Home > Research > Publications & Outputs > Design fiction

Electronic data

  • DRS2016 Deception Paper Final

    Final published version, 7 MB, PDF-document

    Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License

Links

Text available via DOI:

View graph of relations

Design fiction: does the search for plausibility lead to deception?

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNConference contribution

Published
Publication date23/05/2016
Host publicationProceedings of Design Research Society Conference 2016
EditorsPeter Lloyd, Erik Bohemia
PublisherDesign Research Society
Pages369-384
Number of pages16
Original languageEnglish
EventDRS 2016 : Future Focused Thinking - Brighton, United Kingdom
Duration: 27/06/201630/06/2016

Conference

ConferenceDRS 2016 : Future Focused Thinking
CountryUnited Kingdom
CityBrighton
Period27/06/1630/06/16

Publication series

NameProceedings of DRS 2016
Volume1
ISSN (Print)2398-3132

Conference

ConferenceDRS 2016 : Future Focused Thinking
CountryUnited Kingdom
CityBrighton
Period27/06/1630/06/16

Abstract

Since its inception the term ‘design fiction’ has generated considerable interest as a future-focused method of research through design whose aim is to suspend disbelief about change by depicting prototypes inside diegeses, or ‘story worlds’. Plausibility is one of the key qualities often associated with suspension of disbelief, a quality encoded within the artefacts created as design fictions. In this paper we consider whether by crafting this plausibility, works of design fiction are inherently, or can become, deceptive. The notion of deception is potentially problematic for academic researchers who are bound by the research code of ethics at their particular institution and thus it is important to understand how plausibility and deception interact so as to understand any problems associated with using design fiction as a research method. We consider the plausibility of design fictions, looking at examples that are (1) obviously design fiction, (2) identified as design fiction, and (3) whose status is either ambiguous or concealed. We then explore the challenges involved in crafting plausibility by describing our experience of world- building for a design fiction that explores the notion of empathic communications in a digital world. Our conclusions indicate that the form a design fiction takes, and pre- existing familiarity with that form, is a key determinant for whether an audience mistake it for reality and are deceived. Furthermore we suggest that designers may become minded to deliberately employ deceitful strategies in order help their design fiction reach a larger audience.