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.
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.