Can supervise: YES
By looking at the design process of a narrative-based design fiction, this paper introduces new areas of exploration for futures practices concerned with human-scale futures — the internal worlds of daily lives. Called Trina, the design fiction imagines new practices through the simultaneous creation of storyworld, prototypes, characters, and plot, with an emphasis on relations as opposed to things. By theorizing the design fiction creators as participant-observers in a world that emerges from a field of forces (Ingold, 2013), the paper concludes with questions that arise from a method that may help explore the interconnectedness of futures “from the inside.”
Burdick, A 2020, 'Image + Narrative Gallery' in Tabbi, J (ed), Post-Digital Dialogues and Debates from electronic book review, Bloomsbury Academic.
Burdick, A 2020, 'Introduction: The Interface as a Tool for Writing' in Tabbi, J (ed), Post-Digital Dialogues and Debates from electronic book review, Bloomsbury Academic.
Burdick, A 2020, 'Reading Writing Space' in Joseph, T (ed), Post-Digital: Dialogues and Debates from electronic book review, Bloomsbury Academic.
Burdick, A 2018, 'Scenes of Writing', Proceedings of DRS 2018: Catalyst, Design Research Society 2018 International Conference: Catalyst, Design Research Society, Ireland, pp. 73-82.
This paper looks at how speculative fiction can provide a design space to explore the effects of technologies for critical interpretation. Using Trina: A Design Fiction as a case study, the paper builds upon Lucy Suchman’s study into how technology teams design “the human” in tandem with the computer, asking can there be a model of “the human” suited to technologies for subjective judgment? Looking closely at the characters in Trina, we see individuals whose capacities, specificities, social histories, and individual biographies inform the degree of agency that each has with the writing technologies that define their work and worth. Accounts of writers and their inscription technologies found in recent literature from media and literary studies further demonstrate the contingent nature of textual composition. Rather than look for a generalized human-computer fit, the paper argues for the design of story-worlds in which specific humans, non-humans, and networks are designed in one and the same gesture, revealing the productive misalignments and contested boundaries that define their interactions.