  • In todays world, where through technological innovation everything seams to be possible, it can play an important role in terms of asking key questions about ethics and what it means to be human: In what kind of world will we want to live in? What do we want to achieve? Where do we want to go? It opens up a space to explore a range of ideas in an “safe environment” where we can determine the possible impacts and consequences those concepts might have.
  • Speculative design and its ability to critical question and reflect, is a great tool to explore new fields, make things tangible and to start a discussion
  • think about things in a different way and opens up space for imagination and inspiration

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"Future-Oriented Design"

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  • research methodology which aims to critiques social, cultural and ethical implications of emerging technologies and trends.
  • design related approach rather than a practice that enables the exploration of novel possibilities through the creation of functional fictional futures.
  • Through the creation of fictional prototypes (as shown in figure 14), designers are able to establish compelling visions of alternate realities and speculative futures (Auger, 2013).
  • These prototypes causes those who interact with it to challenge their assumptions about the manner in which the world around them is developing.
  • This opens the opportunity for design fiction to function as a platform for integrated thinking that allows individuals to anticipate developments and make more informed choices in the present about the future.
  • The 1939 World’s Fair had an exhibit titled Futurama
  • Criticism & Limitations
  • The artefact should indicate that its context is near-future as if the design fiction is too futuristic, it will appear to be mere speculation; if it is too close to the present, those will interact with it will expect a researched critical understanding of its topic
  • criticised for dramatising ‘dystopian scenarios,’

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