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Encinas, Enrique (2018) the Offject. a Design Theory of Fiction Citation: Encinas, Enrique (2018) The Offject. A Design Theory of Fiction. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/39978/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html THE OFFJECT. A DESIGN THEORY OF FICTION E ENCINAS PhD 2018 2 THE OFFJECT. A DESIGN THEORY OF FICTION ENRIQUE ENCINAS A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences October 2018 3 4 Abstract More and more design researchers and practitioners are expected to design objects that deal not only with the actual but with the imaginary too. Many of them see their practice developing in a reality where alternative facts and fake news complicate any attempts at rationalization. This dissertation attempts to provide a new way of making sense of the real and fictional character of the objects that designers make. My research question is “What makes design objects real or fictional?” and the research contribution is a design theory of fiction. This research contribution focuses on design researchers and design practitioners. People entangled with the practice of designing. It is structured in three parts: Part I is called Methodology. It is composed of two chapters. Chapter 1, Path, first develops the ethos that grounds this research endeavor. A description of the rationale and research questions of this research program follows. Then, I proceed to review the methods that have informed my research process and give an account on what a design theory is as opposed to a theory of design. Finally, I argue for the need to deploy a metaphysical workshop where ideas can be built and tested before venturing into theorizing. I call the metaphysical workshop Milieu and, in Chapter 2, I proceed to give a comprehensive description of it Part II is called Insight. There is only one chapter in this part and it is called Object. In this chapter I explore and critically analyze all the design objects that I have produced or been part of producing for the last three years. It is structured according to what I have called ‘metaphysical probes’: research efforts trying to understand what makes design objects real or fictional. Each metaphysical probe is structured by a design event that lead to a final design object. After explaining what each metaphysical probe examines, the design event that served as its vehicle and the final design object that resulted, I reflect on the insights gained. Part III is called Theory. This is where I develop a design theory of fiction by applying the conceptual tools from Part I to the insights from Part II. There are two chapters in this part. Transitional is the name of Chapter 4 and it is where I develop a set of intermediary concepts that will help me in making a number of arguments in Chapter 5. They are three design theoretical concepts: a principle (Ontoference), an operation (Deswing) and a design object (Offject). In Chapter 5, Induction, I mobilize these transitionals to give an account on real and fictional objects, their interactions, their effects and their influence on each other. Also, I provide a genealogy of the design object of speculation as it has been commonly understood in design. Finally, I rely on my design theory to position myself within three debates that designers dealing with speculative objects normally face: on design objects as props, on make-believe and on fictional worlds. 5 6 Table of Contents Abstract 5 Acknowledgements 13 Declaration 15 Publication List 17 Preamble 19 In the present. About the future. 19 Introduction 21 Part I: Methodology 27 Chapter 1: Path 31 1. Design Research 33 1.1.1. The Chance of a Domain and its Research Price 34 1.1.2 Why Design Research? 35 1.2. Design Methods 38 1.2.1. Make and Design 39 1.2.1.1. Sketching 39 1.2.1.2. Prototyping 40 1.2.1.3. Speculative Design 40 1.2.1.4. Actual Design 43 1.2.2. Engage and Involve 43 1.2.3. Publish and Review 44 1.2.4. On Methods Found and Made 45 1.3. Design Theory 46 1.3.1. Why Redström and Why a Design Theory 47 1.3.1.1. Theory of Design VS Design Theory of Something 48 7 1.3.2. Intermediaries 50 1.3.2.1. Definition of “Intermediaries” 50 1.3.2.2. Failed intermediaries 51 1.3.3. The Missing Thing 53 1.4. Design Milieu 53 1.4.1. Worldview 55 1.4.1.1. Why ‘Worldview’ is not Enough 56 1.4.2 The `Metaphysical workshop´ or `Milieu´ 57 Chapter 2: Milieu 61 2.1. Why a Milieu 62 2.2. Why this Milieu 63 2.2.1. Ontologies of Substance 65 2.2.2. Ontologies of Transience 66 2.3. Thingly Ontology 69 2.3.1. Thingly Ontology as a Response 71 2.3.2. Thingly Ontology in Context 74 2.3.2.1 OOO in HCI 76 2.4. Seeing Double: Being and Comprehending 78 2.4.1. A Thing is a Difference 81 2.5. Seeing Double: Formally and Objectively 84 2.5.1. Seeing Formally: Entities as Things in the World 85 2.5.2. Seeing objectively: entities as objects in the universe 88 2.5.3. Example: Human Rights 90 2.5.4. Mixing up Things and Objects 92 2.6. Intensity and Extension 93 2.6.1. Events, time and the future 93 Part II: Insight 105 8 Chapter 3: Object 109 Limits as Metaphysical Probes 110 3.1. Metaphysical probe #1: Existence 114 3.1.1. Design Event: Diegesis Through Design 116 3.1.2. Final Design Object: Poetic Dreamcatcher 123 Diegesis Through Use 127 3.1.3. Insight: On the Existence of Fictions 128 3.2. Metaphysical probe #2: Effect 129 3.2.1. Design Event: The Problem with Problems 131 3.2.2. Final Design Object: #LiftBlr 132 3.2.2.1. Theme 1: Tips and Advice 133 3.2.2.2. Theme 2: Resistance and Activism 134 3.2.2.3. Theme 3: Storytelling and Community 135 3.2.2.4. Imaginary Abstracts 137 3.2.2.4.1. Design Against Crime 137 3.2.2.4.2. Critical Design 138 3.2.2.4.3. Value Sensitive Design 138 3.2.3. Insight: On the Effect of Fictional Objects 140 3.3. Metaphysical probes based on Design Briefs 141 3.3.1. Metaphysical probe #3: Irony 142 3.3.1.1. Design Event: The ways of Irony 143 3.3.1.2. Final Design Object: Soylent Cultery 145 3.3.1.3. Insight: On the Irony of Real Objects 147 3.3.2. Metaphysical probe #4: Identity 148 3.3.2.1. Design Event: //nor.sc 149 3.3.2.2. Insight: On the Identity of Real Objects 152 3.3.3. Metaphysical probe #5: Recognition 153 3.3.3.1. Design Event: Pneubilia 153 3.3.3.2. Insight: On the Recognition of Real Objects 156 3.4. Metaphysical probe #6: Plausibility 158 3.4.1. Design Event: Valdis 160 9 3.4.2. Final Design Object: Bookonon 163 3.4.3. Insight: On the Plausibility of Fictional Objects 169 3.5. Metaphysical probe #7: Functionality 172 3.5.1. Design Event: Newton Machine 176 3.5.2. Final Design Object: Verp 178 3.5.3. Insight: On the functioning of Fictional Objects 184 3.6. Metaphysical probe #8: Future 187 3.6.1. Design Event: #Blockchain4EU 189 3.6.2. Final Design Object: Lightown 192 3.6.3. Insight: On the Future of Objects 199 Part 3: Theory 203 Chapter 4: Transitional 209 4.1. Transitional #1: 210 Ontological Principle :: Ontoference 210 4.1.1. An object is difference. An object is interference. 211 4.1.2. Example: Alphonse Laurencic Psychotechnic torture jail cells 213 4.1.3. Farewell to essence 215 4.2. Transitional #2 :: 218 Epistemic Operation :: Deswing 218 4.2.1. Deswing is the oscillation between ontological understandings 219 4.2.2. Linear Deswing 220 4.2.3. Metaphorical Deswing 222 4.2.4. Deswinging produces an ontological debri 225 4.3. Transitional #3 :: 227 Design Object :: Offject 227 4.3.1. To Deswing between real and fictional 228 10 Chapter 5: Induction 235 5.1. On the Mechanisms of Reality 237 5.2. A Genealogy of the Offject 243 5.2.1. Object of the Universe :: Object 243 5.2.2. Object of an Epistemic Domain :: Design Object 243 5.2.3. Object of Speculation :: Offject 247 5.3. Critique & Consensus 252 5.3.1. On Design Objects as Props 252 5.3.2. On the (dis)Belief of Fictional Objects 254 5.3.3.
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