Differences

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

--- future_fabulators:confabulation [2014-02-11 02:21] – maja
+++ future_fabulators:confabulation [2015-05-20 10:10] (current) – nik
@@ Line 1: / Line 1: @@
 ==== Confabulation ====
+<blockquote>We’re conditioned to see the present moment as "normal," with all the banality that implies.  This is not a banal moment.  It’s the sort of intense, chaotic moment, full of strange things, that we previously only found in science fiction.  "Right now" feels like all of science fiction happening at once, and needs to be considered in that context
+--Warren Ellis
+</blockquote>
 working notes of Future Fabulators
 {{future_fabulators:splash_crop.png}}
+“Any useful idea about the future should appear to be ridiculous” Dator’s 2nd Law of the Future (Dator 1995)
 ==== external / rational ====
   * [[:prediction_markets]]
   * can we use predictions to help separate/isolate important, predictable events within a "A Nonpredictive View of the World"? (cf. fragility -> robustness -> antifragility)
-  * what is the question? can it be answered diceisively at a particualr point in the future? what is at stake? what are the consequences or impacts?
+  * what is the question? can it be answered decisively at a particular point in the future? what is at stake? what are the consequences or impacts?
 ==== internal / irrational ====
   * divination / invocation
+==== physical narratives ====
+  * Christine Wilks talking about text as a way for developing character depth; [[http://www.riders-project.net/research/videos/christine-wilks-taking-text-out-of-the-box.html]] (This probably belongs elsewhere, but...)
+     * performing text on screen
+     * Varytale  http://varytale.com
+     * "Text becomes the equivalent of subtitles" - is this a good thing?
+     * Very based around computer games.
+     * "Character is a black box" - in PNs, we can only be based on interpretation based on behaviour and its artefacts, not on explicit exposure, unless we have things like "Dear Diary..."
+     * Note: Prehearsals are first person narratives, PNs are third person. Thus a Prehearsal can have "more" introspection in some sense.
+====formalised decision making====
+A lot of the scenario planning process has to do with [[Formalised Decision Making]] and how this is done in groups.
 ==== present / future ====
@@ Line 24: / Line 46: @@
   * 'but why...' (experiential futurism)?
   * how do we encourage a sense of agency amongst the participants when discussing and developing 'possible futures'?
+  * what are the historical and current examples of experimental arts and culture as speculative/future labs (e.g. D'Annunzio's Fiume, various communes/intentional communities from the 60s and later, more recently Irrational, Collapsonomics, Future Farmers...?
+  * What is the relationship between storytelling and fortunetelling?
+  * What online tools exist to make statistical analysis (and other aspects of futures research) available for non-expert futurists?
   * how do we clarify that what we’re doing is not about predicting the future, but about empowering people to be more aware of their present situation and clarify what they could do today to shape their actions to encourage a preferred possible future?
   * what other forms can 'experiencing possible futures' take?
     * what is the shortest and/or longest time in which we can complete meaningful scenario workshops and/or prehearsals to come up with interesting results while keeping the process enjoyable for the participants?
     * what other methods, aside from scenario building, are used to discuss possible futures?
-    * what can we borrow from other fields, such as; improv, role playing games, LARP, disaster drills, meditation… to improve prehearsals?
+    * what techniques can we use to translate possible future scenarios into experimental situations (improv, role playing games, LARP, disaster drills, meditation)?
+    * what is the state of the art in enacting [[ possible futures parallel presents|possible futures / parallel presents]] (e.g. micronations, Kingdom of Elgaland Vargaland, NSK, Near Future Lab, Superflux, Loop.ph?
   * how can we help increase the commitment of the participants to work towards their preferred future(s)? how much follow-up is needed?
   * how could we enable participants to use digital tools to enrich the process, while avoiding distractions and displacements of email, social media, etc? what collaborative digital tools could we use to share the same digital working surface (something like Reactable for example)
-Preparation beforehand
-  * what can participants prepare for a scenario workshop beforehand?
-  * what are the ideal settings (e.g. room size per person) for a scenario workshop?
-Key question
-  * how to better structure/encourage designing the core question?
-  * how can we encourage an 'inquiring state of mind'?
-  * why does it seem more difficult to phrase questions rather than stating problems?
-Mapping the present situation
-  * what are different ways to map-out the present situation surrounding the key question?
-  * when is this step necessary? when can it be reduced/removed?
-  * does it help to talk about things that are fixed, or constraints that exist?
-Key factors
-  * how to best visualise and cluster the relationships between key factors
-  * are we talking only about success criteria here?
-Macro trends
-  * how much analysis is appropriate for the types of scenarios and prehearsals we’re making?
-  * how can we make assumptions and guesswork more apparent (i.e. indicating how drivers can be based on an assumption, guess or 'fact')?
-  * what is the relevance of facts and data related to macro trends in experiential futurism?
-  * how can we have a more constructive discussion about the macro trends which results in something more meaningful than a list of assumptions?
-  * how do we look at drivers as dynamic forces? should we be looking at responses to trends rather than trends in general? (nouns -> verbs)
-  * what are existing ways of discussing trends with groups of people?
-  * should we make our own STEEP cards to avoid the 'business bias'?
-  * are there other well understood methods to group trends other than the customary STEEP (in which cultural changes seem to be clumped in with social or political)?
-  * is there another way to look at large scale changes aside from trends (without having to do a PhD in each of the changes)?
-  * how effective are these methods and how can we usefully evalute them?
-  * what does a 'futurism without prediction' look like?
-Ranking critical uncertainties
-  * what are different ways in which this is done by others?
-Scenarios
-  * when to use one, two, three or more axes?
-  * how to better structure building scenario skeletons with guiding questions (which questions could be generalised?
-From scenarios to story-worlds
-  * what techniques can we use to flesh out the scenarios into interesting stories
-  * what elements do we need in a scenario database?
-  * how to create rich characters and meaningful plots?
-Scenario testing (signals, how to get from here to there)
-  * how is this done by others?
-  * what are important things to focus on?
-Visualising
-  * which methods could we use to visualise possible futures?
-Prototyping
-  * which methods could we use to prototype possible futures?
-Prehearsals
-  * how to design them?
-  * how to host them?
-  * how to evaluate them?
-Follow-up
-  * How can we follow-up what happens to the groups after we finish the workshops (especially to understand what happens to commitments to actions and preferred possible futures)?
-  * How much do we need to be involved in the follow-up?
 ==== scenario database ====
-20140205 While editing [[scenarios]] on the libarynth it became apparent how tricky it is to keep a consistency in information and layout of the scenarios. The scenario database we're planning to make should make this easier. Components that seem to be needed in all scenarios:
+20140205 While editing [[scenarios]] it became apparent how tricky it is to keep a consistency in information and layout of the scenarios. The scenario database we're planning to make should make this easier. Components that seem to be needed in all scenarios:
   * what is the question?
@@ Line 121: / Line 80: @@
 or should we keep the database only as a 'short story collection'?
+a rather bad example of a scenario database is the [[http://www.millennium-project.org/millennium/futuresmatrix.html|Millennium Project's Futures Matrix]]
 ==== software & protocols ====
   * open formats > closed formats
@@ Line 133: / Line 93: @@
   * online
     * **libarynth** for text, tangents and collation -> http://libarynth.org
-    * **flickr** for image matter -> https://secure.flickr.com/photos/foam/
+    * **flickr** for image matter -> http://www.flickr.com/photos/foam/
     * **vimeo** for video matter -> http://vimeo.com/fo4m
     * **zotero** for library and references -> https://www.zotero.org/groups/foam_library
@@ Line 141: / Line 101: @@
     * wikipedia
-==== reading/notes ====
+=== natality ===
-  * various [[:scifi]] threads re. possible future cultures, shifting relation between humans & their environment, exploration of 'biosphere dividend'. near and far futures
-    * bloom, ventus, mars trilogy, incrementalists, etc+
-    * "A History of the Future in 100 Objects " >> [[https://readmill.com/zzkt/reads/a-history-of-the-future-in-100-objects|notes and quotes]]
-    * 'the culture' ([[:iain_m_banks]])
-      * https://en.wikipedia.org/wiki/The_Culture
-      * [[:notes_on_the_culture]]
-    * https://en.wikipedia.org/wiki/Political_ideas_in_science_fiction
-    * https://en.wikipedia.org/wiki/Religious_ideas_in_science_fiction
-  * The Hermetic Library reading room >> http://hermetic.com/reading-room/
-  * Erwin Wagenhofer's movie about the crisis of creativity in education: http://www.alphabet-film.com/
-  * Christine Wilks talking about text as a way for developing character depth; [[http://www.riders-project.net/research/videos/christine-wilks-taking-text-out-of-the-box.html]] (This probably belongs elsewhere, but...)
-     * performing text on screen
-     * Varytale  http://varytale.com
-     * "Text becomes the equivalent of subtitles" - is this a good thing?
-     * Very based around computer games.
-     * "Character is a black box" - in PNs, we can only be based on interpretation based on behaviour and its artefacts, not on explicit exposure, unless we have things like "Dear Diary..."
-     * Note: Prehearsals are first person narratives, PNs are third person. Thus a Prehearsal can have "more" introspection in some sense.
-==== Philosphy ====
-Hanna Arendt and 'natality' (via Lies Declerck):\\
+Hanna Arendt and 'natality':\\
-Voor Arendt is 'nataliteit' een heel belangrijk begrip - dat is het vermogen van de mens om iets nieuws te beginnen, niet iets dat reageert op een bepaalde context of omstandigheden, maar iets werkelijk compleet nieuws. (Het is net dat vermogen dat in haar analyse in een totalitair systeem vernietigd wordt en daarmee, wat haar betreft, de hele mensheid.) Ik bedoel maar: ik kan me voorstellen dat zo'n soort lectuur ook voedend kan zijn om het over toekomstige scenario's te hebben, zonder dat het er rechtstreeks over gaat.
+Voor Arendt is 'nataliteit' een heel belangrijk begrip - dat is het vermogen van de mens om iets nieuws te beginnen, niet iets dat reageert op een bepaalde context of omstandigheden, maar iets werkelijk compleet nieuws. (Het is net dat vermogen dat in haar analyse in een totalitair systeem vernietigd wordt en daarmee, wat haar betreft, de hele mensheid.) Ik bedoel maar: ik kan me voorstellen dat zo'n soort lectuur ook voedend kan zijn om het over toekomstige scenario's te hebben, zonder dat het er rechtstreeks over gaat. -Lies Declerck
 http://plato.stanford.edu/entries/arendt/#AreTheAct
-Sébastien Hendrickx en 'alsof strategie (via Lies Declerck):
-de 'alsof-strategie'. Die bouwt op een dubbele beweging. Enerzijds verplaatst een kunstenaar zich spelenderwijs in een specifieke maatschappelijke praktijk door het nabootsen van een set rollen, activiteiten, procedures, discoursen, attributen en ruimtes eigen aan die praktijk—net genoeg om er de dominante metafoor in het werk van te maken. Anderzijds wordt deze praktijk binnengeloodst in het domein van de kunst, waar ze—vrijgemaakt van haar eigen conventies —kan worden gemanipuleerd en bevraagd.
-(...)
-Toch bezit de kunst geen monopolie op de kritische zin en de kracht van de verbeelding. In tal van maatschappelijke domeinen wordt vandaag grondig nagedacht over alternatieven, zeker nu de toekomst met de dag somberder lijkt te ogen. Leuven Kiimaatneutraal 2030, het Antwerpse voedselcollectief De Beek, het grootschalige experiment in participatieve democratie G1000, de nieuwe coöperatieve bank New B, het Nederlandse online dagblad De Correspondent... Stuk voor stuk zijn het waardevolle vormen van maatschappelijke innovatie, pogingen om radicaal te herdefiniëren hoe 'echt' voedsel, een 'echte' bank, een 'echte' krant... er zouden moeten uitzien. Zij getuigen van een sterke autonomie, autonomie begrepen als 'zelfbestuur'.
-Maar anders dan deze initiatieven hoeven de 'artistieke alternatieven' niet realiseerbaar en duurzaam te zijn. Net als architecturale maquettes kunnen ze ergens halfweg tussen idee en uitvoering blijven verwijlen. En juist omdat ze de toets van de werkelijkheid niet ten volle hoeven doorstaan, beschikken deze projecten over een beduidend grotere marge voor maatschappijkritiek en toekomstverbeelding.
-(...)
-Enerzijds slaan zij met een grote leergierigheid bruggen tussen kunst en leven: de verplaatsingen in andere maatschappelijke praktijken maken de inhoudelijke vragen binnen hun werk heel concreet en tastbaar en zorgen voor een uitbreiding van het veld van vormelijke mogelijkheden. Anderzijds blijven zij de kunst behoedzaam van het leven onderscheiden: zij kunnen zich vrijmaken van de conventies die andere maatschappelijke praktijken tekenen, en deze praktijken daarom radicaal anders denken. Alleen mogen we van dit potentieel van maatschappelijke innovatie geen sluitende antwoorden of oplossingen verwachten. Iets in de kunst blijft het denken en de verbeelding altijd openhouden. En even lijkt het alsof alles anders kan...
-http://www.rektoverso.be/artikel/kunst-die-zich-voordoet-alsof-ze-iets-anders-dan-kunst