This edited collection highlights the valuable ontological and creative insights gathered from anticipation studies, which orients itself to the future in order to recreate the present. The gathered essays engage with many writers from speculative metaphysics to poetic philosophy, ancient writing systems to the fringes of pataphysics. The book situates itself as a creative intervention in and with various thinkers, designers, artists, scientists and poets to offer insight into ways of anticipating. It brings together philosophical practices for which creativity is (...) both a fundamental area of consideration and a mode of working, a characterization of recent Continental Philosophy which takes a departure from traditional futures studies thinking. This book will be of interest to scholars and research in futures studies, anticipation, philosophy, creative practice and theories about creative practice, as well as the intersections between philosophy, creativity and business. (shrink)

An overview of the issues and chapters in the book.

‘Beyond their instrumental functions,’ writes Rivka Oxman in an article about design, creativity and innovation, ‘advanced digital and computational environments are also becoming tools for thinking design’. At the leading edge of creativity and innovation design does not only speculate the plausible, possible or potential, but pragmatically inserts such futures into the present must). Using concepts mainly from Deleuze, Guattari, Spinoza and Simondon, I will position such design speculation as pragmatic, divergent, complex and emergent. That is, as manifesting the technical (...) mentalities that provide the milieu in which we can show what we ‘might be capable of’. (shrink)

Since Viktor Papanek, at least, the ethics of designing has been organised according to moral imperatives: be authentic not phony, take notice of needs not wants... and so on. The social innovation that drives its creative urge from design practices appears not to have strayed far from Papanek’s path. To rid itself of such reactive ideologies, and so to create other conditions for the possibility of its creativity, design-driven social innovation might do well not merely to pitch itself as a (...) morality articulated by, or in the thrall of, a transcendent authority, but maybe even to be occupied with different account of ethics altogether. This paper will seek to elucidate such a different ethics as an ethology along the lines Spinoza proposed and Deleuze championed. That is, it will therefore call for an affective designing that deals in the creation of modes of existence, from whose assemblages emerge other social and communal apparatuses. This paper is constructed of several sections – looking at assemblages, affects, modes of existence – each of which is its own moment in this call with its own value and agenda, but with points of collision with the others. This paper will conclude by gesturing towards the type of social/collective that might emerge from this discussion. (shrink)

This chapter investigates the ontologies of fragments of photography from a number of different, but colliding, perspectives. Beginning with the Romantic fragments of Lacoue-Labarthe and Nancy, Lucretius’s atoms and the worms of Marx and Vonnegut. This seemingly random array of thoughts and thinkers concretises a multiplicity as a direct expression of the concepts put into play. With different ontological amalgams emerging from the range of multiples to hand, it becomes important to take account of not only of the complexity of (...) creativity at work, but also the apparently accidental events that are developed here. To investigate these concepts, this chapter turns to the philosophies of Simondon, Whitehead and Malabou. The impact of this upon photography generated at the confluence of human and nonhuman actors is examined in two areas. First, in the deliberate disruption of a phone camera app’s software, as shown in Bonamy Devas’s ‘Photo Tai Chi’ project. Second, in the unintended disruption of Jinkyun Ahn’s photos of his family, which were only partially recovered after being accidentally deleted. In concluding, this chapter seeks not to offer final, well-delineated, ontologically complete creations and to wonder in which ways can we ensure that any act of creation doesn’t completely exhaust its possibilities in its manifestation: this chapter included. (shrink)

The ethics of designing has often been organised according to moral imperatives, and social design not only aligns with such moralities, but perpetuates them without providing a clear critique of the systems to which they adhere. To rid itself of such reactive ideologies, and so to create other conditions for the possibility of its creativity, social design might occupy itself with a different account of ethics altogether. This paper will seek to elucidate such a different ethics along the lines Baruch (...) Spinoza proposed and Gilles Deleuze championed. That is, it will therefore call for an affective designing that operates by creating ethical ontologies. This article will bring an affective, ethical, ontological design to bear on a social entity that emerges from the relations affectivity requires insofar as it is one that is designed. (shrink)

This paper will address some design concerns relating to philosopher Étienne Souriau’s work Les différents modes d’existence (2009). This has important bearings upon design because, first, this philosophical attitude thinks of designing not as an act of forming objects with identity and meaning, but rather as a process of delivering things that allow for a multiplicity of creative remodulation of our very existences. Secondly, Souriau unpicks the concept of a being existing as a unified identity and redefines existence as a (...) creative act of nonstop production of a variety of modes of existence. In doing this he not only moves ontological considerations to the fore of philosophical discussions away from epistemological ones, but does so in such a way as to align with attitudes to ethics that relate it to ontology – notably the work of Spinoza. (This places Souriau in a philosophical lineage that leads back, for example, to Nietzsche and Whitehead, and forward (from his era) to Deleuze and Guattari.) In thinking both ontology and ethics together, this paper will introduce a different approach to the ethics of design. (shrink)

This paper will examine how innovation should respond to intellectual traditions outside of its normal purview, in order to keep the creative engine of its activities vibrant. Drawing mainly from philosophy, but revolving around a single sentence from Arujun Appadurai’s ‘Disjuncture and Difference in the Global Cultural Economy’ – in which he asks refugees “not to let their imaginations rest too long” – this paper will argue for a theory and practice of innovation to be ‘restless’. A ‘restless’ innovation will (...) have a number of particular characteristics, and this paper will note especially those that relate to its space. Not simply because the refugee noted by Appadurai is determined as such by its relation to space, but also because innovation will be determined by the spaces it creates and by which it is created. A ‘restless innovation’ will therefore be one that is topologically complex and ontogenic. (shrink)

Since the end of the 1980s – the Decade of Style – the value of style in design has fallen. Recent times see a focus on style as a sign of design’s immaturity, while a more mature design should be attending to process, strategy and policy creation. Design Thinking has been enjoying its success in the same spirit, where it is championed as a way of taking design away from its early stage as ‘mere’ styling, towards the more thoughtful, serious (...) matters of business. The philosopher Gilles Deleuze is of a different mind however. ‘Style,’ he writes, ‘amounts to innovation.’ For us this engages not only a rethinking of design practice in particular, but also a reconsideration of the guiding principles of scenario planning. Deleuze’s thought entails the opportunity for styling to be an act that participates in driving all creativity towards making a successful future impact. A philosophical disruption of current design and scenarios orthodoxies offers a way of considering that style has a key role in the production of the future. Here, then, we will investigate the creative, even innovative, opportunities that emerge from a reworking of the value of style that comes from a critique of Design Thinking, a perspective on future-thinking, but also some work from organisation and management studies ), and an encounter with philosophy. We will highlight the affective capacities of style – in design and scenarios, both as creative constructing of futures – by way of creatively accessing uncertainty, complexity and indeterminacy in the production of strategic maps for living. (shrink)