Carpo’s future has us return to a tradition of orality and gesture, where these forms of communication will need no reduction or compression. Our machines will be able to record, notate, transmit, process and search them, making all earlier cultural technologies developed to handle these tasks (schools, libraries, written language itself) “equally unnecessary”. This will be neither advance nor regression. Evolution, remember, is maddeningly valueless.
Reviewing Mario Carpo’s The Second Digital Turn: Design beyond intelligence (MIT Press) for New Scientist, 22 November 2017
Above the exhibits in the first room of Hello, Robot, a large sign asks: “Have you ever met a robot?” Easy enough. But the questions keep on coming, and by the end of the exhibition, we’re definitely not in Kansas any more: “Do you believe in the death and rebirth of things?”; “Do you want to become better than nature intended?”
Visiting a stand-out touring exhibition for New Scientist, 6 June 2017
Science fiction enters clad in the motley of costume drama: polished, chromed, complete, not infrequently camp. But there’s always a twist, a tear, a weak seam. This genre takes finery from the prop shop and turns it into something vital – a god, a golem, a puzzle, a prison. In science fiction, it matters where you are and how you dress, what you walk on and even what you breathe. All this stuff is contingent, you see. It slips about. It bites.
To introduce a New Scientist speaking event at London’s Barbican centre on 29 June, I took a moment to wonder why the present looks so futuristic.
We imagine things before we make them, from spacecraft to smartphones – and designers often turn artists’ imaginings of the future into our everyday reality. So who’s in charge?
At least, I will be on 29 June when I herd Matt Smith (editor of 2000 AD) spaceflight expert Piers Bizony and architect Liam Young into London’s Barbican Centre for a session called The Dreamer’s Club. Fun and games begin at 7.30pm. Details and tickets here.
Howard Sochurek/The LIFE Premium Collection/Getty Images
Buckminster Fuller’s “comprehensive anticipatory design scientists” are ten-a-penny these days. Until last year, they were being churned out like sausages by the design interactions department at the Royal College of Art, London. Futurological events dominate the agendas of venues across New York, from the Institute for Public Knowledge to the International Center of Photography. “Science Galleries”, too, are popping up like mushrooms after a spring rain, from London to Bangalore.
for New Scientist, 11 June 2016.
PITCHAfrica’s Waterbank Campus, a 10-acre school site in Laikipia, Kenya
In friendly competition with Percy Bysshe Shelley, the poet Horace Smith once wrote a poem entitled Ozymandias. Shelley’s version is the one we remember, but Smith’s is compelling for another reason. He imagines a hunter traipsing through the ruins of a future London. Lighting upon a fragment of a monument, he “stops to guess/What powerful but unrecorded race/Once dwelt in that annihilated place”.
For New Scientist, 18 April 2015: a review of the 2015 Designs of the Year competition.
The other day I went along to London’s Design Museum to catch the opening of United Micro Kingdoms (UMK): A Design Fiction. The exhibition, conceived and curated by design studio Dunne & Raby, uses elements of industrial design, architecture, politics and science to explore the future of design. Anthony Dunne talked to me about his four fictional kingdoms, his love of science fiction, and the value of dystopic thinking.
United Micro Kingdoms runs until 26 August 2013 at the Design Museum, Shad Thames, London SE1 2YD.