Speculative Everything: Design, Fiction, and Social Dreaming

Notes

190 NOTES nO T Es cHAPter 1 1. Stephen Duncombe, Dream: Re-imaging Progressive Politics in an Age of Fantasy (New York: The New Press, 2007), 182. 2. For example, see Barbara Adam, “Towards a New Sociology of the Future” (Draft). Available at http://www.cf.ac.uk/socsi/futures/ newsociologyofthefuture.pdf. Accessed December 24, 2012. 3. For more on this, see Joseph Voros, “A Primer on Futures Studies, Foresight and the Use of Scenarios,” Prospect, the Foresight Bulletin, no. 6 (December 2001). Available at http://thinkingfutures.net/wp-content/ uploads/2010/10/A_Primer_on_Futures_Studies1.pdf. Accessed December 21, 2012. 4. Michio Kaku, Physics of the Impossible (London: Penguin Books, 2008). 5. David Kirby, Lab Coats in Hollywood: Science, Scientists, and Cinema (Cambridge, MA: MIT Press, 2011), 145–168. 6. Richard Barbrook, Imaginary Futures: From Thinking Machines to the Global Village (London: Pluto Press, 2007). 7. This history is very well documented; for example, see Neil Spiller, Visionary Architecture: Blueprints of the Modern Imagination (London: Thames & Hudson, 2006); Felicity D. Scott, Architecture or Techno-utopia: Politics after Modernism (Cambridge, MA: MIT Press, 2007); Robert Klanten et al., eds., Beyond Architecture: Imaginative Buildings and Fictional Cities (Berlin: Die Gestalten Verlag, 2009); and Geoff Manaugh, The BLDG BLOG Book (San Francisco: Chronicle Books, 2009); see also http://bldgblog.blogspot.co.uk. Accessed December 24, 2012. 8. Zygmunt Bauman, Liquid Modernity (Cambridge, UK: Polity Press 2000). cHAPter 2 1. For an in depth discussion of the how of speculative design, see James 9808.indb 190 9/23/13 5:49 PM 191 NOTES Auger, “Why Robot? Speculative Design, Domestication of Technology and the Considered Future,” PhD diss. (London: Royal College of Art, 2012), 153–164. 2. For more on critical design, see our earlier books, Anthony Dunne, Hertzian Tales (Cambridge, MA: MIT Press, 2005); and Anthony Dunne and Fiona Raby, Design Noir (Basel: Birkhäuser, 2001). 3. See Julian Bleecker, Design Fiction: A Short Essay on Design, Science, Fact and Fiction (2009). Available at http://nearfuturelaboratory. com/2009/03/17/design-fiction-a-short-essay-on-design-science-fact-andfiction /. Accessed December 23, 2012. For examples, see Bruce Sterling’s Beyond the Beyond blog at http://www.wired.com/beyond_the_beyond. Accessed December 24, 2012. 4. Stuart Candy’s The Sceptical Futuryst blog is a wonderful repository of ideas and projects on design and futures. Available at http://futuryst. blogspot.co.uk. Accessed December 20, 2012. 5. Krzysztof Wodiczko’s Interrogative Design Group has as its goal “to combine art and technology into design while infusing it with emerging cultural issues that play critical roles in our society yet are given the least design attention.” Available at http://www.interrogative.org/about. Accessed December 24, 2012. 6. Carl DiSalvo, Adversarial Design (Cambridge, MA: MIT Press, 2010), explores ways this kind of design can engage with the political. 7. For more on this, see Bruce M. Tharp and Stephanie M. Tharp, The 4 Fields of Industrial Design: (No, Not Furniture, Trans, Consumer Electronics & Toys), Core77 blog, January 5, 2009. Available at http://www.core77.com/ blog/featured_items/the_4_fields_of_industrial_design_no_not_furniture_ trans_consumer_electronics_toys_by_bruce_m_tharp_and_stephanie_m_ tharp__12232.asp. Accessed December 23, 2012. 8. See Anab Jain et al., “Design Futurescaping,” in Blowup: The Era of Objects, ed. Michelle Kaprzak (Amsterdam: V2, 2011), 6–14. Available at http://www.v2.nl/files/2011/events/blowup-readers/the-era-of-objectspdf . Accessed December 23, 2012. 9. Tim Black, interview with Susan Neiman, Spiked Online. Available at http:// 9808.indb 191 9/23/13 5:49 PM 192 NOTES www.spiked-online.com/index.php/site/reviewofbooks_article/7214. Accessed December 24, 2012. 10. Hans Vaihinger, The Philosophy of “As If” (Eastford, CT: Martino Publishing, 2009 [1925]), 48. 11. In Vailinger, The Philosophy of “As If,” 268, Vailinger makes a helpful distinction between hypothesis and fiction: “Whereas every hypothesis seeks to be an adequate expression of some reality still unknown and to mirror this objective reality correctly, the fiction is advanced with the consciousness that it is an inadequate, subjective and pictorial manner of conception, whose coincidence with reality is, from the start, excluded and which cannot, therefore, be afterwards verified, as we hope to be able verify an hypothesis.” 12. Sol LeWitt, “Sentences on Conceptual Art,” Art-Language: The Journal of Conceptual Art, 1 (1) (May 1969): 11–13, in Peter Osborne, Conceptual Art (London: Phaidon, 2005 [2002]), 222. 13. Ibid. 14. This was first suggested to us in a conversation with Deyan Sudjic in...