Designing future experiences of the everyday

Turku, Finland, June 12, 2019Constructing Social Futures 2019

Claudia Garduño García &İdil Gaziulusoy

Systematic literature review

1. Scoping / Mapping

2. Systematized review

Systematic literature review

Experiential futures

Experientialscenarios

Embodied experience

Speculative design

Everyday life

Alternative realityVirtual

reality

Experiential futures

Candy (2010)

Experientialscenarios

Embodied experience

Performing arts

Dance

Drills

Installations Prehearsals

VisualizationPrototyping

Participatory processes

Pre-enactments

No spectators, only participants

Inhabiting uncertainty

Future preparedness

Visionary adaptation

Role-playing

Speculative design

Everyday life

Alternative realityVirtual

reality

Experiential futures

Candy (2010) Kuzmanovic & Gafney (2017)

Experientialscenarios

Embodied experience

Performing arts

Dance

Drills

Installations Prehearsals

VisualizationPrototyping

Participatory processes

Pre-enactments

No spectators, only participants

Inhabiting uncertainty

Future preparedness

Visionary adaptation

Role-playing

Speculative design

Everyday life

Alternative realityVirtual

reality

Experience design& theatre

Future studies& theatre

Embodied future

Embodiment & Art

Alternative reality& experience

Applied futures

Experiential futures

Candy (2010) Kuzmanovic & Gafney (2017)

Experientialscenarios

Embodied experience

Performing arts

Dance

Drills

Installations Prehearsals

VisualizationPrototyping

Participatory processes

Pre-enactments

No spectators, only participants

Inhabiting uncertainty

Future preparedness

Visionary adaptation

Role-playing

Speculative design

Everyday life

Alternative realityVirtual

reality

Experience design& theatre

Future studies& theatre

Embodied future

Embodiment & Art

Alternative reality& experience

Applied futures

Participation

Art

Learning

Bodily

Simulation

Psychology

Physicality

Aesthetics

Improvisation

Scenarios

Feminism

Pragmatism

Sustainability

Design fiction

Lived experince

Subjective experience

Experiential futures

Candy (2010) Kuzmanovic & Gafney (2017)

Main themes:

Aesthetics Art Learning Design Experiential futures Forward theatre Future Improvisation Participation Psychology Scenario Simulation Sustainability

FUTURESAlternative Futures

Methodology

POLITICSPolitics ofAesthetics

DESIGNExperience

Design

Candy (2010)

Experiential Futures

Timeline experiential futures

1960 1970 19801950 1990 2000 2020

THE COMMISSIONON THE YEAR 2000

HAWAII 2000:PRESENT, PAST,

AND FUTURE

HAWAII2000

HAWAII 2050

The Institute for the FutureWorld Future SocietyThe FuturistFuturiblesFuturology

Delphi techniqueTech. forecasting

Social forecasting

TOWARD THE YEAR 2000

CANDY, 2010:EXPERIENTIAL

FUTURES

Timeline experiential futures

1960 1970 19801950 1990 2000 2020

THE COMMISSIONON THE YEAR 2000

HAWAII 2000:PRESENT, PAST,

AND FUTURE

HAWAII2000

HAWAII 2050

The Institute for the FutureWorld Future SocietyThe FuturistFuturiblesFuturology

Delphi techniqueTech. forecasting

Social forecasting

TOWARD THE YEAR 2000

CANDY, 2010:EXPERIENTIAL

FUTURES

“(Hawaii 2000) A creative failure”

(Dator et al., 1999)

Futures & Design

“Directed action toward preferredfutures may even be understood

as fundamental to some conceptions of design...”

(Mazé, 2016; 37–38)

Futures & Design

Bruce Sterling & science fiction

1995 · Dead media project1998 · Viridian Design2005 · “Shaping things”

David A. Kirby & Hollywood

· Scientists in movie sets· ‘Diegetic prototype’· Sterling & Bleecker

· Scientists in movie sets· ‘Diegetic prototype’· Sterling & Bleecker

Persuasion

David A. Kirby & Hollywood

Dunne & Raby & the speculative

· Satire for good purpose· Language of design· Museums, galleries, and expert audiences· Deep reflection, behavioural change

Dunne & Raby & the speculative

· Satire for good purpose· Language of design· Museums, galleries, and expert audiences· Deep reflection, behavioural change

Warning

Cynthia Selin & futures and design

· Anticipation and Deliberation· Emerge 2012 (Futures 70)· Oxford Futures Forum 2014 (Futures 74)

1960

1965 1975 1985 1995 2005 2015

1970 1980 1990 2000 2010 2020

CriticalDesign

EcologicalDesign

DfSSustainableDesign

RadicalArch.

Co-designParticipatoryDesign

EmpathicDesign

UserExperience

ExperienceDesign

HCDUCDErgonomics

SpeculativeDesign

DesignFiction

Commissionon the Year

2000

Hawaii2000

Futuresjournal

CriticalFutures

ForesightJournal

CorporateFutures

OthersʼFutures

Foresight

WFS

Shell

Hawaii2050

Emerge OFF

ExperientialFutures

Immersionand changeImmersion

Fiction andempathy

Fiction andToM

Futu

res

Des

ign

Lite

ratu

rePs

ycho

logy

Neu

rosc

ienc

eFutures and design timeline

What is everyday?

My Everyday

Now

SUDDEN

SLOWSLOW

SUDDEN

Constant

Chan

ging

homework

hobbies

objectsevents

attituderelations

actions

habitualnormal routine

DEVELOPMENT

PARTY

DISASTER

STAG

NATI

ON

AVOID

ASPIRE

Naukkarinen (2013)

What is everyday?

My Everyday

Now

SUDDEN

SLOWSLOW

SUDDEN

Constant

Chan

ging

DEVELOPMENT

PARTY

DISASTER

STAG

NATI

ON

AVOID

ASPIRE

objectspeople

action/eventrelations

Garduño, 2018 based on Kelliher & Byrne, 2015, and Naukkarinen, 2013.

What is everyday?

How to construct an extraordinary ordinary

experience?

How to convey an embodied experience of the everyday

in futures?

1960

1965 1975 1985 1995 2005 2015

1970 1980 1990 2000 2010 2020

CriticalDesign

EcologicalDesign

DfSSustainableDesign

RadicalArch.

Co-designParticipatoryDesign

EmpathicDesign

UserExperience

ExperienceDesign

HCDUCDErgonomics

SpeculativeDesign

DesignFiction

Commissionon the Year

2000

Hawaii2000

Futuresjournal

CriticalFutures

ForesightJournal

CorporateFutures

OthersʼFutures

Foresight

WFS

Shell

Hawaii2050

Emerge OFF

ExperientialFutures

Immersionand changeImmersion

Fiction andempathy

Fiction andToM

Futu

res

Des

ign

Lite

ratu

rePs

ycho

logy

Neu

rosc

ienc

ePsychology and literature

Transportation

Gerrig (1993)

Readers are often described as “travelers” being transported by some means of transportation as a result of performing certain actions. They go some distance from their world of origin, which makes some aspects of that world inaccessible. The travelers return to the world of origin somewhat changed by the journey.

Terms for non-lived experience

ToM. Theory of Mind: The ability to think of others’ thoughts and feelings.

Empathy. “I feel what you feel”

Vicarious. Experienced in the imagination through the feelings or actions of another person.

In the simulations of fiction, personal truths can be explored that allow readers to experience emotions —their own emotions—

Fiction and emotions

Oatley (1999)

The Abstraction and Simulation of Social Experience.

Scripts are sequenced representations of prototypical elements of a common interaction, such as visiting a restaurant.

Most fiction strives for realism in the most important aspects of human experience: the psychological and the social.

The function of Fiction

Mar & Oatley (2008)

Readers of fiction score higher on measures of empathy and theory of mind (ToM) than non-readers, even after controlling for age, gender, intelligence and personality factors.

However, the experiences of narrative worlds will be optional: a text cannot force a reader to experience a narrative world.

Fiction readers

Mar et al.,2006, 2009, 2010

Fiction-based belief change has now been demonstratedby independent investigators (Prentice, Gerrig, & Bailis, 1997; Strange & Leung, 1999; Wheeler, Green, & Brock, 1999).

Belief-change

Green & Brock (2000)

Ernie, do you realise what we are doing in this picture? The audience is like a giant organ that you and I are playing. At one moment we play this note and get this reaction, and then we play that chord and they react that way. And someday we won’t even have to make a movie -- there’ll be electrodes implanted in their brains, and we’ll just press different buttons and they’ll go ‘oooh!’ and ‘aaah’ and we’ll frighten them, and we’ll make them laugh. Won’t that be wonderful?

Hitchcock to Lehman:

Candy (2010; 108)

Neuroscience

Fiction reading recruits the default network because it elicits at least two different types of simulation: the simulation of vivid physical scenes and the simulation of people and minds.

Participants who read fiction most often also showed the strongest social cognition performance.

Repeated engagement in social simulation through fiction might bring beneficial changes to the default network, and concomitant benefits for social ability.

Tamir et al. (2016)

(Early) findings

1960

1965 1975 1985 1995 2005 2015

1970 1980 1990 2000 2010 2020

CriticalDesign

EcologicalDesign

DfSSustainableDesign

RadicalArch.

Co-designParticipatoryDesign

EmpathicDesign

UserExperience

ExperienceDesign

HCDUCDErgonomics

SpeculativeDesign

DesignFiction

Commissionon the Year

2000

Hawaii2000

Futuresjournal

CriticalFutures

ForesightJournal

CorporateFutures

OthersʼFutures

Foresight

WFS

Shell

Hawaii2050

Emerge OFF

ExperientialFutures

Immersionand changeImmersion

Fiction andempathy

Fiction andToM

Futu

res

Des

ign

Lite

ratu

rePs

ycho

logy

Neu

rosc

ienc

e

(Early) findings

(Early) findings

Futures aware of design, design not very aware, and confused about futures.

It is the content and complexity of the story that is important, not the characteristics of its transmission.

The most powerful tales tend to be those that involve negative aspects, such as dilemmas to be overcome or obstacles to be surmonted.

It is easier to be transported into a world not too far from one’s own.

Fiction readers might be ideal participants.

(fictional)narrative

writtenphoto

illustration

audi

oth

eatre

video

object

VRAR

exhibition

video

gam

egame

Pool of media

Pool of methods3D printed objectsAmbiguous designAlternative reality gamesCritical designDanceDesign FictionDesign Fiction moviesDiegetic PrototypesDrillsDivinationExperience designFutures workshopsInstallationsLearning journeysLive action role-playingLudic design

Media simulationsMoviesMultimedia performancesParticipatory processesPerformancePerforming actsPlace based interventionsPrototypingSpeculative design artifactsVisualization

Futures made aparent can be discussed, maybe they become malleable.(Kuzmanovic & Gaffney, 2017)

Opportunities

Our literature review, with a special focus on sustainability transformations has led us to look into means and methods through which people could deliberate about futures by having immersive experiences into their future everyday lives.

Being critical

Experiential futures proponents seem to be concerned with reaching wide audiences, little attention is paid to measuring the effects of experiential futures in the participants.

Deliberation is central to many of the authors, nonetheless, it is not clear how experiential futures have been used in deliberating futures.

· Fake news· Psychosis· Manipulation· “The game”

Ethical implications

Bell, D. (1970). The Commission on the Year 2000. “Futures”, September 1970, 263–269.Bleecker, J. (2009). Design Fiction: A short essay on design, science, fact and fiction. “Near

Future Laboratory” 29 (2009).Candy, S. (2010). “The futures of everyday life: Politics and the design of experiential scenarios”.

University of Hawaii.Dator, et al. (1999). “Hawaii 2000: Past, Present and Future”. Report prepared for the Office of

Planning, Department of Business, Economic Development and Tourism (DBEDT), Honolulu: Social science Research Institute, University of Hawaii, December.

Dunne, A. & Raby, F. (2013). “Speculative everything: design fiction, and social dreaming”. Cambridge, MA: MIT Press.

Gerrig, R. (1993). Two metaphors for the experience of narrative worlds. in “Experiencing Narrative Worlds: On the psychological activities of reading”. New Haven, USA: Yale UP., 1–25.

Green, M. & Brock, T. (2000). The role of transportation in the persuasiveness of public narratives. “Journal of personality and social psychology”. 79 (5), 701–721.

References

Kirby, D.A. (2009) The Future is Now: Hollywood Science Consultants, Diegetic Prototypes and the Role of Cinematic Narratives in Generating Real-World Technological Development, “Social Studies of Science”, 40(1): 41-70.

Kuzmanovic, M. & Gaffney, N. (2017). Enacting futures in postnormal times. “Futures”. 86, 107–117.

Mar, R. & Oatley, K. (2008). The function of fiction is the abstraction and simulation of social experience. “Perspectives on Psychological Science”, 3 (3), 173–192.

Mar, R., Oatley, K. & Peterson, J. (2006). Exploring the link between reading fiction and empathy: Rulling out individual differences and examining outcomes. “Communications”, 34, 407–428.

Mazé, R. (2016). Design and the Future: Temporal Politics of ‘Making a Difference’. In Smith, R. et al., eds. “Design Anthropological Futures”. (1). London, GB: Bloomsbury Academic.

Meadows, D., et al. (1972). “The Limits to growth; a report for the Club of Rome’s project on the predicament of mankind”. New York :Universe Books.

Oatley, K. (1999). Why fiction may be twice as true as fact: Fiction as cognitive and emotional simulation. “Review of General Psychology”, 3(2), 101–117.

Selin, C. (2015). Merging art and design in foresight: Making sense of Emerge. “Futures”, 70, 24–35.

Selin, C. et al. (2015). Scenarios and design: Scoping the dialogue space. “Futures”, 74, 4–17.Simon, H. (1996). “The Sciences of the Artificial”. Cambridge, MA: MIT Press.

Skirpan, M., Cameron, J., and Yeh, T. (2018). More than a show: Using personalized immersive theater to educate and engage the public in technology ethics. CHI 2018, April 21–26, 2018, Montreal, QC, Canada. Paper 464.

Son, H. (2015). The History of Western futures studies: An exploration of the intellectual traditions and three-phase periodization. “Futures”, 66, 120–137.

Sterling, B. (2005). “Shaping Things”. Cambridge, MA: MIT Press.Tamir, D. (2016). Reading fiction and reading minds: the role of simulation in the default network”.

11 (2), 215–224.

Thanks for listening!

Comments and questions appreciated!

Claudia Garduño García: claudiagarduno@gmail.comİdil Gaziulusoy: idil.gaziulusoy@aalto.fi