Mirage Mir is a design fiction — the result of design practice aimed at exploring and criticising possible futures by creating speculative scenarios.
. . .
The result of looking at other/different ways the world could work — worse, better, mixed — and using that to help us push for new things.
One of the other/different ways (of looking how the world could work) might be hopepunk.
A subsect of speculative resistance depicts how that push requires kindness, compromise, teamwork, resilience, and—tired as we are—a lot more time.
So I preach about the significant stretching of the scale in which we accomplish goals and the rhizomatic, slow and playful living of life.
Thus, you can call and use Mirage Mir as a hopepunk design fiction artefact.
This artefact is motivated by the question of
How can we learn to think in more memorable ways and increase resilience to/towards the present world situation at the same time?
It presents a few diegetic prototypes* as answers:
- exploring the direction in which the most interesting and exciting enhancement or evolution of Learning & Personal Knowledge Management methods lies,
- how we could enhance tools for thought — such as Zettelkasten and other non-linear networks — by worldplay,
- how should a useful framework look like, a useful framework that one can use to understand what skills should one practice in order to gain meaningful skills,
- what a new HCI paradigm shall be, basically an UX topic:
“Once an image can be used to control what it represents, it too becomes technology: diagram plus computation equals interface.”
However, diegetic prototyping is just a good first step toward making things happen in the real world.
*Slate: So what is a design fiction?
Bruce Sterling: It’s the deliberate use of diegetic prototypes to suspend disbelief about change. That’s the best definition we’ve come up with. The important word there is diegetic. It means you’re thinking very seriously about potential objects and services and trying to get people to concentrate on those rather than entire worlds or political trends or geopolitical strategies. It’s not a kind of fiction. It’s a kind of design. It tells worlds rather than stories.