Design has sought to rest its diegetic laurels on the bedrock of film, well, more rather, embed them into of film production.
Whilst reading Kirby’s work, I found myself (continuously) sighing in relief. Finally, the language of film has been found in conversation with the intentions of design. More than that, someone has compiled, published, and distributed a convincing testament to the historical role of film to advance design and thus shape culture.
Why? Well, I felt it all harkened back to DnR’s claim about Speculative & Critical Design:
“We need to design implications, not applications.”
What does film do well? just that.
What else does film do? touch culture. Why? Because we have grown up with quite the appetite for creative consumption (thanks Netflix), with high-resolution expectations (thanks Vimeo) and short-attention spans (thanks Vine).
So, all you Speculative & Critical Designers, forego your neat little mobile device wireframes, discard your colorful service blueprints and delete your poorly rendered video-sketches—-it’s time to make films. Amen.
At the heart of this declaration exist several claims and terms drawn from the reading that I found of particular relevance:
First, that film can establish a designed object’s “necessity”, “normalcy”, and “viability” through a constructed narrative.
Second, the noteworthy attribute of the filmic medium is it’s “combination of a visual rhetoric along with [the] narrative integration”.
Third, that film can provoke good discussion and creative thinking.
“performative artefacts’: prototypes that establish in the social realm the viability and possibilities of a nascent technology
“speculative scenarios”: highly implausible and impractical situations and technologies that film-makers and science consultants
“diegetic prototypes”: that have a vested interest in conveying to audiences that these fictional technologies can and should exist in the real world.
‘Perfection’: a mistake made with most cinematic depictions of technology, because it is portrayal that does not mesh with most audience’s experiences.
David Kirby’s The Future is Now: Diegetic Prototyping and the Role of Popular Films in Generating Real-world Technological Development
Bergman, Lund, Dubberly, Tognazzini, Intille’s Video Visions of the Future: A Critical Review