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Here is the amazingly rich, detailed and resource heavy presentation by designer Tobias Revell. A graduate of the Design Interactions program at RCA, Revell charts a survey of pre-cursors and significant features of Critical Design as well as myriad components of Design Fiction from corporate to speculative futures thinking, including:Diegetic Prototypes, Future Mundane, Agents of Fear, Materials, Synthetics -- each section filled with insight and contextual links! Highly recommended primer! Tobias Revell. Critical Design/Design Fiction Lecture Finally Written Up. (Looooong) Published December 2013. Accessed March 8, 2014. http://blog.tobiasrevell.com/2013/12/critical-design-design-fiction-lecture.html

This short essay by Julian Bleeker talks about exactly what is insinuated in the title design, science, fact, and fiction, and how all of these components come together in order to form what we know as design fiction. This short essay is not very short but there are a lot of interesting points and picture about how and why design fiction functions. Bleeker, Julian. Design Fiction: A Short Essay on Design, Science, Fact, and Fiction. http://drbfw5wfjlxon.cloudfront.net/writing/DesignFiction_WebEdition.pdf (accessed March 20, 2014).

A micro-manifesto from Dunne&Raby, addressing historical predecessors to Critical Design, similar lines of inquiry, uses and abuses of this way of approaching design, too. Much of this FAQ text seems to have been elaborated on in their recent book, Speculative Everything. This is a fairly quick read that provides a fairly concise summary of the use of "speculative design proposals to challenge narrow assumptions, preconceptions and givens about the role products play in everyday life." (Dunne&Raby) Anthony Dunne and Fiona Raby. Critical Design FAQs. Published 2011. Accessed March 7, 2014. www.dunneandraby.co.uk/content/bydandr/13/0

Apple.com, 1996-2014

The design layout of the page is cosmetically very different from contemporary design practices. The use of color and typography isn't precise or functional in the way that it would speak to the brand's ideology of today's Apple. The landing page is more of a "news" page with hyperlinks to stories of Apple's news. The site is no doubt limited by the web's capabilities but is also a very straight forward, engineered approach; an extension of the culture of Apple at the time; a company of engineers, inventors, and tinkerers, rather than artists and designers. Much more emphasis was placed on the function of the website, rather than the form. By comparison the news section still exists on the landing page, only it has been relegated to a 6pt size link on the bottom right of the landing page. Apple now features products on the landing page, rather than news about events. Although, I do know the keynote speeches are featured on the landing page once a year. From 1996, up until the 1998, the layout was a menu of links on the left side of the page, a cluttered and unfocused aesthetic. In 1998 the iMac is first introduced along with an entirely clean aesthetic throughout the website. Only the necessary information is readily available; shifting the viewer's focus to the product, rather than the company itself. In the year 2000, the top-centered navigation bar is introduced, an design decision still used today on the Apple website. The aesthetic itself is relying heavily on skeuomorphism, with harsh drop shadows and faux buttons abound. Unfortunately, most of the links do not work, limiting me to a view of the landing page throughout time. Interestingly, most of the design layouts remain similar to the established aesthetic in the early 2000's, up until 2013 when Apple began to move away from skeuomorphic design and into a flattened out, more streamlined appearance.

Thanks for these observations on the development and dramatic shifts in the late 90s arrival of the 'clean' or seamless Apple look. Tucking away the old culture of the company, as you say--- the long-haired homebrew computer hacking gets a haircut! Thanks also for comments on the 'skeuomorphic' --- a tie in with processes of remediation.

An interesting case of design fiction where they have actually programmed a washer to be connected to a smartphone through the cloud so that you may control changes from you phone as well as receive notifications. What they have done which I find interesting is that they have made this video as a way to "start a conversation" about this instance of design fiction. Unlike some design fiction they are not claiming to know what the future will look like or pretend like they have already created the product and worked out all of the bugs. Their approach to design fiction is very simplistic and honest. ""Cloudwash is a prototype connected washing machine. We prototype products at Berg to help us understand how our platform should work, and to encourage better design in connected things…" BERG, "Berg Case Studies/ Cloudwash." Accessed March 20, 2014. http://bergcloud.com/case-studies/cloudwash/.

Design Fiction by Portland based designer Laura Allcorn. Here, as part of an exhibit called Human+, she explains her Human Pollination Project, a miniature tool set constructed to facilitate pollination tasks in anticipation of colony collapse of honey bees. The combination of meticulous craft, background research and an implied preposterous scale of the task in question position this work in the realm of critical design, opening up new questions alongside possible answers. Laura Allcorn. Human Pollination Project. Human+, Science Gallery Published April 2011. Accessed March 8, 2014 https://dublin.sciencegallery.com/humanplus/human-pollination-project/

On October 24, 2013 Julian Bleecker, James Bridle, Nick Foster, Cliff Kuang and Scott Patterson participated in a round table discussion during Near Future Laboratory's event, "Design & Fiction". In this link, there is the full video of their discussion (lasting about and hour and a half) as well as a synopsis and several key points from the discussion put together by the host site, core77.com. Each participant in the discussion brings up really interesting ideas and it is nice to have the option to watch or listen to the discussion in full, or just get a brief overview through the written synopsis. Ray, . "Near Future Laboratory Presents Design & Fiction (A Near-Past Event Recap)." Core77 (blog), February 21, 2014. http://www.core77.com/blog/strategy_research/near_future_laboratory_presents_design_fiction_a_near-past_event_recap_26484.asp (accessed March 12, 2014).

Thanks! This is indeed a great resource, concise and legible overview of core concepts from some of the key figures involved with this mode of design. The section with James Bridle provides strong echoes and parallels with Sterling's concept of "Spimes," too!

Scenario planner, strategist and policy advisor Dr. Noah Radford gives us an excerpt from his book, "The Future of Futures", which explores the role of design fiction, it's future and several great examples of design fiction. You can read the second chapter of his book, download a PDF of it, buy the ebook for about $10 and there is also a link at the bottom of the page to read a synopsis of his entire book. There are also links to other, related articles at the bottom of the page. The examples of design fiction that he uses are really interesting. For example, he talks about the short film, "Fly Me to the Moon", which deals with the ideas of electronic payment and the way we will interact with money in the future. Noah , Radford. "Fiction to Experiential Futures." Noah Radford (blog), September 12, 2012. http://noahraford.com/?p=1625 (accessed March 12, 2014).

Bruce Sterling providing a summary of Design Fiction. What it's about, some key figures who have developed the practice and examples of works that fall into this mode of design. Spends time discussing the background theories of 'diegetic prototypes' and drawing parallels with corporate 'vaporware' and military R+D promos. A short introduction to Design Fiction, a starting point. I'd recommend coupling this one with more in-depth articles and examples to build a thorough understanding. Bruce Sterling. "Patently untrue: fleshy defibrillators and synchronised baseball are changing the future" Wired UK: Culture. Posted October 11, 2013. Accessed March 8, 2014. http://www.wired.co.uk/magazine/archive/2013/10/play/patently-untrue

This is a project that could be categorized as design fiction. The artist/architect Mark Shepard explores the possible ways in which the proliferation of 'sentient cities', urban environments equipped with many, many networked sensing devices, might jeopardize privacy and increase unsolicited data collection. He does this using the affordances of fiction, designing and building functional prototypes for an imagined 'near-future' context. This sort of 'critical making' is a strong supplement to traditional modes of scholarship which Shepard also pursues. Mark Shepard "Sentient City Survival Kit" 2010 http://www.survival.sentientcity.net/info.html Accessed January 25, 2014

This piece of design fiction by Cisco called "The Internet of Everything" is probably closer to a sci-fi movie than design fiction but I found it interesting to contrast with the BERG Cloudwash prototype that I posted. Its pretty ridiculous, but it would also be cool if some of these things became realities. Just watch it and you'll see. "The Internet of Everything." Cisco 2014. Web, https://www.youtube.com/watch?v=Kt5VulFqBm4.

This piece of Design Fiction is imagined to exist in a world where products are developed to the point where they almost have lives themselves. When thinking in terms of Spime, "Brad the Toaster" is a product that plays into the idea of discontinuing the process where products of today's consumer culture are built, and then soon become obsolete due to new technologies arising. Brad and his fellow Sprimes might be the answer to all environmental sustainability problems. Sprimes would be sent out into the world, their every move being trached. Every interaction that they have with people will be tracked, and stored in a database, ready to be accessed by developers. If these developers can study these interactions, what does work with a product, and what doesn't, then their Brad 2.0's can be the best possible product, without having to create a series of upgraded products, only to be obsolete when a new need is discovered. Vanhemert, Kyle. "A Toaster That Begs You to Use It: Welcome to the Bizarro Smart Home." Wired. March 14, 2014 http://www.wired.com/design/2014/03/addicted-products/

Thanks, this intersects with a number of rich topics within realm of New Media and, as you note, spimes in particular! There's also a funny variant here of anthropomorphized machines and notions of sentience. The video for Brad the Toaster is another compelling example of a diegetic prototype

Comparing the site in 2007 to the way the site is now in 2014, it definitely looks dated and like it is still in the process of being developed. The thing that sticks out as looking the most dated and out of place is the "ways to shop" menu on the left side column that features large and stylistically ill fitting icons with their category names. In comparison to the current version of Etsy that is designed and branded with aesthetics in mind, the basic homepage layout and awkward use of color and icons make it appear bare and the lack of style or design suggest the brand was still new and had yet to develop a distinctive style.

Yes, I see what you mean ---the old site seems a product of the Web 2.0 craze, a rather non-descript template, while the icons , older still, whiffs of geocities sites even! It's interesting to see the development of Etsy's brand as well as to speculate on what other factors were at play. Emerging in mid 00s, it might be fun to trace out other 'genres' of Web 2.0 that bear influence on Etsy's aesthetic genealogy---online auctions? social networks?

I started my media archeological dig in hopes of finding out when the icons of social media sites (tumblr, facebook, etc) started appearing on websites of official news sites. I chose Salon.com somewhat arbitrarily. Surprisingly, I discovered that salon.com was not always the property of today's news and entertainment magazine. As it turned out, the URL originally belonged to "Salon dot Com a Cyber Community," a hub of salon and beauty professionals, and was established as such in 1997. The oldness of this site is prominently paraded in the design --- brightly and variously colored text against a black background, words underlined to denote hyperlinks, lines of text centered to (presumably) maintain order-- while avoiding the headache of working with framesets and tables in web design of this era. No images. There is a broken link up top, a 'counter', based on surrounding information. The use of the term "cyber" to characterize this community is another bit of faded jargon linking the site to the 1990s. During that decade, the 'cyber' prefix was affixed to many people, places and things to signal 'new media' status. Some versions of this site also link to an "E-Zine," another trope of remediation, aimed at association with 'e-mail', most likely. It seems that some point in early 1999, salon.com shifted to the Salon Media Group, and the early versions of the web magazine that persists to this day appeared (tables and css in effect!)

Powell's website has gone through a number of changes over the years, one of the most noticed changes is that their icon, remaining in the upper-left corner, has changed multiple times since 1998. The date of the website I posted is from 2000, and I think it fits the time of the technology available. This site does look "old", which is why I think all of these sites have been entertaining to revisit. It's set up in a fairly simple construct, there is nothing flashy or attention-grabbing about the text font. There's a strip of colored tabs at the top of the screen that I feel like I've seen many times before, like on a library or a middle school website. Websites now seem to have more engaging elements whether is motion graphics, or the design is just more complicated and intriguing. This site is pretty text heavy; there are minimal graphics so it just looks like a wall of black text, there isn't a lot that is keeping me interested. Images are small and don't offer visual representation of the store. The text is all in slightly different sized Times New Roman, even in the links or the pages as I'm navigating around the site. I haven't found any sound or multimedia. Toward the bottom of the page there is an option for "free stuff" for either a mac or a pc. The Powell's Bookstore name and icon remain in the same place on the site.

This is an intriguing site for its connection locally to Portland and I think also of the struggles of so many "brick-and-mortar" bookstores in face of online bookselling. More particular as a case study for media archeology, the lackluster design elements of this artifact, as you point out, a (constrained) aesthetic familiar to many early websites --- the 'bells and whistles' arrving via text centric gimmicks--- contests and 'free stuff', rather than visual appeals.

This animated video by designer Melih Bilgil provides a concise, relatively easy to understand motion graphic animation about the Internet's infrastructure. Key technological inventions are detailed with a series of highly legible icons that Bilgil developed while studying Communication Design. Faced with inherently technical and sometimes challenging descriptions of various networking protocols and systems, this narrated visualization is an effective supplement to the histories relayed in the Cybernetic Counterculture texts. Melih Bilgil. "History of the Internet" Vimeo posted 2009. https://vimeo.com/2696386 Accessed February 11, 2014

https://www.youtube.com/watch?v=T2GRAVpbDds Somewhat related

"When I was learning how to write in grade school, I noticed that all my teachers wrote with near-identical handwriting on the chalkboard...I realized that we were being taught to write in a specific font." The statement here is from series by contemporary artist Jesse England. This is not net.art, but an interesting variant on "remediation," or a perverse post-digital gesture pointing to non-obvious connections between new and old modes of communication design. England, Jesse. "Learn to write in Different Fonts: Jesse England" Accessed February 14, 2014. http://jesseengland.net/index.php?/project/learn-to-write-in-different-fonts/

Wired article debunking Amazon's Prime Air marketing ploy. Behind the seamless and seductively realistic design fiction video, numerous questions from fuel costs to air traffic congestion, unidentifed flying accidents, airspace regulation and so on hover on the periphery of this otherwise alluring prospect. Include a link to the actual video from Amazon. Watch it again after contemplating the externalities, or hidden costs, of such a seemingly seamless operation. It's little wonder what such high definition, cinematic realism affords Amazon. An intensification of scrutiny is needed from the viewer, a critical media viewing, to short-circuit blind faith in the realities promised in such depictions of the future Marcus Wohlsen. "Even if the Feds Let Them Fly, Amazon's Delivery Drones Are Still Nonsense" Wired: Business. Posted December 2, 2013. Accessed March 8, 2014. http://www.wired.com/business/2013/12/amazon-drone/

Here's a great essay by Carrie Lambert-Beatty on Parafiction. She discusses the "Nikeplatz" work we saw in class along with several other works by various artists. Parafictional endeavors negotiate context collapse as strategic asset for opening up dialogue and debate. As noted in class, this particular genre of contemporary art has many similar goals and intentions as Critical Design. Carrie Lambert-Beatty "Make-Believe: Parafiction and Plausibility" October 2009 129, 51-84

The Circle by David Eggers is an interesting take on social networks and the possibility of a future dystopia cyber landscape. It is about a young woman who starts working at a facebook/google like company called The Circle and looses her private life her job. This novel is similar to design fiction in presenting what could possibly happen in the future, but in this case it is a negative view. If you are interested in context collapse, social media, communication and interaction this book is really interesting. I have linked to a 45 minute audio recording in which David Eggers reads a excerpt from his book. Here is a better summary of the entire story if you like the exerpt: "When Mae Holland is hired to work for the Circle, the world's most powerful internet company, she feels she's been given the opportunity of a lifetime. The Circle, run out of a sprawling California campus, links users' personal emails, social media, banking, and purchasing with their universal operating system, resulting in one online identity and a new age of civility and transparency. As Mae tours the open-plan office spaces, the towering glass dining facilities, the cozy dorms for those who spend nights at work, she is thrilled with the company's modernity and activity. There are parties that last through the night, there are famous musicians playing on the lawn, there are athletic activities and clubs and brunches, and even an aquarium of rare fish retrieved from the Marianas Trench by the CEO. Mae can't believe her luck, her great fortune to work for the most influential company in the world-even as life beyond the campus grows distant, even as a strange encounter with a colleague leaves her shaken, even as her role at the Circle becomes increasingly public. What begins as the captivating story of one woman's ambition and idealism soon becomes a heart-racing novel of suspense, raising questions about memory, history, privacy, democracy, and the limits of human knowledge" E

Eggars, David. The Circle. Knopf, 2013.