The goal of the process is to put people in circumstances whereby they’re invited and enabled to think and feel into the potential and implications of a putative reality that does not (yet) exist. They do not have to buy it hook, line and sinker; the point is more commonly to invite them to test it out. So, creating those circumstances means alternating between the conceptualisation of your creation at several levels of abstraction: the logic of the scenario, and the accessibility and comprehensibility of the experience provided (part of which is furnished by the context of the encounter which you may not be able to fully control, but which you can certainly try to co-opt). Aspects of this process are captured well by a phrase of futurist Riel Miller which he uses to describe scenario production: ‘rigorous imagining’. The rigour that you need to bring to the imagining is increased when you’re trying to manifest it palpably in experience, rather than leaving it in the splendid abstractions of text or statistics, which are the most common modes of scenaric representation.
I’m not much of one for citing economists approvingly, but in this QZ piece devoted to distinguishing a clusterfuck situation from a mere SNAFU or shitshow, there’s an interesting note on Daniel Kahneman’s approach to forward planning:
Before a big decision, teams should undertake what Kahneman calls a “premortem.” Split the group in two. One is assigned to imagine a future in which the project is an unmitigated success. The other is to envision its worst-case scenario. Each group then writes a detailed story of the project’s success or failure, outlining the steps and decisions that led to each outcome. Imagining failure and thinking backwards to its causes helps groups identify the strengths and weaknesses of their current plans, and adjust accordingly.
That flies in the face of the vast majority of corporate foresight and “innovation fostering” practice, which still tends to focus relentlessly (some might even say myopically) on the positive, a strategy doubled down upon by the repeated uncritical use of template narratives based on the Hero’s Journey… and indeed it flies in the face of recent griping about the way dystopian science fiction supposedly poisons the well of futurity by portraying clusterfuck futures.
Why not hire a cynic now, while you’ve still got a budget to hire with?
Here, then, is what makes all members of the species Homo sapiens cultural animals. They come into the world quite incomplete, and pick up what they need to know, and more, by learning from life, and in very large part from one another. As at the same time social animals (and for them the social and the cultural go together, inseparably), they deal with life and with each other in large part by way of interpreting and making signs, managing meaning. And this is what culture is about: meanings and meaningful forms, more or less organized into wider complexes. In an oft-cited passage, Clifford Geertz […] concluded that “man is an animal suspended in webs of significance he himself has spun.” The abstraction of that formulation, however, risks making it a bit misleading. There is not just a single, solitary spider in that web, but a great many—by current estimates, over seven billion of them.
From Hannerz, U. (2016). “Reporting from the Future.” In Writing Future Worlds (pp. 113-133). Springer International Publishing.