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proposals to challenge narrow assumptions, preconceptions, and givens about the role products play in everyday lifeâ. Critical design is a form of design that uses design tools and process not to solve a problem but to rethink the borders and parameters of a problem from a critical point of view Dunne and Raby explained the term further in their book âDesign Noir: The Secret Life of
Electronic Objects,â as âInstead of thinking about appearance, user-friendliness or corporate identity, industrial designers could develop design proposals that challenge conventional valuesâ.
412:. The aim is not to present commercially-driven design proposals but to design proposals that identify and debate crucial issues that might happen in the future. Speculative design is concerned with future consequences and implications of the relationship between science, technology, and humans. It problematizes this relation by proposing provocative future design scenarios where technology and design implications are accentuated. These design proposals are meant to trigger debates about the future rather than marketing products.
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and ethical implications to interrogate them. It questions the role of industrial and product design in delivering new science and technology. Speculative design as a subsidiary of critical design is built on the fundamentals
Frankfurt school of criticism. Therefore, critical thinking is an essential aspect of speculative design. Critiquing norms, values and why we design is what motivates speculative designers.
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future that has no direct relevance with todayâs perspective of how the future should be and this raises the awareness for society on how they could influence their choices for the future; the logic of the âlawsâ of future implies that if we strive for something, we can eventually turn it into reality, even if it seems incredible now.
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Speculative design triggers the debate about the actions we take today (in the present) that build future events. It encourages the users to be the change of today. It questions technology at early stages; it is concerned with the domestication of technology and upstream engagement. It poses societal
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The relationship between speculative design and critical design can be seen from Matt
Malpass identification of the current contemporary design practices into three classifications; the first is associative design, the second is speculative design, and the third is critical design. Speculative design
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Speculative designers develop alternative presents to ask why things are the way they are so that they can project the future. James Auger explains that these alternative presents can make radical interventions to the current practices and evolving technologies by applying different ideologies and
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Another criticism for speculative design is dissemination and reflection. The format and venues of presenting speculative design proposals do not imply a methodological approach for engaging with the audience and broader society. This is what Bruce and
Stephanie Tharp call (a message in a bottle).
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The most significant criticism for critical and speculative design would be based on the understanding that design is not functional or useful, so it cannot be considered as design. The grounds for criticism are built on the basic understanding of design as a problem-solving activity. In contrast,
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Design is a future-oriented practice by nature. However, the issue lies in the fact that vast majority of designers tend to abide by technological advancements without interrogating them or questioning the implications of such technology. An example of this is the wide adoption of social media and
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Speculative design relies on speculation and proposition; its value comes from speculating about future scenarios where design is used in a particular context to showcase a notion or an idea of debate. The most significant aim of speculative design is to enact change rather than conforming to the
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Speculative designers' motivation is to take a position or an attitude towards the current design practice and propose alternatives. Designers might have different points of view about how they would present a design idea or focal issue. Bruce and
Stephanie Tharp identify the different positions
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Speculative designers do not suggest what a preferable future is; they let society decide what is a preferable future for them, whereas affirmative design, government, and industries actually decide on their preferable future and create it. It encourages the audience to suggest their preferable
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could be considered as ancestors of speculative design. However, the format of speculative design as we know it today is derived from the critical design practice. Both are connected and use similar approaches. Dunne and Raby described critical design as a practice that âuses speculative design
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Designers, in this case, do not attempt to change the future, but rather they tend to adapt their design towards what they can see as a probable future. In this sense, they see it as something that they cannot change. In this context, speculative design aims to influence change by raising
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Speculative design emphasizes the âphilosophical inquiry into technological applicationâ; it tends to take the discussion on technology beyond the experts to a broad population of the audience. The resulting artifacts often appear subversive and irreverent in nature; they look different to the
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Speculative design aims to defy capitalist-driven design directions and showcase their negative impacts on design practice. Dunne and Raby note that hyper-commercialization of design during the 1980s drove this practice. Designers struggled to find a social model to align with outside of the
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Other criticism would be directed towards speculative design as it does sometimes present dystopian futures that do resemble the lives of other parts of the world. It can sometimes be considered as a niche practice that is only presented in highly intellectual venues such as
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Speculative design can be distinguished from design that operates within commercial borders where the aim of designing is profitability. Speculative design is an exploratory design genre and a
Research through Design (RtD) approach.
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To highlight the differences between affirmative design and speculative design, Dunne and Raby introduced the A/B Manifesto to contrast their meanings and to highlight what does it mean to be critical or speculative in design.
493:, the interest in finding other alternatives to the current design models was triggered. In this sense, the role of design is to be a catalyst in producing alternative visions rather than being the source of vision itself.
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worked on âThe planet as a festivalâ in 1973. Speculative design is inspired by the attitude and position of the
Italian radical design, yet does not necessarily imitate its format and motivations.
427:âan activity where conjecture is as good as knowledge, where futuristic and alternative scenarios convey ideas, and where the goal is to emphasize implications of âmindlessâ decisions for mankind.â
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questions and provoking debates by implementing designed objects. Speculative design uses objects or prototypes that do imply implicit meanings about complex social and technological issues.
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Generating a better understanding of the potential implications of a specific (disruptive) technology in various contexts and on multiple scales â with a particular focus on everyday life.
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Tactics, methods, and strategies for speculative design have wide variation. It depends on the designerâs intention and the careful management of the outcome of the design project.
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apply alternative plans, motivations, or ideologies to those currently driving technological development in order to facilitate new arrangements of existing elements, and
1034:
Coulton, Paul; Burnett, Dan; Gradinar, Adrian (2016-06-17). "Games as
Speculative Design: Allowing Players to Consider Alternate Presents and Plausible Features".
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speculative design is concerned with problem finding. It does not create functional objects at the end but rather problematizes an issue or social implication.
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Moving design âupstreamâ â to not simply package technology at the end of the technological journey but to impact and influence that journey from its genesis."
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James Auger claims speculative design "combines informed, hypothetical extrapolations of an emerging technologyâs development with a deep consideration of the
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Speculative design needs a âperceptual bridgeâ between what the audience identifies as their reality and the fictional elements in the speculative concept.
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Speculative design is used to challenge preconceptions, raise questions and to provoke debate. It opens the door for designers to imagine possible futures.
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is a form of critical design that is concerned with future proposals. It examines future scenarios to ask the question of âwhat if?â.
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designers could take towards their projects; these could be: declarative, suggestive, inquisitive, facilitative, and disruptive.
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status quo. According to
Johannessen, Keitsch and Pettersen the change aspects can be segmented into three elements:
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504:" Arrange emerging (not yet available) technological âelementsâ to hypothesise future products and artefacts, or
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is a design practice concerned with future design proposals of a critical nature. The term was popularised by
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Auger extends this discussion on explaining what speculative design should do by mentioning aspects for it:
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Speculative design can be seen as an attitude, stance, or position instead of a process or methodology.
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that states a
Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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Some attempts of the Italian radical design can be considered as speculative design. For instance,
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into which it might be deployed, to speculate on future products, systems and servicesâ.
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Johannessen, Leon Karlsen; Keitsch, Martina Maria; Pettersen, Ida Nilstad (July 2019).
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public, and this is the key behind triggering discussions and stimulating questions.
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Hertzian tales : electronic products, aesthetic experience, and critical design
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Proceedings of the Design Society: International Conference on Engineering Design
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1603:"Politics of Designing Visions of the Future * Journal of Futures Studies"
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423:, the researchers who coined the term speculative design, describe it as:
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820:. They share similar motivations but different purposes or target areas.
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and the outcome of speculative design can be a project in the form of:
1501:"Introduction to Speculative Design Practice â Eutropia, a Case Study"
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Discursive design : critical, speculative, and alternative things
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1395:"Speculative and Critical Design â Features, Methods, and Practices"
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Croatian Designers Association, Arts Academy / University of Split
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Speculative everything : design, fiction, and social dreaming
1452:"A Primer on Futures Studies, Foresight and the Use of Scenarios"
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Critical design in context : history, theory, and practices
1648:"Questioning the "Critical" in Speculative and Critical Design"
18:
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11th EAD Conference Proceedings: The Value of Design Research
1294:"DIFFICULT FORMS: Critical practices of design and research"
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personal reflection, personal essay, or argumentative essay
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Speculative design has many adjacent practices including
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Design practice critically concerned with future designs
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1172:. Royal College of Art. London: Royal College of Art.
841:, as pointed out by Prado & Oliveira in 2014.
1376:"WHY HEART ATTACKS COULD BE A THING OF THE PAST"
518:" Asking âwhat is a better future (or present)?â
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1253:"Critical design as approach to next thinking"
1121:"Speculative design: crafting the speculation"
777:Tactics and strategies of speculative design:
1646:Prado de O. Martins, Luiza (31 August 2017).
1328:. Stephanie Tharp. Cambridge, Massachusetts.
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1520:"A Pragmatics Framework for Design Fiction"
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1083:( ed.). Cambridge, Mass.: MIT Press.
1014:: CS1 maint: location missing publisher (
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510:develop new perspectives on big systems."
65:Learn how and when to remove this message
916:. Fiona Raby. Cambridge, Massachusetts.
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557:how this affected society (for example,
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1674:"Design Fictions About Critical Design"
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1251:Jakobsone, Liene (2017-07-28).
1569:The sciences of the artificial
1518:Lindley, Joseph (2016-07-05).
1166:Frayling, Christopher (1993).
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1201:Ettore Sottsass, Jr. (1973).
1672:Tonkinwise, Cameron (2015).
1137:10.1080/14626268.2013.767276
653:Change us to suit the world
650:Change the world to suit us
538:Political and social change,
432:Anthony Dunne and Fiona Raby
1119:Auger, James (2013-03-01).
645:For how the world could be
626:In the service of industry
344:Science fiction prototyping
276:Reference class forecasting
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1607:Journal of Futures Studies
1566:Simon, Herbert A. (1969).
1203:"The Planet as a Festival"
1169:Research in art and design
800:Para-functional prototypes
685:Narratives of consumption
629:In the service of society
460:Origins and early attempts
980:Malpass, Matthew (2017).
816:, discursive design, and
682:Narratives of production
1499:Mitrovic, Ivica (2015).
1322:Tharp, Bruce M. (2018).
116:Global catastrophic risk
1298:Research Design Journal
1077:Dunne, Anthony (2005).
910:Dunne, Anthony (2013).
803:Post-optimal prototypes
491:financial crash of 2008
329:Exploratory engineering
219:Causal layered analysis
1450:Voros, Joseph (2001).
1382:. 35 SPECULARI: 37â59.
610:Design for production
466:Italian radical design
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156:Historical materialism
45:by rewriting it in an
1374:Auger, James (2014).
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642:For how the world is
234:Cross impact analysis
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782:Reductio Ad Absurdum
637:Functional fictions
634:Fictional functions
1601:Ramia Mazé (2019).
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359:Technology scouting
106:Accelerating change
1703:Futures techniques
1678:Modes of Criticism
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1125:Digital Creativity
808:Adjacent practices
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717:Conceptual design
677:The âunrealâ real
613:Design for debate
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349:Speculative design
229:Consensus forecast
224:Chain-linked model
186:Resource depletion
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34:is written like a
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764:In practice
757:Authorship
738:Ergonomics
706:Innovation
514:Aiming at:
448:practices.
310:forecasting
304:Technology
214:Backcasting
191:Singularity
171:Moore's law
129:Mathematics
1692:Categories
1632:2021-06-19
1380:Kunstlicht
1344:1029073813
986:. London.
876:References
544:Aesthetics
484:Motivation
416:Definition
406:Fiona Raby
339:Hype cycle
306:assessment
205:Techniques
1627:150775427
1553:146901197
1437:201145881
1429:2220-4342
1352:cite book
1279:1460-6925
1223:0011-9415
1145:1462-6268
1010:cite book
1002:952854981
940:cite book
932:865508664
824:Criticism
789:Ambiguity
741:Rhetoric
722:Consumer
589:Critical
529:In theory
251:Foresight
55:June 2021
1304:: 28â39.
1188:48866129
1099:61115612
1064:53632887
849:See also
754:Process
725:Citizen
666:Futures
430:â
176:Peak oil
149:Universe
97:Concepts
1657:20 June
1231:4090787
1153:8044296
749:Ethics
139:Climate
120:Future
41:Please
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1523:(PDF)
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1433:S2CID
1227:JSTOR
1149:S2CID
1060:S2CID
124:Earth
1659:2023
1588:4087
1584:OCLC
1574:ISBN
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1483:help
1463:No 6
1425:ISSN
1358:link
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837:and
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