Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revision Previous revision
Next revision
Previous revision
Last revision Both sides next revision
the_art_of_futuring [2019-03-12 17:19]
maja
the_art_of_futuring [2021-04-13 11:30]
maja [Futuring Techniques]
Line 1: Line 1:
 ===== The Art Of Futuring ===== ===== The Art Of Futuring =====
  
-<blockquote>To describe the creative process of exploring futures, we use the term 'futuring'. We could have chosen other phrases such as 'future studies', 'speculative design' or 'strategic foresight', but 'to future' as a verb encapsulates the engaged, active attitude that we believe is essential when sending probes into these realms. Futuring can be a complex activity involving many facets, or it can be as simple as telling a story that begins with 'What if…'. The process can be individual but is often a collective, participatory exercise. It tends to work best when different modes of knowing and learning are involved – from analytical to generative and synthesising, rational to somatic, intuitive and interpersonal.  +The purpose of futuring is not to predict the future. Instead, futuring is a way to inform your decisions and actions in the present. It allows you to let go of the status-quo and imagine how situations could develop otherwise. Futuring can situate your visions and ideas in the wider contexts in which you operate. Imagining a range of possible futures can help you articulate coherent visions while also developing a capacity to adapt to whatever the future might bring. 
-</blockquote>+ 
 +To describe the creative process of exploring futures, we use the term 'futuring'. We could have chosen other phrases such as 'future studies', 'speculative design' or 'strategic foresight', but 'to future' as a verb encapsulates the engaged, active attitude that we believe is essential when sending probes into these realms. Futuring can be a complex activity involving many facets, or it can be as simple as telling a story that begins with 'What if…'. The process can be individual but is often a collective, participatory exercise. It tends to work best when different modes of knowing and learning are involved – from analytical to generative and synthesising, rational to somatic, intuitive and interpersonal. 
  
   * https://fo.am/events/art-futuring/   * https://fo.am/events/art-futuring/
   * https://fo.am/events/art-futuring-workshop/   * https://fo.am/events/art-futuring-workshop/
 +  * [[https://www.kunsten.be/nieuws/10958-beluister-onze-eerste-podcastaflevering-over-futurologie|Kunstenpunt podcast from the workshop]]
  
-===== Techniques from the workshop =====+The workshop is designed and facilitated by Maja Kuzmanovic (FoAM), as part of the Futurology of Co-Operation project by Anna Czapski & Diederik Peeters, supported by KASK, SPIN and Kunstenpunt. 
  
-During the [[https://fo.am/events/art-futuring-workshop/|Art of Futuring Workshop]] we experimented with a series of techniques to probe possible futures. +Workshop participants: Bilal Alnouri, Hazal Arda, Anna Czapski, Delphine Hesters, Pierre Huyghebaert, Joris Janssens, Heike Langsdorf, Sarah Magnan, Mathilde Maillard, Diederik Peeters, Martina Petrovic, Anna Rispoli, Clara Thomine, Emmanuelle Wattier, Adva Zakai
  
 +{{ ::aof-workshop-schedule.pdf |Workshop schedule}}\\
 +[[https://www.flickr.com/photos/foam/albums/72157705907755211|Photo album]]\\
 +{{::futurestechniques_march2019_notesdelphine.pdf |Notes from the workshop}} by Delphine Hesters
 +
 +
 +===== Futuring Techniques =====
 +
 +
 +The Art of Futuring Workshop offered a hands-on experience of futuring techniques for artists, arts organisations and other members of the cultural proletariat. In addition to mainstream futuring methods like horizon scanning or scenario building, we looked at techniques that are related to (or can be useful for) performing arts. Futuring techniques were introduced through experiential learning. We experimented with techniques for analysing the current situation and emergent signals. We speculated on future scenarios and prototype futures as embodied experiences in the present. We used these experiments to reflect on the futuring methods, on the applicability of futuring in the participants' work and life, and on the need for a more widespread futures literacy in uncertain times. 
  
 <blockquote>The conundrum of the Unthinkable and the Unimaginable is everyone’s issue – certainly not just ‘futurists’, nor designers, nor those who happen to have dedicated themselves to political theory or activism; nor just the displaced former residents of New Orleans, nor yet the casualties of Detroit’s seemingly inexorable decline. It is everyone’s problem. Futures studies is a community of thinkers that has defined and directly addressed it as such. But the Great Conversation needs to belong to us all, as do all the discursive technologies, principles of experiential futures design, and other paraphernalia of wiser, ongoing conversation and political self-reinvention. <blockquote>The conundrum of the Unthinkable and the Unimaginable is everyone’s issue – certainly not just ‘futurists’, nor designers, nor those who happen to have dedicated themselves to political theory or activism; nor just the displaced former residents of New Orleans, nor yet the casualties of Detroit’s seemingly inexorable decline. It is everyone’s problem. Futures studies is a community of thinkers that has defined and directly addressed it as such. But the Great Conversation needs to belong to us all, as do all the discursive technologies, principles of experiential futures design, and other paraphernalia of wiser, ongoing conversation and political self-reinvention.
Line 18: Line 29:
  
  
-=== Divination ===+{{>http://www.flickr.com/photos/foam/32408521477/i}}\\
  
-In the introduction round, we used [[http://superflux.in/index.php/and-now-for-something-completely-different/#|Instant Archetypes]] from Superflux... 
  
-<blockquote>... a toolkit for anyone looking to open up possibilities, surface questions and untangle stubborn challenges. A reimagining of the timeless tropes of the Major Arcana for the 21st Century where the Fool is now the Consumer, the Chariot is a Drone, and the Moon is a Meme. </blockquote>+=== Divination === 
 + 
 +Divination could be considered as the prehistory of futuring, from the mythical past of futures studiesTo honor this lineage, we began the workshop by using a contemporary version of Tarot, to add an element of chance and playfulness in the introduction roundThe participants were invited to pick one card from [[http://superflux.in/index.php/and-now-for-something-completely-different/#|Instant Archetypes]] from Superflux, describe what they see in the card and speculate on what it might mean for them and their role in the workshopInstant Archetypes are "a toolkit for anyone looking to open up possibilities, surface questions and untangle stubborn challenges. A reimagining of the timeless tropes of the Major Arcana for the 21st Century where the Fool is now the Consumer, the Chariot is a Drone, and the Moon is a Meme."
  
 {{>https://vimeo.com/296869333}}\\  {{>https://vimeo.com/296869333}}\\ 
Line 32: Line 44:
 === Card games === === Card games ===
  
-Learning to work with constraints, wild cards, [[:/futurist_fieldguide/four_generic_futures|Four Generic Futures]] and speculative artefacts+The first session of the workshop introduced a few futuring concepts in a playful setting. By playing card games the participants learned about constraints, wild cards, [[:/futurist_fieldguide/four_generic_futures|Four Generic Futures]] and speculative artefacts
   * [[https://www.kunsten.be/dossiers/internationaal-samenwerken-2/reframing-the-international/about-reframing-the-international#!|Reframing the International]] by Kunstenpunt   * [[https://www.kunsten.be/dossiers/internationaal-samenwerken-2/reframing-the-international/about-reframing-the-international#!|Reframing the International]] by Kunstenpunt
-  * [[https://situationlab.org/project/the-thing-from-the-future/|The Thing from the Future]] by Situation Lab. You can print your own card deck [[http://situationlab.org/wp-content/uploads/2015/10/FUTURETHING_Print-and-Play.pdf|here]]+  * [[https://situationlab.org/project/the-thing-from-the-future/|The Thing from the Future]] by Situation Lab. If the Situation Lab link doesn't work try [[https://library.teachthefuture.org/wp-content/uploads/2017/01/The-Thing-From-The-Future.pdf|this link]]. You can print your own card deck {{ ::futurething_print-and-play.pdf |here}}
        
 {{>http://vimeo.com/111582424}}\\   {{>http://vimeo.com/111582424}}\\  
Line 50: Line 62:
 </blockquote> </blockquote>
  
-Futuring needs to be grounded in the past and present situation. It is important to understand the context or environment that we wish to explore; to distinguish constants from variables and move between micro and macro scales. They can help distill key questions, factors, facts and assumptions about the situations from which futures arise. These techniques can be useful outside of futures practice as well, especially in situations where things may be too complex or messy to untangle in an unstructured conversation. We only used one technique from non-predictive strategy in the Art of Futuring workshop. You can find more techniques [[https://libarynth.org/futurist_fieldguide/observing_and_mapping|here]].+Futuring needs to be grounded in the past and present situation. It is important to understand the context or environment that we wish to explore; to distinguish constants from variables and understand the factors influencing the situation on micro and macro scales. They can help distill key questions, characteristics, facts and assumptions about the situation. These techniques can be useful outside of futures practice as well, especially in situations where things may be too complex or messy to untangle in  unstructured conversations. We only used one technique from non-predictive strategy in the Art of Futuring workshop. You can find more techniques [[:futurist_fieldguide/observing_and_mapping|here]].
  
-KPUU Framework is a structured technique to think about and discuss the present, based on what is known, presumed, unknown and unknowable. KPUU helps distinguish facts from assumptions, uncover what the participants don't know, and define what is unknowable at this time.+KPUU Framework is a structured technique to think about and discuss the present, based on what is known, presumed, unknown and unknowable. KPUU helps distinguish facts from assumptions, uncover what the participants don't know, and define what is unknowable at the present time.
  
 Read more about KPUU [[:/futurist_fieldguide/kpuu_framework|here]]. Read more about KPUU [[:/futurist_fieldguide/kpuu_framework|here]].
Line 66: Line 78:
 === Horizon scanning === === Horizon scanning ===
  
-Horizon scanning is about tracking change in the past and present, to anticipate how change might evolve in the future. It is about analysing current developments undergoing change, such as trends and megatrends and observing change on the micro-scale, i.e. looking for possible but improbable changes in the future, also known as weak signals and wild cards. +Horizon scanning is about tracking change in the past and present, to anticipate how this change might evolve in the future. It is about collecting signals of change current developments and collating them into trends and forces/drivers of change. Sometimes signals  can be quite weak or point to possible but improbable changes (wild cards)
  
-Trend is a tendency or direction of change. It can be observed when analysing past and present events, and noticing patterns. Megatrends are longer-term transformations with wider-reaching consequences. They are observed over decades (or longerand have impact across most if not all societal sectors. Weak signals are early warnings that something is changing in unexpected ways. Something that isn't important in the present, but could trigger a major change in the future. They might appear in your peripheral vision or a random conversation. You tend to find weak signals when you aren't looking for them. Finally, we the most unpredictable aspect of horizon scanning are the so called "wild cards", or "[[black swan]]" events. These are events that are unlikely to happen, but when they do they affect massive change. +A few notes on terminology. Horizon scanning investigates different types of changes: signals (including weak signals and wild cards) trends and megatrends (drivers/forces of change). Signals are things you come across that point to possible futures. Weak signals are early warnings that something is changing in unexpected ways. Something that doesn'seem important in the present, but could trigger a major change in the future. They might appear in your peripheral vision or a random conversation, often when you aren't looking for them. Trends are tendencies and directions of change. They can be observed when analysing past and present signals, and noticing patterns over time. Megatrends (aka drivers or forces of change) are longer-term shifts with wider-reaching consequences. They are observed over decades (or longer) and have impact across most if not all societal sectors. Finally, we the most unpredictable aspect of horizon scanning are the so called "wild cards", or "[[black swan]]" events. These are events that are unlikely to happen, but when they do they affect massive change. 
  
 Read more about horizon scanning [[:/futurist_fieldguide/horizon_scanning|here]].\\ Read more about horizon scanning [[:/futurist_fieldguide/horizon_scanning|here]].\\
Line 80: Line 92:
 Read more about STEEP analysis [[:/futurist_fieldguide/steep|here]] Read more about STEEP analysis [[:/futurist_fieldguide/steep|here]]
    
 +//However, as discussed at the workshop, STEEP is just one way to categorise the information gleaned in horizon scanning. Everyone has their own ways of collecting information and translating it into useful knowledge. //
 +
 +Another futuring technique often used in horizon scanning is [[:/futurist_fieldguide/futures_wheel|The Futures Wheel]].
 +
  
 ----  ---- 
Line 85: Line 101:
  
 ==== Alternative Futures ==== ==== Alternative Futures ====
 +
 +An important aspect of futuring is understanding the potential of multiple futures. At the Art of Futuring workshop we used different techniques to explore alternative futures to develop our capacities for adaptation, future preparedness and improvisation in different context.
 +
  
 === Causal Layered Analysis === === Causal Layered Analysis ===
  
-Causal layered analysis is a futures research method focusing on in-depth analysis of current issues and identifying alternative futures. At the Art of Futuring Workshop we used CLA in the horizon scanning exercise. +Causal layered analysis is a futures research method focusing on in-depth analysis of current issues and identifying alternative futures. At the Art of Futuring Workshop we used CLA in the horizon scanning exercise, but we discussed its potential as a scenario building technique as well
  
 Read more about applying CLA [[:/futurist_fieldguide/causal_layered_analysis|here]]. Read more about applying CLA [[:/futurist_fieldguide/causal_layered_analysis|here]].
Line 106: Line 125:
 === Scenario building === === Scenario building ===
  
-We used the 2x2 double uncertainty, adapted from Peter Schwartz in The Art of the Long View This method creates evocative, albeit not too surprising scenarios, which tend to be useful caricatures of the present than radically imaginative futures. We also used [[https://libarynth.org/futurist_fieldguide/four_generic_futures|The Four Generic Futures]] approach to scenario building, but only as part of the card games.  +There are many different techniques for scenario building, from [[:futurist_fieldguide/four_generic_futures|The Four Generic Futures]] that we introduced in the card games, to CLA, [[https://thevoroscope.com/2017/02/24/the-futures-cone-use-and-history/|The Futures Cone]] and many others. At the Art of Futuring workshop we used the old 2x2 double uncertainty, adapted from the technique described by Peter Schwartz in The Art of the Long ViewThis method creates evocative, albeit not too surprising scenarios, which tend to be useful caricatures of the present than radically imaginative futures. 
  
 The challenge of the Schwartz/GBN method lies in its focus on scenario axes derived from critical uncertainties: The challenge of the Schwartz/GBN method lies in its focus on scenario axes derived from critical uncertainties:
Line 113: Line 131:
   * the 2×2 matrix highlights 'opposites' and extreme scenarios, potentially losing the subtleties and diversity of the worlds.   * the 2×2 matrix highlights 'opposites' and extreme scenarios, potentially losing the subtleties and diversity of the worlds.
      
-Read more the GBN approach [[https://libarynth.org/futurist_fieldguide/gbn_approach|here]]. You can find a slightly different description on the website of Infinite Futures (Wendy Schultz), alongside descriptions of other useful futuring tools and techniques: http://www.infinitefutures.com/tools/sbschwartz.shtml+Read more the GBN approach [[:futurist_fieldguide/gbn_approach|here]]. You can find a slightly different description on the website of Infinite Futures (Wendy Schultz), alongside descriptions of other useful scenario building and futuring tools and techniques: http://www.infinitefutures.com/tools/sbschwartz.shtml
  
 Below is a diagram of the GBN approach as a whole method. At the Art of Futuring we used this approach to rank critical uncertainties, create scenario axes and scenario skeletons. Below is a diagram of the GBN approach as a whole method. At the Art of Futuring we used this approach to rank critical uncertainties, create scenario axes and scenario skeletons.
Line 136: Line 154:
 == Visualising scenario answers == == Visualising scenario answers ==
  
-We visualised the answers as posters or moodboards, to get a sense of the divergent look-and-feel of the alternative futures.+We visualised the answers as posters moodboards, to get a sense of the divergent look-and-feel of the alternative futures. Read more about creating moodboards [[:/futurist_fieldguide/moodboards|here]]. Making a poster is similar to creating the front page of a newspaper or magazine. Read more about this approach [[:futurist_fieldguide/newspaper|here]].
  
 {{>http://www.flickr.com/photos/foam/47297670692/in/dateposted/}}\\ {{>http://www.flickr.com/photos/foam/47297670692/in/dateposted/}}\\
  
-Read more about creating moodboards [[:/futurist_fieldguide/moodboards|here]] 
- 
- 
-Making a poster is similar to creating the front page of a newspaper or magazine. Read more about this approach [[https://libarynth.org/futurist_fieldguide/newspaper|here]]. 
  
 == Closed eye visioning / mental time travel == == Closed eye visioning / mental time travel ==
  
-Closed eye visioning is a meditative/introspective technique where the participants explore different scenarios with their eyes closed, guided by the facilitator’s open questions. +Closed eye visioning is a meditative/introspective technique where the participants explore different scenarios with their eyes closed, guided by the facilitator’s open questions. You can find the text read by the facilitator at the Art of Futuring Workshop {{ ::aof-timetravel.pdf |here}}. This text used elements of [[https://libarynth.org/futurist_fieldguide/day_in_the_life|"a day in the life"]] technique, to imagine what a day in each of the scenarios might feel like for individual participants
  
-Here is a description of a similar exercise, using four generic futures: https://libarynth.org/futurist_fieldguide/closed_eye_visioning+Here is a description of a similar closed eye visioning exercise, using four generic futures: https://libarynth.org/futurist_fieldguide/closed_eye_visioning
  
 {{>http://www.flickr.com/photos/foam/33474762488/in/dateposted/}}\\ {{>http://www.flickr.com/photos/foam/33474762488/in/dateposted/}}\\
  
-In the Art of Futuring workshop we used elements of [[https://libarynth.org/futurist_fieldguide/day_in_the_life|"a day in the life"]] technique to imagine what one day in each of the scenarios might be like. +
  
 == Personal backstory == == Personal backstory ==
Line 161: Line 175:
 From: https://en.wikipedia.org/wiki/Backstory </blockquote> From: https://en.wikipedia.org/wiki/Backstory </blockquote>
  
-The backstory can be created for the scenario as a whole, although at the Art of Futuring Workshop each participant worked on developing a personal backstory (as a written exercise).+The backstory can be created for the scenario as a whole. At the Art of Futuring Workshop each participant worked on developing a personal backstory (as a written exercise), by asking themselves //How would I get from here to there?// ("there" being the future described in the scenario) and //What might my life look like in 5, 10, 15 years, if the future was heading towards the scenario?// 
 + 
 +The purpose of writing out a personal backstory is to make the scenario more concrete for the participants' lives. By having to think what would have to happen to them to get to such a scenario helps ground what is essentially speculative fiction into the real life of real people. 
  
 ---- ----
 +
  
 === Prototyping === === Prototyping ===
  
-Talking and writing stories about the future can be made more tangible and accessible by using drawings, images and other (audio)visual media, physical objects and artefacts. Arthur Brisbane's well-known motto, 'Use a picture. It’s worth a thousand wordsapplies to futures too: an image can convey an atmosphere of a future at a glance; a video can tell its story in a few minutes; an object can add a tactile, perhaps even olfactory or gustatory dimension.+Talking and writing stories about the future can be made more tangible and accessible by using drawings, images and other (audio)visual media, physical objects and artefacts. The creed "//Use a picture. It’s worth a thousand words//" applies to futures too. An image can convey an atmosphere of a future at a glance; a video can tell its story in a few minutes; an object can add a tactile, perhaps even olfactory or gustatory dimension.
  
-{{::personal_timeline_of_a_designer_in_lalaland.jpg?150 |}}[[https://en.wikipedia.org/wiki/Design_fiction|Design fiction]] has popularised making futures tangible by creating 'objects from the future' that are recognisable, yet strangely unfamiliar, raising questions and enabling critical discussions about futures in the present. Futures prototyping techniques borrow from the arts, design, film-making and other creative practices that have well-established methods to imagine possible worlds and bring them to life in different forms. +[[https://en.wikipedia.org/wiki/Design_fiction|Design fiction]] has popularised making futures tangible by creating 'objects from the future' that are recognisable, yet strangely unfamiliar, raising questions and enabling critical discussions about futures in the present. Futures prototyping techniques borrow from the arts, design, film-making and other creative practices that have well-established methods to imagine possible worlds and bring them to life in different forms.  
 + 
 +Physical prototyping can be as simple as a design exercise, but it can also be as elaborated as whole immersive environments. You can read more about this approach in [[https://libarynth.org/future_fabulators/making_things_physical|Making Things Physical]].  
 + 
 +<blockquote> Physical narrative (PN) can be described as a theatre without actors, where spectators become engaged visitors, playfully discovering futures by experiencing physical spaces, objects and media. A PN is an explorable world, rather than a singular story. PNs take the form of immersive installations where entangled fragments of scenarios can be experienced through all the senses as a self-contained, aesthetically coherent reality. Direct experience of scenarios presented as physical prototypes can engage visitors with alternatives to the status quo, and suggests that futures can be proactively influenced by all. -Time's Up & FoAM</blockquote>
  
 At the Art of Futuring workshop we used the following prototyping techniques: At the Art of Futuring workshop we used the following prototyping techniques:
  
-**Personal profile page**+== Personal profile page ==
  
 One of the scenario axes at the Art of Futuring Workshop was looking at (de)centralisation of social media. This exercise was designed to apply an important element of scenario logic (alternative futures of social media) to a phenomenon that is familiar to all participant, such as a personal profile page. In designing such a page from the vantage point of different scenarios, the participants were invited to think about its content and format; about things that they would share about themselves in different futures, etc.  One of the scenario axes at the Art of Futuring Workshop was looking at (de)centralisation of social media. This exercise was designed to apply an important element of scenario logic (alternative futures of social media) to a phenomenon that is familiar to all participant, such as a personal profile page. In designing such a page from the vantage point of different scenarios, the participants were invited to think about its content and format; about things that they would share about themselves in different futures, etc. 
  
  
- +==Postcards from the future ==
-**Postcards from the future**+
  
 To embody elements of the scenarios, we created "Tableau Vivants" at the Art of Futuring workshop. They were collective photographs that would "appear on the profile pages" of the participants.  To embody elements of the scenarios, we created "Tableau Vivants" at the Art of Futuring workshop. They were collective photographs that would "appear on the profile pages" of the participants. 
Line 186: Line 207:
  
 {{>http://www.flickr.com/photos/foam/40385138183/in/dateposted/}}\\ {{>http://www.flickr.com/photos/foam/40385138183/in/dateposted/}}\\
 +
  
 ---- ----
 +
  
 ==== Preferred futures ==== ==== Preferred futures ====
 +
 +Aside from working with multiple, alternative futures, there are techniques that work with preferred futures, and help us understand their relationship with the past and present. 
  
 === Appreciative Inquiry === === Appreciative Inquiry ===
Line 195: Line 220:
 Appreciative Inquiry (AI) is a method that focuses on creating preferred futures starting from the strengths, successes and unique attributes of a system or a group in the past and present. AI is grounded in a belief that in any situation there is something that works well. From this position of appreciation, it encourages the participants to discover their aspirations, desires and images of futures they would like to see.  Appreciative Inquiry (AI) is a method that focuses on creating preferred futures starting from the strengths, successes and unique attributes of a system or a group in the past and present. AI is grounded in a belief that in any situation there is something that works well. From this position of appreciation, it encourages the participants to discover their aspirations, desires and images of futures they would like to see. 
  
-At the Art of Futuring Workshop we explored the [[https://libarynth.org/futurist_fieldguide/appreciative_inquiry_interviews|discovery phase]] of appreciative inquiry. Read more about appreciative inquiry [[https://libarynth.org/futurist_fieldguide/appreciative_inquiry|here]].+At the Art of Futuring Workshop we explored the [[:futurist_fieldguide/appreciative_inquiry_interviews|discovery phase]] of appreciative inquiry. Read more about appreciative inquiry [[:futurist_fieldguide/appreciative_inquiry|here]].
  
-{{>http://www.flickr.com/photos/dreamfish/499932920}}\\ 
  
 ---- ----
 +
  
 === Backcasting === === Backcasting ===
Line 212: Line 237:
  
 Read more about TOC Outcomes Framework [[https://www.theoryofchange.org/what-is-theory-of-change/how-does-theory-of-change-work/example/completing-the-framework/|here]]. Read more about TOC Outcomes Framework [[https://www.theoryofchange.org/what-is-theory-of-change/how-does-theory-of-change-work/example/completing-the-framework/|here]].
 +
  
 ---- ----
 +
  
 === Prehearsal === === Prehearsal ===
Line 230: Line 257:
 == Pre-enactment == == Pre-enactment ==
  
-Pre-enactments are direct experiences where future scenariosalternative pasts or presents can be explored in an immersive situation. They are meant as prototype experiences or rehearsals for situations that haven’t happened (yet)pre-enactment is an up-close-and-personalembodied form of futuringas it reveals habitual behaviourssurprising intuitions and unconscious collective patternswhich are likely to be overlooked or ignored in predominantly cerebral futuring methods.+Pre-enactments are inspired by large-scale larps and re-enactmentsbut rather than enacting an historical or fictional situation, the participants preenact a situation that may exist in their futureDuring a pre-enactment, a scenario comes to life as a “first-person experience”. Participants can explore what their life might be like in a specific possible future. In order for the experience to be believablethe broad strokes of a scenario need to be filled with the mundane details of daily lifewhich can include things like foodclothingtools, work-spaces, interfaces, events, rituals, etc. Elaborating an experience in such detail can help point to inconsistencies between the ideas in the scenario and the gritty reality, between the images of the future and their embodied manifestations
  
 Read more about pre-enactments [[:/futurist_fieldguide/pre-enactment|here]] Read more about pre-enactments [[:/futurist_fieldguide/pre-enactment|here]]
 +
  
 ---- ----
 +
  
 === Invocation === === Invocation ===
 +
 +We started the Art of Futuring Workshop with divination, an ancient technique to probe the unknown futures. We ended it with another one: invocation.
  
 <blockquote>Once you’ve created some wiggle room in the present and explored some of the adjacent possible, you might want some of these possibilities to become manifest. How do you help the possibilities to materialise in the present? Most worldviews and belief systems have ways of invoking the spectral possible. A prayer to St. Anthony might help with a lost set of keys. At life’s many crossroads, turn to Hecate or Papa Legba. At any moment you might make an offering to Green Tara for protection and White Tara for good health. When in need of prosperity or success in business, best ask Lakshmi and Ganesh. Alternatively, follow the predictions of stock-market gurus or the black art of economics. While the specific deities and invocation methods may differ, they all provide ways of focusing attention and framing intent. This is important, because attention helps clarify intent, and intent helps bind anticipation to action. It prepares the mind, and prepares the body. “In the fields of observation” says Louis Pasteur “chance favours only the prepared mind.” (...) Anticipating change, hoping for change, or even fighting for change might not be enough. The idea of change itself might have to change. We need a hex for transforming transformation. “A poem to write on the face of reality”, with all the force of collective intent. -[[https://medium.com/aperiodic-mesmerism/in-anticipation-24c87c34a34f|Maja Kuzmanovic & Nik Gaffney]] </blockquote> <blockquote>Once you’ve created some wiggle room in the present and explored some of the adjacent possible, you might want some of these possibilities to become manifest. How do you help the possibilities to materialise in the present? Most worldviews and belief systems have ways of invoking the spectral possible. A prayer to St. Anthony might help with a lost set of keys. At life’s many crossroads, turn to Hecate or Papa Legba. At any moment you might make an offering to Green Tara for protection and White Tara for good health. When in need of prosperity or success in business, best ask Lakshmi and Ganesh. Alternatively, follow the predictions of stock-market gurus or the black art of economics. While the specific deities and invocation methods may differ, they all provide ways of focusing attention and framing intent. This is important, because attention helps clarify intent, and intent helps bind anticipation to action. It prepares the mind, and prepares the body. “In the fields of observation” says Louis Pasteur “chance favours only the prepared mind.” (...) Anticipating change, hoping for change, or even fighting for change might not be enough. The idea of change itself might have to change. We need a hex for transforming transformation. “A poem to write on the face of reality”, with all the force of collective intent. -[[https://medium.com/aperiodic-mesmerism/in-anticipation-24c87c34a34f|Maja Kuzmanovic & Nik Gaffney]] </blockquote>
  
-At the Art of Futuring Workshop we invoked: one thing for yourself, one for the group and one for all beings. We used our voices and bodies to invoke these realities into being...+At the Art of Futuring Workshop we invoked: one thing for yourself, one for the group and one for all beings. We used our voices and bodies to project our intent into the space, hoping to invoke these realities into being... 
  
 ---- ----
 +
  
 ==== Process facilitation ==== ==== Process facilitation ====
Line 306: Line 339:
 At the end of the Art of Futuring Workshop we used the Adaptive Action Cycle. This feedback technique is designed for iterative processes which can benefit from periodic cycles of evaluation and adaptation. At the core of the technique are three seemingly simple questions: what, so what and now what. At the end of the Art of Futuring Workshop we used the Adaptive Action Cycle. This feedback technique is designed for iterative processes which can benefit from periodic cycles of evaluation and adaptation. At the core of the technique are three seemingly simple questions: what, so what and now what.
  
-Read more about this technique [[https://libarynth.org/futurist_fieldguide/adaptive_action_cycle|here]] +Read more about this technique [[:futurist_fieldguide/adaptive_action_cycle|here]] 
  
-{{ :futurist_fieldguide:adaptive-action.png?direct&300 |}} + 
 +{{>http://www.flickr.com/photos/foam/46627345314/}}\\
  
 ---- ----
Line 314: Line 348:
 ==== References ==== ==== References ====
  
-  * https://libarynth.org/futurist_fieldguide/start +A few formal references: 
-  * https://libarynth.org/future_fabulators/background + 
-  * https://www.zotero.org/groups/235804/future_fabulators/items/collectionKey/92CX4HZR +  [[https://jfsdigital.org/|Journal of Futures Studies]] 
-  * https://www.zotero.org/groups/235804/future_fabulators/items/collectionKey/I55D6MNC +  * [[https://www.journals.elsevier.com/futures/|Futures Journal]] 
-  * {{ ::future_of_the_world_jenny_andersson_9780198814337_print.pdf |Future of The World}} +  * [[http://anticipationconference.org/|Anticipation Conference]] 
-  * [[https://drive.google.com/file/d/0Bwy8eTupdOeKcWVmRUZHV09vOVU/view|Practical Foresight Guide]]+  * [[https://apf.org/|Association of Professional Futurists]] 
 +  * {{ ::future_of_the_world_jenny_andersson_9780198814337_print.pdf |Future of The World}}, a recent book on the history of futures 
 +  * etc. 
 + 
 +Interesting futurists and futures-oriented individuals and organisations, working close to the arts, design and culture: 
 +  * [[http://superflux.in/|Superflux]] and [[https://twitter.com/anabjain|Anab Jain]] 
 +  * [[http://www.changeist.com/|Changeist]] 
 +  * [[https://www.metafuture.org/|Metafuture]] 
 +  * [[https://twitter.com/actionforesight|Jose Ramos]] 
 +  * [[https://twitter.com/nraford|Noah Raford]] 
 +  * [[https://futuryst.blogspot.com/|Stuart Candy]] 
 +  * [[https://extrapolationfactory.com/|Extrapolation Factory]] 
 +  * [[https://twitter.com/justinpickard|Justin Pickard]] 
 +  * [[https://twitter.com/thesjef|Sjef van Gaelen]] 
 +  * [[https://twitter.com/PaulGrahamRaven|Paul Graham Raven]] 
 +  * [[https://twitter.com/wendyinfutures|Wendy Schultz]] 
 +  * [[http://longnow.org/|The Long Now Foundation]] 
 +  * [[https://twitter.com/bruces|Bruce Sterling]] 
 +  * [[http://pantopicon.be/|Pantopicon]] 
 +  * [[https://twitter.com/AFcrew|Maya van Leemput]] 
 +  * [[https://www.edelkoort.com/|Lidewij Edelkoort]] 
 +  * etc, etc. 
 + 
 +A few references to FoAM's work with futures 
 +  * [[https://libarynth.org/futurist_fieldguide/start| A Futurists' Fieldguide]], editable collection of futuring techniques, methods and aptitudes 
 +  * [[https://libarynth.org/enacting_futures_in_postnormal_times|Enacting Futures in Postnormal Times]], a paper describing FoAM's approach to futures, including a chapter on prehearsals and pre-enactments 
 +  * [[https://libarynth.org/future_fabulators/making_things_physical|Making Things Physical]], article in collaboration with Time's Up about physical and alternate reality narratives in futures 
 +  * [[https://libarynth.org/future_fabulators/background|Future Fabulators]], research notes on scenario building, experiential futures and other related topics collected during a specific project 
 +  * [[https://www.zotero.org/groups/235804/future_fabulators/items/collectionKey/92CX4HZR|Books and articles at the FoAM Library]] collected for the Future Fictions exhibition in Z33 
 + 
  
  • the_art_of_futuring.txt
  • Last modified: 2021-04-13 17:05
  • by nik