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Devices for Hyper-Polluted Futures

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Devices for Hyper-Polluted Futures Devices for Hyper-Polluted Futures By Sean Harkin A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Masters of Design (MDes) in Digital Futures Toronto Media Arts Centre, April 12th - 14th Toronto, Ontario, Canada, April 2019 Sean Harkin 2019 This work is licenced under the Attribution-NonCommercial-ShareAlike 4.0 International (CC BY- NC-SA 4.0): https://creativecommons.org/licenses/by-nc-sa/4.0/ write to Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. Creative Commons Copyright This work is licensed under the Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0): https://creativecommons.org/licenses/by-nc-sa/4.0/ You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. • ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. • No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Notices: • You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation. • No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material. ii Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ iii Abstract This research explores what types of devices humanity might build in order to breathe ambient air in hyper-polluted futures. One such device is the PERA - Personal Ecosystem Respirator Apparatus: a backpack-style wearable which contains the user’s personal-ecosystem to provide them with clean air through a respirator mask. Using the approach of speculative design, the intention is to highlight the consequences of our actions and inactions on climate change and show a world in which we have failed to address the issues of air pollution and global warming. Following a hybrid methodology created from a mixed methods approach, the research was conducted through an iterative process. Throughout the research, there was an increasing focus on the symbiotic relationship between the user and their ecosystem, and how one protects and provides for the other. The result of the work is a speculative wearable device which relies on James Auger’s theory of perceptual bridges in order to help build a believable and relatable future for the viewer. Key words: Speculative Design, Air Pollution, Global Warming, Wearables iv Acknowledgements I would like to thank Nick Puckett and Kate Hartman; without their support and mentorship this would not have been possible. I would also like to thank OCADU and the rest of the talented Digital Futures faculty for teaching me how to make weird things and allowing me to do so. I must thank my family and friends for their continued love and support, regardless of where in the world we might be. A special mention to my parents and siblings, without whom I would not be the person I am today; and to Caitlin, who has been and continues to be the most loving and supportive partner anyone could ask for. v Table of Contents Creative Commons Copyright .................................................................................................... ii Author’s Declaration .................................................................................................................... iii Abstract .............................................................................................................................................. iv Acknowledgements ........................................................................................................................ v Table of Contents ............................................................................................................................ vi List of Figures .................................................................................................................................. ix 1. Introduction .................................................................................................................................. 1 1.1 About the Issue ...................................................................................................................... 1 1.2 About the Project .................................................................................................................. 3 1.3 Scope and Limitations ....................................................................................................... 4 1.4 Outcomes ................................................................................................................................. 6 2. Literature Review ....................................................................................................................... 9 2.1 Speculative & Critical Design ......................................................................................... 9 2.2 Differences of Speculative & Critical Design ......................................................... 11 2.3 Criticism of Speculative & Critical Design ............................................................. 12 2.4 The Anthropocene ............................................................................................................. 14 2.5 Speculative Design & The Anthropocene ................................................................ 17 2.6 Design for Wearability ................................................................................................... 19 3. Context Review .......................................................................................................................... 24 vi 3.1 Speculative Projects ......................................................................................................... 24 3.1.1 Anthony Dunne & Fiona Raby - Is This Your Future? ................................ 24 3.1.2 Jae Rhim Lee - Infinity Burial Project .............................................................. 25 3.1.3 Jun Kamei - Amphibio .............................................................................................. 27 3.1.4 Philips Design Probes - The Microbial Home ................................................ 28 3.1.5 Superflux - The Future Energy Lab .................................................................... 30 3.2 Design Solutions & Consumer Products .................................................................. 31 3.2.1 Plant Bag ....................................................................................................................... 32 3.2.2 Plume Labs - Flow ..................................................................................................... 33 3.3.3 WAIR ............................................................................................................................... 33 4. Methodology ............................................................................................................................... 36 4.1 Design Thinking ................................................................................................................. 36 4.2 Critical Design .................................................................................................................... 37 4.3 Speculative Design ........................................................................................................... 38 4.4 Critical Making .................................................................................................................. 38 4.5 A Critical Industrial Design Methodology ............................................................. 40 5. Prototypes ................................................................................................................................... 41 5.1 Pollution Pipe ...................................................................................................................... 41 5.2 Swamp Boxes ...................................................................................................................... 44 5.3 Concept Generation and Selection ............................................................................. 50 5.4 Respirator Mask ...............................................................................................................
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