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<h2>Speculative design: crafting the speculation</h2>
<p>The word 'speculative' suggests a direct correlation between 'here and now' and existence of the design concept. However, this term - speculative- has several problems.</p>
<ol>
<li>a strong leaning towards conjecture.</li>
<li>close relationship between speculation and the future.</li>
</ol>
<blockquote>speculation is for 2 purposescontemplation on the technological future<br>
provide a system for analysing, critiquiing and re-thinking contemporary technology.</blockquote>
<p>In order to manage these problems, 'perceptual-bridge' (a bridge to exist between the auddience's perceptions of their world and the fictional element of the concept.) is needed.Several techniques of perceptual-bridge</p>
<ol>
<li>Ecological approach</li>
</ol>
<ul>
<li>The designer must consider the environment and context in which speculative future products or services would exist.</li>
<li>Compatibbility with the domestic habitat</li>
</ul>
<ol>
<li>Desirable discomfort (uncanny)</li>
</ol>
<ul>
<li>provacative whilst at the same time familiar</li>
<li>This is a complex and difficult reaction to manage but when achieved responses to the design concept tend to be both meaningful and strong.</li>
</ul>
<ol>
<li>Versimilitude</li>
</ol>
<ul>
<li>blending of truth and reality</li>
<li>There is no intention to bring the product to market, so even critical responses are equally valuable as positive article.</li>
</ul>
<ol>
<li>Rooting the speculation in the familiar</li>
</ol>
<ul>
<li>By utilizing the mundane, the familiar and small, unnoticed details the designer can provide spectacular proposals with a tangible link to our contemporary sensibilities and understaning.</li>
</ul>
<ol>
<li>alternative presents</li>
</ol>
<ul>
<li>it always display an inherit oddness that can be difficult to present. But it is necessary for the audience to see beyond its conceptual oddness and understand the logic behind it.</li>
<li>ex. historiograpical method (choosing specific events that shaped the course of today's technological products and re-imagining them, it is possibble to create a very poignant alternative present.)</li>
</ul>
<ol>
<li>Domesticating technology</li>
</ol>
<p><strong>The key benefit of this approach is the removal of the commerciial constraints that normally direct the creative process. This decoupling allows for the goals to be based on questions and discourse rather than market-led agendas.</strong></p>
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