Vibrations in the web suggest that folk I don’t yet know are trying in various ways to force a bit of weirdness into the academic futures literature. I’m particularly taken with this title and abstract:
Sport hunting and tourism in the twenty-second century: humans as the ultimate trophy / Wright, Daniel W M (2019)
This paper aims to address the potential of hunting humans as sport tourism activity in the twenty-second century. The paper explores past and current trends related to sport hunting, animal extinction, human violence and the normalisation of violence via fictional media. This paper paints a provocative picture of society with the aim of encouraging dialogue across the wider community regarding the challenges facing society in relation to practices related to sport hunting and tourism.
Regrettably my institution doesn’t have access to the journal Foresight, so I think it’s time to ping the author and ask for a copy.
Here’s another paper from the same journal:
The future persona: a futures method to let your scenarios come to life / Fergnani, A (2019)
The purpose of this paper is to formally introduce the future persona, a futures method to let scenarios come to life. A future persona is a scenario-specific fictional individual living in the future scenario (s)he is meant to depict. The paper provides a formal, systematic and clear step-by-step guide on how to create engaging and effective future personas after a scenario planning exercise.
As I and others have noted before, futures studies and strategic foresight is severely hampered by its nigh-complete refusal to engage with narratology, despite the centrality of narrative to the work it aims to do. Which is presumably why this scholar has proudly announced their reinvention of the focalising character…
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.
Stuart Candy on the goal of “experiential futures” work.
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.