While we move from ‘touch’ to ‘gesture’, interacting with our technology directly via brainwaves seems to be up next. We have already seen games such as brainball or mindball and even wheelchairs controlled via brainwaves. Now recently, the Japanese firm Neurowear launched Necomimi (check out the video), a set of brainwave-controlled cat-ears. Concentrate and the ears stand up, relax and they lay down: a poetic way of rendering aspects of one’s state of mind visible to surrounding individuals.

It makes one wonder which cues about our state of mind, now subtly hidden below our behavioural surface, more or less beyond reach of direct sensorial detection, one would like to share with others? How would we use the information? How would it enhance the bandwidth of our communicative spectrum? Which new challenges would it pose to interpersonal relationships?

Tapping into the state of mind – e.g. being concentrated or not – is one thing, tapping into what the brainwaves are actually about another. Belgian Prof. Philippe Schyns and his team at the University of Glasgow recently succeeded in ‘reading’ brainwave information related to visual perception (see here).

On a more artistic note, do not forget to check out Christophe De Boeck’s Staalhemel, “an interactive installation with 80 steel segments suspended over the visitor’s head as he walks through the space. Tiny hammers tap rhythmical patterns on the steel plates, activated by the brainwaves of the visitor who wears a portable EEG scanner.”

“What if you were given a glimpse into what America will be like 20, 30, or even 50 years from now? Would it change the way you live today?” Spurred by these questions the Independent Television Service launches the second season of Futurestates on PBS. Ten short films portray ten visions of the future by ten indie filmmakers. Stories gravitate towards issues concerning environmental and economic challenges, but also revolve around soci-cultural topics.

There appears to be a surge in attention across media towards speculative – what if …? – futures as a genre rather than straight-up scifi, an evolution which is fascinating to say the least. It remains up to the critical eye of the beholder to decide to which extent the Futurestates short-films paint stimulating futures – whether bleak or encouraging – or rather mostly project extrapolations of today’s sentiments and challenges. Moreover, considering shifting geopolitical, geosocial, geoeconomic, geo-everything balances, it would be enriching to see more examples of how people from other countries, other cultures envision their futures. Not only would they bring other types of narratives, they would also pose different questions, paint different solutions to the samen and different challenges.

April 4, 2011, was the launchdate of a new ARG (alternate reality game) entitled America 2049. The game is a 12-week episodic experience blending today’s world with a possible future world. The game fuels the debate on human rights issues linked to the thin line between the enabling aspect of certain identity-related technologies and the way in which they expose civil rights to abuse from both private and government sectors.

“In America 2049, the former land of the free has degenerated into the Divided States of America, where sexuality, religion, speech and culture are all controlled and restricted. On the upside: the entire population is on a drug  that inhibits aggressive behavior called SerennAide, administered automatically through the water supply. This has led to a decrease in crime rates, an increase in the population’s happiness, and has purportedly helped people to rise above their worst impulses.

Depending on where you stand, this is either a Utopian dream or an Orwellian nightmare. And it is up to you to decide where you stand: alongside the Council for American Heritage (CAH), or with Divided We Fall (DWF).”

Behind the game stands Fuel | We power change , a creative agency focussing on the non-profit sector.

A great way to render the future tangible and use an immersive experience to explore and trigger debate on certain societal issues. Fascinating also that different cultural perspectives are embedded in the devised storylines.

Via ARGN.com

“Let us imagine it is 2100 and you want to go and pick a 100 objects that sum up human history from 2011 to 2100. What are they going to be?” This is the question Adrian Hon posed – inspired by BBC Radio 4′s A history of the world in 100 objects – and around which plans to write a blog, publish a book, produce podcasts and publish a newspaper of the future. To fund his initiative, he turned towards Kickstarter – the famous crowdfunding platform for creative projects.

Some will know Adrian – co-founder and chief creative officer of nextgen games company Six to Start, as one of the people behind Perplexcity, the award-winning alternate reality game that imagined a parallel world set in the future.

Rendering the future tangible is an important element in lowering the level of abstraction and creating common ground when discussing the future. Crafting ideas and giving physical shape to them are powerful, debate-stimulating tools when exploring which changes the future might bring and what they might mean to one’s organization.

Looking forward to your project Adrian!

Image courtesy Adrian Hon

Aesthetics are about more than ‘spicing things up’, rendering them ‘more beautiful’. In information design, meaning is core. As the world becomes more layered, as data becomes ever more important, we increasingly need innovative ways to bring insight and calm to complexity. Check out Visual Complexity and InfoSthetics for example. But the art and science of this matter is not limited to paper or screen, as the following example shows.

Danish architecture firm Bjarne Ingels Group (aka BIG) and our friends over at realities:united won an international competition to design a new waste-to-energy plant for Copenhagen (DK). The Amagerforbraending will not only burn waste and convert it to energy, its 31.000m2 rooftop will also feature skiing slopes of varying degrees of difficulty for Copenhagen’s citizens, turning the building into a pole of attraction in its own right, thereby changing the relationship between people and waste, energy, etc. While doing its job, the building will blow smoke rings into the air.

Each smoke ring, approximately 30 meters in diameter and 3 meter in height, constitutes exactly one ton of fossil carbon dioxide, which is added to the atmosphere. [...] “Exploiting the so called Bernoulli effect these rings will remain stable for up to several minutes, serving as a gentle reminder of the impact of consumption and a measuring stick that will allow the common Copenhagener to grasp the CO2 emission in a straightforward way – turning the smokestack – traditionally the symbol of the industrial era – into a communicator for the future”, [says] Jan Edler, Artist, realities:united [...] At night, heat tracking lights will be used to position lasers onto the smoke rings turning them into glowing, communicative artworks. As proposed pie chart will be projected onto the smoke, where the actual quota of fossil CO2 can be read.

In designing for behavioral change, rendering the invisible visible, the complex insightful and understandable are an important first step.

Via realities:united
Image courtesy of realities:united

Most of us see gender as either male or female. Nevertheless for years, people have argumented for and against the introduction of a third option for people biologically or socially belonging neither to the male nor female group. Years ago, Prof. dr. Anne Fausto-Sterling  conducted a provocative thought-experiment distinguishing between as much as five gender categories: male, female, merm, ferm, herm.

In Nepal’s latest national census, people will have three options when compiling their form (see article).

The Central Bureau of Statistics (CBS) said this is the first time census forms would grant the option for transgendered people to list themselves as something other than male or female.”In the past, we only had two sections under gender, as male and female,” said Bikash Bista, director of the department.”With the new provision, the third gender will also be able to acquire citizenship.”

Sexual minorities moving beyond the traditional gender duality are often wrongfully portrayed as ‘recent phenomena’. In the fashion world, which has a history of androgynous models, Marc Jacobs’ latest shoots (by photographer Juergen Teller) for example, feature Andrej Pejic, a highly androgynous male model featuring in both male and female shootings. In many cultures ‘third gender’ history goes back for centuries, millennia even (see Wikipedia).

Thinking in terms of possible futures, one might ask oneself: how would the future look different in a world with multiple recognized gender classes? How would social relationships change? Which products and services might cater to the needs of people belonging to the different groups?

Photo of Andrej Pejic via models.com

BaR2D2 serves drinks, Asimo walks the planet as man’s new best friend, NASA’s Robonaut 2 takes to space and loves to twitter. Robots continue to inspire. Several exhibitions currently on show give a glimpse of some highly creative – even poetic – robotic tinkering by artists.

Hangar311 in Mechelen (B), puts the inspiring work of Stéphane Halleux on show. Tinguely meets ToyStory in a steampunk version.

Our friends over at the Maison d’Ailleurs in Yverdon-les-Bains (CH) focus on the work of new media artist, author and theorist Ken Rinaldo in their exhibition entitled “Do robots dream of spring?”.

Ken Rinaldo’s art promotes communication between species. By creating immersive environments, the artist presents works to be experienced. He puts human beings in our rightful place, one that is integrated into vast systems, of which we are simultaneously the architects, the prisoners and the custodians. He shows us that our environment is an immense meeting place where worlds collide, a place of shifting borders, which he encourages us to explore.

The Tinguely Museum (in cooperation with Kunsthaus Graz) takes a closer look at artificial intelligence and robotics in their 1000m2 exhibition Robot Dreams.

Enjoy!

When talking about making the future tangible, many people expect visual information, projections aimed at the mind’s and the physical eye that ‘show’ how the world around us might look different physically. Yet of course the future has many less physically tangible, yet nevertheless experience related aspects that render it a whole new world. Subtlety in bringing those to life is an art.

One such element is language. Although the dynamics of linguistic evolution differ per language as well as geographically, it only takes a brief look back in history to realize that language evolves over time, influenced by accelerating societal change – also spurred by new media and communication technologies. What will language be like in 50 years time? There are many ways in which language can be futurized: neologisms (futurespeak), subtle references to societal changes (e.g. mass migration leading to mixing of words and sounds, new technologies leading to different behaviours), different rythm or length of sentences, new typographical signs, new ways of naming old things, etc.

Director Michael Winterbottom did a great job in turning language into a core ingredient of his subtle way to bring the future to life in Code 46. Now, Dutch National Poet (dichter des vaderlands) Ramsey Nasr wrote ‘Mi have een droom’ (I have a dream), a poem set in Rotterdam in the year 2059, written in a future language, with elements of urban rap and melting pot slang.

Thanks to Emiel for pointing it out. Image courtesy of NRC.tv

Medicine and technology companies are working hard to restore people’s vision, hearing or other senses or provide artificial aids and prosthetics to replace them. Yet what about new or enhanced senses? The animal world is full of examples of how nature has endowed them with the most amazing ways of perceiving the world around them. Ants can see polarized light, starfish have their arms covered with light sensitive cells, pigeons can detect sounds as low as 0.1hz, some fish can detect L-serine (skin chemical in mammals) dilluted to 1 part per billion, a silkworm moth can detect pheromones up to 11km away and in concentrations as low as 1 molecule of pheromone per 10¹⁷ molecules of air, the platypus has electric sensors in its bill able to detect 0.05 microvolts, etc. (hungry for more? see here)

Several years ago Osnabrück cognitive scientist Peter König developed the feelSpace belt, a compass like buzzing belt (since then a hit amongst the DIY crowd), equiping people with a ‘sense of direction’ much like birds have one. Users of the belt felt like the prosthetic became a part of their normal sensory apparatus. The trick lies in synesthesia (check out Terri Timely’s masterful video on the phenomenon). By making ‘the new sense’ talk to the old ones, the latter can translate its ‘feelings’ to the brain in a language the brain already understands; in the case of the feelSpace belt: touch.

The latest issue of the wonderful Good features David Pescovitz, BoingBoing editor and fellow futuregazer over at the Institute for the Future, explains the growing amount of research and development in digital synesthesia :

my colleagues and I have spent the last few months exploring the notion that “everything is programmable,” or will be soon. The idea is that emerging technologies—from pervasive computers to synthetic biology—are making it possible to program our bodies and our worlds to desired specifications. Increasingly, we are looking at the entire world through a computational lens.

Pescovitz pays homage to Paul Bach-y-Rita, the Mexico-born professor in neurobiology and rehabilitation who was a pioneer in the field of sensory substitution, who once said “We see with our brains, not with our eyes.” Pescovitz mentions several examples of digital synesthesia projects, such as: Wicab (founded by Bach-y-Rita) did amazing work on BrainPort, an attempt to create a vision prosthetic that translates images from a video camera into tactile responses on the tongue. “Users often report the sensation as pictures that are painted on the tongue with champagne bubbles.” In Tel Aviv is investigating ways in which cells in plants respond to light as a way to design “seeing skin”. Hello biomimicry!

Imagine a world of bodyshops filled with plugins and wearables to extend our sensory apparatus. To some a transhumanist’s wet dream, to others a mere natural evolution in the sense of media as extensions of man (McLuhan), to yet others yet another digital divide.

Via Wired and Good

When bringing possible futures to life and engaging an audience, many tend to resort to multimedia in its most tech-inspired/driven variant, while from a storytelling perspective “the art of acting” or theatre has so much more to offer. After some first experiences of our own in using theater as a way of communicating the future and triggering debate, we are definitely hungry for more. Yet our interest in theater goes beyond its utilitarian value in exploring and envisioning the future.

Theatre comes in many flavours and the Dutch theater company Theater AdHoc defies categorization in a lovely way. Join us on an inspiring trip through the mind and heart of its founder Jan van den Berg.

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Le Corbusier once described the house as a machine for living in. Designer Eduardo McIntosh designed a whole series of such machines and called them Autonomous Living Units. His work was presented during the Future Cities: Past, Present exhibition at the d3 gallery in New York last month.

“Autonomous Living Units is a somewhat satirical project that stands at the intersection of the current housing crisis, the tendency of people in developed countries to live on their own and the trend of turning architecture into a consumer product. The project poses a scenario in which living units ( homes) have evolved into the most minimal yet visually alluring objects that can still provide for the basic needs of the 21st century human being. Because of the morphing of architecture into furniture, the Living Units could be inserted in derelict areas and ruined housing projects.”

Via Boite-a-outils

Until the end of September 2009, the Musée du Cinquantenaire in Brussels showcases Vegetal City, an absolutely fascinating overview exhibition on the work of Luc Schuiten, the belgian visionary architect, illustrator, author. Years ago Schuiten started working on his archiborescence vision on urban development, as an alternative future to look out for, a way out of the current-day unsustainable impasse.

Vegetal city is a vision of a transformed society driven by a quest for sustainability in which notions of biomimicry provide for a solutioning framework.

“We can’t carry on with individualistic attitudes which boil down to ‘I’ll just do my own thing and let the rest of the world go by.’ We need to change the way our entire society thinks in order to make it compatible with the rest of the world of which it forms part, and on which it ultimately depends.”

Schuiten understands the power of stories to convey his vision. As such he moves beyond the mere aspect of ‘visualizing’ what one means.

Check out the unique exhibition and/or the book.

Archeology fascinates people, especially children. As they dig up stuff in the garden, their imagination runs wild as they fantasize about all kinds of stories from times past. As we walk the streets, as we use everyday object and live contemporaneity, most of us will have wondered at some point: will this still exist in a few centuries? or: what will future generations dig up from our times? which stories will they reconstruct around them?

Some craft special devices to survive the times. Timecapsules are popular among scientists, amateurs, children … More than merely preserving the past, they are  used to send a message to the future.

So-called future archeology works the other way around: we imagine a world of tomorrow’s making and imagine to dig up some of its artifacts. What might they look like? In which kind of world did they originate? Wired’s Found series is a good example of this approach, one we often indulge in as well at Pantopicon. We either create such artifacts together with people as a participatory design exercise during our workshops to render the future tangible or we craft some of our own  as triggers to shake people out of today’s constraint based reasoning patterns and plunge them into possible tomorrows.

As I was preparing some designs for a set of looking boxes to allow people to gaze into future scenarios, I somehow stumbled upon the fascinating work of the Swiss designer collective Postfossil. They describe the deeper ground of their work as follows :

“In an age of increased reliance on carbon emitting technology and a rapidly depleting natural resource pool, POSTFOSSIL address the question– How will we live in a post-fossil fuel age?”

As such they made a whole series of boxes – dubbed boîtes de l’avenir - to raise awareness about our age of fossil fuels as we move into a postfossil era. Click through and meet the beautifully crafted and inspiring Actioreactio, A Kiss Good Bye,  Ten Matches, Postfossilien, To teeter on the brick of collapse, Pandora’s Box, The Speaking Sun, Historical Landscape.

The boxes somehow reminded me of Joseph Cornell‘s artworks. Well done, Postfossil!

At the recent LIFT conference in Geneva, Patrick J. Gyger, director of La Maison d’Ailleurs – the museum of science fiction, utopias and extraordinary voyages – in Yverdon-les-Bains, Switzerland, took us on an inspiring trip through the history of the future. Patrick is a historian specialized in medieval studies with a huge appetite for the way people envision  possible future worlds. Among many other things, Patrick was one of the co-managers of the European Space Agency’s study on Innovative Technologies from Science Fiction for Space Applications – a research and educational project looking into science fiction to find ideas for space engineers.

We invited Patrick to join us for an interview and share with us some of his thoughts on the way in which people envision the future.  Enjoy!

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Buckminster Fuller among others was a firm believer in changing society and people through changing the stuff they use. In similar ways, the Japanese architect Kazuo Shinohara – among others – wondered about the psychological effects of his buildings on people. The psychological and social impact of our designs in general and the built environment in particular, on ourselves and our behaviours is a fascinating theme indeed. Yet, watching some of today’s architectural and urbanistic interventions one can only wonder whether or to which extent the architects behind them have taken such considerations into account. Pondering the future of society, of living in a place, living, working and playing together, etc. as such, begs for a closer look at these subtle yet complex relationships.

‘Building happiness: architecture to make you smile‘, was recently published by Building Futures, the future oriented think tank of the Royal Institute of British Architects, which aims “to create space for discussion about the needs of society from our built environment and, consequently, the built environment professions in 20 years and beyond.”  

“Led by Ed Blake, “Building Happiness” was a project that aimed to use the best research and anecdoctal evidence from across a wide range of disciplines to identify and analyse the most important drivers in the field. How do we construct happiness? What components make for a happy building or space? How do we measure and quantify this response? is it possible? Who is responsible for it? can it be built in?”