JOHANNES FELIX LOTZE
Avoiding Pax Americana - Design for multiethnic Futures.
21. December 2023
This Essay was initially written for a seminar on the topic of Design and Diversity during my studies at the University of applied Arts Vienna.
Design is an ever-changing discipline that has evolved from the initial wish for production simplicity, over social implications to a way of thought. With the role of the designer changing in the twenty-first century, away from creating aesthetics, design education also must follow suit. While the concept of design thinking has now reached broad industry acceptance I want to focus on the designer's power to tell stories and the role of speculative design in shaping how we understand what’s to come. In this essay, I want to briefly draw a connection between the importance of optimism toward the future and ethnofuturistic narratives.
A recent addition to the plethora of design subcategories is speculative design. It diverges from traditional design paradigms by focusing not on solving current problems, but rather on exploring potential futures and alternative realities. Importance is given to the plausibility of the created futures and alternative presents. Speculative design involves carefully managing speculation to maintain a 'perceptual bridge' between the audience’s world and the proposed fiction, ensuring engagement and relatability (Auger, 2013). Projects are supposed to inspire and foster a more pluralistic understanding of the future. They should not be seen as a single possibility, „Their very intention is to demonstrate alternates.“ (Jain, 2019). I understand it as an interdisciplinary approach, working together with experts of all involved fields, harnessing the potential of a story, and designing its presentation to best illustrate what one is trying to communicate about the present or future. Design is seen as a tool to help people to understand.
Building on the concept of speculative design, it is crucial to understand how our personal beliefs about the future impact our actions and the role of design in shaping these beliefs. The vision one has of the future greatly influences whether one actively takes part in shaping it or passively let it happen (Figueres & Rivett-Carnac, 2021, p. 49-50). The most prevalent example of this is eco-anxiety, described as „the generalized sense that the ecological foundations of existence are in the process of collapse“ (Albrecht, 2012, p. 249). According to Figueres & Rivett-Carnac, humans have learned to react to this ecological collapse with helplessness. The complexity of the issue is used to deter responsibility. They advocate for self-education. Since the response of helplessness is learned, one has to teach himself that ecological collapse may be happening, but is not unavoidable. One has to be optimistic about the future to truly be motivated to work towards it (2021, p. 50-54).
I would extend this argument to educators and designers, both instrumental in shaping the public's opinion. In educating the public on potential futures, it is possible to shift sentiment and instill hope, also leading to more meaningful discussions on how to deal with the necessary change. Projects like Gerald Geiers Remember the Future, which is a visual imagination of plural futures in which climate change has been overcome (2023), actively explore the necessity of designers crafting positive narratives of the future.
While climate-related futures have been greatly explored by practitioners, an area still waiting to be discussed is culture. The reaction to a perceived loss of culture and the surrounding fear is marked by a different kind of reaction than the reaction to eco-anxiety. Instead of it being in action, a vivid „‚reawakening‘ of traditional culture“(Eriksen, 2010, p. 302) can be observed. This reawakening is happening across cultural circles, from Hindu communities in Trinidad (Eriksen, 2010, p. 302-303) to a new European nationalism („The hard right is getting closer to power all over Europe.“, 2023). Many of these movements are marked by a return to socially conservative norms of the „original“ culture (Drosopulos, 2022 P. 81-83) and are like in the case of the Turkish diaspora actively exploited by nationalist movements. Especially in such diaspora communities, there is the added factor of racism and active exclusion from society that greatly increases the attractiveness of populistic narratives (Arkilic, 2021 P. 597-598).
Host countries do not realize the role they play in this. Racism and a lack of inclusion towards immigrants drive them into radicalization, with the hosts then further accusing them of not immigrating, resulting in a vicious cycle (Ünveren, 2023). However, radicalizing factors within communities have also played a part. The threat of cultural eradication is a leading factor in radicalizing migrant youth (Drosopulos, 2022 p. 84).
Eriksen remarks that cultures always evolve and the complete eradication of cultures seldom happens (2010, p. 308). Culture has to be understood as an ever-changing process instead of a set of in-groups. Culture is not intrinsic to a society. It is made and changed through a dialectic process between all involved actors. It can be both a tool for oppression and a tool for resistance (Storey, 1996).
Viewing this through the lens of re-educating oneself to foster a better future, both sides have to learn that their culture can flourish even under new circumstances. The threat of cultural loss might seem daunting, but overcorrection is as flawed as inaction is with climate change. The bigger task however is for the host societies, which often have invited their migrant communities, to accept and incorporate these imported aspects of culture as equal. Only then can a progressive discussion about which parts of both constitute a newer shared culture be had.
Current narratives of the future are marked by inequalities. They are driven by the idea of Pax Americana and the narrative of a post-ethnic future (Avanessian & Moalemi, 2018 p. 9-10). Pop culture and marketing often predict a singular path for the future. During a previous design project, I identified this unwillingness to accept multiple possibilities as a major pitfall hindering futurism in pop culture today (Lotze, 2022). Ethnofuturistic stories help to inspire and uplift those not represented in the Future presented today. Further, they act as a counter-narrative to the neo-colonial tendencies seen in post-ethnic futures (Avanessian & Moalemi, 2018 p. 9). However, pop culture always comes with a tendency to commercialize.
Speculative design emerges as a crucial tool for broadening these narratives, offering a platform for diverse voices and perspectives without explicit commercialization (Auger, 2013 ). By envisioning futures that are inclusive and visualizing these in transformative ways, it can transcend the echo chambers of academia and the design industry, reaching people in their everyday environments. Augers Tooth Telephone in Time Magazine (2013 p. 25) or Saks Affidis SpaceMosque at a historical tourist site in Vienna (2023). Viewers are confronted with both of these projects in an unprepared-for context. Affidis SpaceMosque is situated in a temple-like building in Viennas Volksgarten, a public park in the center of the city. While still in an exhibition setting, it is presented with a sense of normalcy which completely negates the usual discussion about Islams' role in Austria (Akinyosoye, 2013). Augers Telephone transcended design circles, went viral in news media, and ended up being discussed as a real invention (2013 p. 21- 25).
Through such channels, designers have the opportunity to reshape narratives, fostering a more holistic and equitable vision of the future. This approach not only stimulates imagination but also encourages active participation in shaping a future that is truly representative of the global mosaic of cultures, values, and beliefs. I advocate for designers to face the difficult challenge of incorporating the future of culture in our work instead of using the promise of a singular global culture as an easy way out. I hope to consider a future where cultural differences are not just tolerated but celebrated, where environmental sustainability is not an afterthought but a foundational principle, and where socio-political inclusivity is a standard, not an exception.
Citations:
Albrecht, G. (2012). Psychoterratic conditions in a scientific and technological world. In P. H. Kahn & P. H. Hasbach (Eds.), Ecopsychology: Science, totems, and the technological species (pp. 241–264). essay, MIT Press.
Affidi. S (2023, March 30). SpaceMosque. Science Fiction(s) - Wenn es ein Morgen gäbe. Weltmuseum. (2023, March 30). Theseustempel, Vienna, Austria.
Akinyosoye, C. (2013, January 10). Österreichs medien tendieren zur islamophobie. Die Presse. Retrieved November 27, 2023, from https://www.diepresse.com/605288/oesterreichs-medien-tendieren-zur-islamophobie.
Arkilic, A. (2021). Turkish populist nationalism in transnational space: Explaining diaspora voting behaviour in homeland elections. Journal of Balkan and Near Eastern Studies, 23(4), 586–605. https://doi.org/10.1080/19448953.2021.1888599
Auger, J. (2013). Speculative design: Crafting the speculation. Digital Creativity, 24(1), 11–35. https://doi.org/10.1080/14626268.2013.767276
Avanessian, A., & Moalemi, M. (2018). Ethnofuturismen. Merve Verlag.
Drosopulos, M. (2022). 7: ‘This is our tradition.’ In M. A. Brown (Ed.), International Perspectives on Inclusion Within Society and Education (pp. 79–88). essay, Routledge.
Eriksen, T. H. (2010). Small Places, Large Issues (3rd ed.). PlutoPress.
Figueres, C., & Rivett-Carnac, T. (2021). Chapter Five: Stubborn Optimism. In The future we Choose, the stubborn optimist’s guide to the climate crisis (pp. 49–61). essay, Manilla Press.
Geier. G (2023, June). Remember the Future. AngewandteAbschlussArbeiten. University of applied Arts. (2023, June). Vienna, Austria.
Jain, A. (2019). Stop Shouting Future, Start Doing It. Superflux on Medium.com. November 26, 2023, https://medium.com/superfluxstudio/stop-shouting-future-start-doing-it-e036dba17cdc
Lotze, J. F. (2022, November 23). Pens of the Future, A case Study. blog.lotze.xyz. November 27, 2023, https://blog.lotze.xyz/future%20_pens
Storey, J. (1996). Cultural studies: an introduction. In J. Storey (Ed.), What is Cultural Studies: A Reader (pp. 1–13). essay, Arnold.
The hard right is getting closer to power all over europe. (2023, September 14). The Economist. Retrieved November 26, 2023, from https://link-gale-com.uaccess.univie.ac.at/apps/doc/A765250844/ITOF?u=43wien&sid=bookmark-ITOF&xid=5f01e0e7.
Ünveren, B. (2023, April 22). Warum deutschtürken mehrheitlich erdogan wählen. DW. Retrieved November 26, 2023, from https://www.dw.com/de/warum-deutscht%C3%BCrken-mehrheitlich-erdogan-w%C3%A4hlen/a-65398179.
Fixing the Story instead of the Design
17. December 2022
Personal Immersion Heating Unit
While fleshing out a certain story I am trying to tell, sometimes it helps to create objects outside of the initial frame. If you have an idea it might help to just act on it, rather than reconsider it many times. Sketch it, and throw together a prototype as quickly as possible. While you might detect obvious flaws with the given object it also reveals things you previously have not thought of. In the above pictured personal immersion heating unit (innitialy imagined as a cooling unit), there are obvious flaws.
- How do you charge it?
- How often do you have to charge it? Heating requires alot of energy.
- How does it not burn the cheek?
- As a cooling unit, where is the heat exchange?
- Do you just have to gargle everything to get it warm?
If you try to make a functioning object, you now would take these questions and try to find answers to all of them. When trying to tell a story however there is some value in explaining away these issues as well. What does the object tell you about the world it exists in?
- Charging in done remotely through induction
- Rather than have a battery in your mouth you carry a distant induction device with you. Some restaurants also have one in their floors.
- After a week all the nerves in your cheek will be gone anyways.
- It goes in the bone, diffuses the heat throughout your body, and then uses your regular sweat.
- Yes, everyone is gargeling, it saves energy, we do not have to disperse all the heat while cooking.
The world the object describes in its current state seems to be one of a disregard of human values, in favour of technological advancements. You will just be surrounded by induction close to your head the entire time. If you do not have it, restaurants requiring it will just serve you cold food. And rather than fixing the design flaws that activecly hurt you, the design “fixes” you to accomodate it.
Obviously this is a very rough example but the whole process took less than two hours, i found a jaw model online, 3D Printed it, painted some teeth and glued a random coil i found to it. I do like to prototype the objects, but making some sketches or a 3D Model would work just fine. As long as you act on the initial idea, you might find glaring flaws or great features. It also helps if it is something only partially related to the actual project as it will help you get a different perspective on things.
Pens of the Future: A design exercise
22. November 2022
We are surrounded by Future Narratives. From Eco-Anxiety to Digitopia, from Human Extinction to Mars Colonies. Narratives about the future of humanity and out planet dictate our day to day life. What you believe is going to happen directly influences your behavior and sometimes even physical health. It is important to have a lively discussion about where we are headed, and what humanity should aim for. But as with all discussions about belief it sadly often stops at a willingness for compromises. A major factor hindering this is that most visions are seen as absolute. With the barrage of different theories and their supposed inevitability many struggle to believe in anything at all. This hinders discussion further and allows malicious actors and their conspiracy theories to take hold. During my current semester studying speculative design, i was inspired by this and set out to provide possible futures to believe in through physical representations of simple current day objects, also questioning if all these exist in a vacuum or if maybe there is a chance for coexistence of multiple future visions.
The BIC CrystalIntroduced December 1950 the BIC Crystal has become the unanimous symbol for ballpoint pens. It is arguably the best designed pen, not because of its great design, but rather by defining the category itself. (Although it is also really well designed). Further it is the prime example for what we imagined as the future in the 50s. Atomic Era design and plastics. But with over 100 Billion sold it is also one of the most mass produced objects on earth, and bound to outlive humanity. No matter how we are going to change it is probably sticking with us, but how might it also evolve?
The Sustainable
Made out of renewable materials, in this case a simple paper and wood construction, this pen is is extrapolating one of the most common design trends today. Sustainability is becoming a major factor in marketing and we already can see a shift towards renewable materials today. While Paper Pens already exist as a “sustainable” Product, most of these still feature plastic ink cartridge or caps. In the future described by this pen however everything should be made from renewable materials or be fully recyclable. However it is questionable if it is desirable to keep single use products, regardless of how sustainable they are.
The Reusable
Not every Object has to be reinvented for the future. Especially when it comes to sustainability producing less should be the goal. Instead of single use ball-point pens, traditional ink fountain pens or reusable ballpoint pens are the better option. As a placeholder the Lamy Safari, a design classic famous for lasting ages symbolizes best a future where we left over-consumption behind. Objects made from high quality materials, reusable and easily repairable are going to reign supreme and aid us in saving the planet. This however only holds true if one believes that we are even going to use ink and paper in the future, instead of going fully digital.
The Stylus
Talking to tech-visionaries it seems like pen and paper are doomed. And COVID did not help. More and more work is done online, and digitally created notes are just easier to share than physical ones. The classrooms of today are already being taken over by iPads and other Tablet Computers, paper prices are rising and even signing Contracts can be done online now thanks to digital signatures. The Stylus as an input device has been through many iterations but by now the best implementation seems to be the Apple Pencil. So it and its imitators, even BiC has one, are ruling this future. The world is moving to touch based device interaction, who knows maybe both the pen and the keyboard are going to be a thing of the past soon.
The Brain Chip
How does interaction with a digital device look in the future? Is it really going to be a stylus? Currently the world is more infatuated with VR and AR and we are already past the need for any physical device at all. Since Microsoft Kinect came out in 2010 the dream of waving your hands in front of a screen to interact with it have become reality. From motion to eye trackers and even brainwave scanners, interaction with a computer does not require a button pressed or device moved anymore. Extrapolating this further, what if instead of a detector somewhere in our room it would be in our head? Interacting with whatever you see in front of you just by thinking. This chip is a representation of just that, a simple thing implanted into your brain, allowing you to use the digital devices of tomorrow. Let’s just hope the connection does not use Bluetooth.
The Matrix
What if you did not have connection issues, because you are part of the system? This given chip is supposed to be the part of the matrix saving the function “Pen”, probably 3D Modeled after a BiC Pen. No other physical pens would need to exist. As a part of the matrix you would not know you are a part of it anyways, so from our perspective nothing would change. However, the matrix does not care where it is located. It also would not need too much space probably and so nature could be left alone again and develop without us.
The Posthuman
Whether become part of the matrix, all out war or leaving for the galaxy. One way or another modern civilization is going to leave nature behind. However not without leaving behind our relics of modernity. One of these is going to be our beloved Pen. And given that there are billions out there, all kind of things could happen. Total destruction in a war scenario is as likely as vining plants using them as a means to construct their skeleton. While some of us will likely survive, most of us will not live to see this future.
Conclusion
While small in scale, an exercise like this can help to illustrate your personal believes as well as open yourself to other ideas. Day to day life is not told by big events but rather through small objects. Even with a Pen, it does not work alone. You need to think about the Paper, what is written, and who uses it. You have to create a story. How do these change in your personal envisioned future? What is the vision of someone selling a “Pen of the Future” today? Could all of these ideas maybe even exist at the same time?