And, presumably they had a special foresight to anticipate the things that would become commodities rather than luxuries, as all great ideas eventually become, if they become anything at all.To address this, we started by posing provocative questions to ourselves.TBD started out as a modest effort by our original core editorial team. We met in the city of Detroit in the United States to discuss what was jokingly referred to as the “State of Things” and to assess the future of products, their design and associated services as society evolved with its exuberance for cultures, businesses and daily rituals in which technologies and sciences played a central, defining role.We were a disparate group of designers, curators, science fact and science fiction writers, students of science and technology studies, prototypers, cultural theorists, engineers, artists and makers.Through a series of rigorous design procedures, selection protocols, and proprietary generative work kits, Design Fiction creates diegetic and engineered prototypes that suspend disbelief in their possibility.Design Fiction is a way of moving an idea into existence through the use of design tools and fictional contexts that results in a suspension of one’s disbelief, which then allows one to overcome one’s skeptical nature and see possibility where there was once only skepticism or doubt.Within that snapshot would be certain initial, liminal ideas at some threshold of possibility or concern.
The point being that the most extraordinary preposterous social rituals have often made their ways into our lives to become normal and even taken for granted.
In what ways would live, streaming, recorded and crowd-authored music and filmed entertainment evolve?
How might advances in portable spring power hold up against traditional chemical battery power?
Quite simply we did it as an alternative to traditional ways of imagining, constructing and discussing possible near futures.
Rather than the staid, old-fashioned, bland, unadventurous “strategy consultant’s” report or “futurist’s” white paper (or, even worse - bullet-pointed Power Point conclusion to a project), we wanted to present the results of our workshop in a form that had the potential to feel as immersive as an engaging, well-told story.
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The Detroit Editorial and Conceptual Team: Aaron Straup Cope, Bruce Sterling, Cezanne Charles, Chris Woebken, Christian Svanes Kolding, Emmet Byrne, James Bridle, John Marshall, Julian Bleecker, Karl Daubmann, Marc Greuther, Marcus Bleecker, Meghan Mulholland, Moka Pantages, Nicolas Nova, Nick Foster, Raphael Grignani, Tom Bray, Zack Jacobsen-Weaver.