dutchscifi:

(via Dit is overgebleven van het ooit zo revolutionaire Huis van de Toekomst [RONDLEIDING] - Omroep Brabant)

pangeen:

“ Literarily, a “Treehouse” “ // Benedikt Eroness

70sscifiart:

Ken Reid’s “World Wide Weirdies” magazine cartoons, c. 1970s

publicdomainreview:

Gerard K O'Neill design from the 1970s for a space station colony — 2 cylinders rotate in opposite directions to provide artificial gravity and keep the station aimed at the sun. A similar colony appears at the end of Interstellar (2014). More here: https://publicdomainreview.org/collection/space-colony-art-from-the-1970s

(via (6) Post | LinkedIn) Zitten we met de Chrononauten misschien rechtsboven in Giorgio Orsucci’s diagram van de verschillende toekomstdisciplines?

Hieronder zijn eigen toelichting (via Linkedin)

Design helps craft products and services, sleek new buildings, smooth digital experiences, hip brands. Design-led companies are proven to outperform their peers. Design agencies, creative studios, and brand consultancies count in the millions.

“Design Thinking” has further expanded the role of Design to the business world, unlocking a wave of design-savvy, human-centred innovation.

Design is now growing as a tool to craft Systems and Futures too: design, broadly speaking, is being used to manage complexities (e.g. to design new transportation systems), create positive incentive systems (e.g. through policy design), or ideate whole new systems to ultimately improve human life (e.g. economic paradigms, urban design, sustainable transition).

However, there are many “walls” that hinder the use of design methodologies in systemic and future-studies domains — for example:

1. “Coordination Wall” — Designing future systems requires coordination among multiple stakeholders, both from the private and public sectors, and it involves an exceptional level of complexity. Easier for a national railway to innovate, than for a country to lead mobility innovation across all mobility solutions, for both passengers and freight, with present and future technologies, societal trends, and cascading effects in mind.

2. “Future Wall” — Long-term plans are hard to sell, particularly within time-constrained democratic systems or shareholders, bounded by limited long-term incentives, and proving their impact can be difficult.

The combo of both walls is a deadly mix for visionary, long-term, societal innovation projects. As a result, design is often seen as a cosmetic layer to spread on products and services, rather than a fundamental component of systemic paradigms and long-term incentive systems.

And yet, with higher global complexities and interconnectedness, is systemic long-term design becoming increasingly important? If yes, how to “breach” these walls?

myjetpack:

My cartoon for the latest issue of New Scientist.

Fact follow fiction, for better or worse. 

steampunktendencies:

Interesting…
Garden boat by planeteus.585

(via De cultuurdomeinen van orde, nut en behoren | de Chrononauten)

Homo Nobilis / Middeleeuwen
Alchohol geeft overmoedigheid (Glorie)

Homo Economicus / Moderniteit
Caffeïne geeft focus en concentratie (Nut)

Homo Romanticus / Gewortelde Tijd
Psychedelics geven zin/betekenisgeving (Beroering)

In Caffeine: How coffee and tea created the modern world, Pollan calls caffeine “the most-used drug in the world”—one we give our children in the form of soda and consume ourselves in multiple daily doses of tea or coffee. Caffeine, it turns out, has changed the course of human history: Pollan’s reporting explores how caffeine has won and lost wars, changed politics, and dominated economies. He asserts, with the support of voluminous research, that the Industrial Revolution would have been impossible without it. The science behind caffeine addiction forms the fascinating backdrop to this definitive look at an insidious drug that hides in plain sight. With his wide-ranging talent to entertain, inform, and perform, Michael Pollan’s Caffeine is essential listening in a world where an estimated two billion cups of coffee are consumed every day.