Immersive Design Fiction (original) (raw)
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DIS 2020 - Proceedings of International Conference on Designing Interactive Systems , 2020
Design fiction enables HCI and design researchers to co-create, explore and speculate the future. It is growing in popularity given the growing complexities of emerging HCI systems and innovations. Diegetic props (like sound, videos, images) are sometimes used in design fiction to blur the lines between imagination and reality. These props enable the designers to be empathetic, feel present in the fiction as they investigate the complexity of technologies explored within the fiction, critique these technologies and think about their consequences. With a higher level of immersion and sense of embodiment, Virtual Reality (VR) can be a powerful tool for mediating and creating design fiction. However, there are few examples of VR as platform for design fiction. This workshop aims to investigate new opportunities for communicating, critiquing and co-creating design fiction narratives in immersive VR environments. Citation: Ajit. G Pillai, Naseem Ahmadpour, Soojeong Yoo, A. Baki Kocaballi, Sonja Pedell, Vinoth Pandian Sermuga Pandian, Sarah Suleri (2020). Communicate, Critique and Co-create, (CCC) Future Technologies through Design Fictions in VR Environment. In Proceedings of International Conference on Designing Interactive Systems DIS'20, ACM Digital Library.
Design-Driven Narrative: Using Stories to Prototype and Build Immersive Design Worlds
This paper examines the role of narrative in the process of interactive experience design, focusing on the potential uses of narrative in prototyping and iteration efforts to uncover deeper and more meaningful responses from users by engaging them in the co-creation of narratives of use around the design. We created a series of narrative fictions with embedded design concepts, and built low-fi prototype artifacts for directed storytelling sessions with twelve participants. We conclude with a discussion of findings regarding the opportunities to more effectively use narrative techniques and immersive storytelling to create valuable experiences between designers and users.
Applied Theater for Developing Participatory Design Fictions in Virtual Reality
CCC through Design Fiction in VR Workshop at DIS2020, 2020
Augusto Boal’s Applied Theater inspires processes for developing participatory design fictions in Virtual Reality (VR). Applied theater’s practice of embodied and future-action oriented storytelling encourages participants to envision potential futures and work toward them. This parallels the work of design futuring, which explores and critiques futures to potentially change the present. Augusto Boal used his theater games, Image and Forum Theater, to create fictions that identify contemporary issues to participatorily explore diverse futures. These games are rehearsals for future actions and consequences. VR enables a community of participants to envision and be embodied within these potential futures as they co-create them.
Critical Encounters with Immersive Storytelling
Critical Encounters with Immersive Storytelling, 2019
This introductory chapter considers some key themes, concepts and approaches that underpin the book. It uses existing scholarship to explore the terms 'immersion' and 'storytelling', noting that neither concept is bounded or stable. It examines why 'the immersive' is such a seductive concept in our present cultural, social, economic and political moment(s), and thus why its study is important. It also offers an overview of the book's structure. We (the authors) have both been researching at the intersection of immersion and storytelling for many years, exploring diverse connections between narrative, genre, environments and experience. Our joint perspective makes this book a unique resource; it is both critically and practically attuned, and offers ways into research design for immersive contexts. Such research raises complex methodological considerations which are often rendered invisible in the reporting of case studies, yet this book acknowledges and confronts them head on, making our reflexivity visible, and itself a productive resource. This introductory chapter considers some key themes, concepts and approaches that we return to throughout the book. It uses existing scholarship to explore what we mean when we talk about 'immersion' and 'storytelling', noting that neither concept is bounded or stable. It examines why 'the immersive' is such a seductive concept in our present cultural, social, economic and political moment(s), and thus why its study is important. It introduces key concepts that will underpin analyses in the book and begins to problematize meaningful distinctions between analogue/digital, physical/virtual and online/offline. Given the complexity of immersive storytelling as a research subject, we now offer four different approaches to sketch out where this books sits-the analogy, the experience, the history and the definition-before concluding with an overview of the book's structure. uncomfortable. We have had many conversations since that time, attempting to understand what was happening. Consulting scholarship has helped us little in our reflections on this immersive encounter: According to Matthew Reason the term 'immersive' is one with 'extremely tricky conceptual grounding' (2015: 272). Alison McMahon proposed in 2003 that the concept of immersion in video games had become 'an excessively vague, all-inclusive concept' (2003: 67) and Adam Alston has more recently observed that 'the immersive label is flexible' to the degree that it can 'jeapordize terminological clarity' (2013: 128). No clear definition exists, yet we all seem to have an idea of what we are talking about when we use that word 'immersive'.
Design Fiction in a Corporate Setting – a Case Study
2023
While speculative methods (e.g., design fction) could help industry to refect critically about future products and services, little is known about their potentials and limits when applied in a corporate setting. In this case, we worked with an automobile manufacturer to explore the near future of self-driving cars. For more than a year, we speculated using diverse methods, developed stories about a future with self-driving cars, and told them through 24 artifacts (e.g., city map, quick start guides). In this paper, we scrutinize the process, discuss what has worked and what not, which challenges we faced, and how corporate requirements shaped the emerging design fction. We saw a trend toward afrmative rather than speculative design, driven by product-centricity and the need to justify process and outcome through concrete innovation. While speculation raised interesting questions about technological futures, it remained a challenge to transform them into concrete design implications. CCS CONCEPTS • Social and professional topics; • Human-centered computing → Human computer interaction (HCI); HCI theory, concepts and models;
Fiction and Physicality: a designerly approach towards complexities of emerging technologies
The Design Journal, 2017
Rapid technological progression results in exciting new ways of interacting with our world whilst simultaneously limiting our experiences. Due to the pervasiveness of emerging technologies, designers are constantly faced with complexities and challenges, which necessitate the use of various tools and methodologies. This paper combines inspiration from the fields of aesthetics of interaction (Overbeek 1999), somaesthetics (Shusterman, 1999), design ethnography (Salvador, 1999), design fiction (Bleecker, 2009) and speculative design (Auger, 2013), to explore a designerly way of overcoming the complexity of implementing technologies into our daily life. We propose a holistic design approach to envision possibilities for emerging technology, integrating the physicality of human bodies with technological materiality. Further, we present a plausible narrative, containing visionary aspects and the investigated methodologies, alongside a series of design concepts that drive the storyline and form the basis for examining social implications, design and future contexts, and improving the way in which designers handle the limitations of a technology driven design approach.
Speculative Culture: Design Fiction in User-Centred Innovation Labs
This article introduces new opportunities and responsibilities for curators in a culture of innovation and speculation about the future. Two approaches to curatorial practice are discussed, both positioning artists in collaborative innovation labs. The first one, developed at
Design Fiction as a Practice for Researching the Social
Temes de Disseny
The aim of this paper is to contribute to a new conceptual foundation for design fiction. Much attention is dedicated to theorising how design fictions relate to our so-called actual world. This work can be seen as an attempt at securing the seriousness and legitimacy of design fiction as an approach to design research. The theory of possible worlds has proven promising in this regard. We argue, however, that a detailed understanding of design fiction is still lacking. In design fiction literature, authors often engage in critiquing techno-centric approaches while paying less attention to how design fiction has a potential to foster social change in situated actual affairs. We argue that analysis should start from the messy unfolding of the design event itself rather than from big ontological discussions of the boundaries between fiction and reality. To grasp the messiness of design fiction, we offer an interdisciplinary framework, bridging knowledge domains such as literally theory...
Envisioning the Future Scenario Through Design Fiction Generating Toolkits
2020
Design with value orientation and World view are increasingly the basis of envisioning the future scenarios. Exploring the value of design from the perspective of society and humanity, further guiding the direction of science and technology have gradually become one of the future development directions of human-computer interaction field. Design concepts such as design fiction and speculative design have evolved into useful tools for thinking about future directions and reflecting on the problems posed by technology. However, the current researches mainly focus on provoking thinking and developing from the perspective of criticizing reality. And has not yet formed a mature practical method which can guide the design practice. Therefore, this essay mainly discusses how to integrate the concept of Design fiction with interaction Design and service Design. Make it more conducive to promoting the innovation of existing smart products or services, and help designers generate more innovat...
Finding the message : exploring the new conventions of VR experience
Since 2014, a new wave of Virtual Reality (VR) development has been on the rise, calling for more artists to utilize this new technology in creating art works. However, there is still room for improvement in both the technology itself and its application in art creations. Firstly, the lack of clear definitions in VR results in many problems. Usually, the term 'VR creators' is used to address all of VR game producers, 360 filmmakers, and VR experience designers. This prevents the 'creators' from clearly defining the realm of their roles, thus the communication between them becomes less efficient. This inefficiency in turn prohibits the establishment of design patterns, forcing artists to acquire technical skills. This, in most cases, intensifies the difficulty of transdisciplinary collaborations, which are usually seen in big-budget projects promoted by big companies or famous studios. Due to the hybrid nature of this new medium, the outcome of the artwork is hard to predict. Participants' experiences can vary widely based on their decoding performance. What is more, there is a big chance that the work will not receive credit as artworks but will be criticized as frivolous toys. This paper builds on my experience of creating a thesis project, Captive Memoirs, in which I explore the multiple dimensions of designing an VR experience. Starting from the theoretical study and analysis of various artworks, I attempt to define, for further reference, the design elements that a VR experience is composed of. Through the presentation of this thesis, an operational system is established that investigates the design conventions of VR experience. This work also examines the relationship between the audience and the interactive art installation to investigate why the audiences' interaction is the key to VR experience. Above all, rethinking the creative practice of VR based artworks reveals the inspiration for new art forms and creates the opportunity to question the new standards of art.