In this course we examine speculative and critical design methodologies which challenge the narrow assumptions and preconceptions that typically limit the form and function of designed artefacts. These methodologies look beyond a functional instrumentalism to consider how design can be used to incite mindful reflection rather than blind consumption, as well as address society’s “wicked problems”. The processes and practices considered involve designers imagining futures based on current technological and cultural trajectories; but rather than accepting those trajectories, design is used as an instrument to incite change and alter their direction. The course uses design projects as the main vehicle for the exploration of speculative design theories and methodologies. The projects are not confined to any particular medium or discipline but require students to question what they produce and why.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

1. apply design as a cultural practice with complex agendas and implications for society;
2. design and produce artefacts that embody complex critical ideas and values;
3. conduct research into design theories, artefacts and processes, and apply findings to creative production; and
4. substantiate design outcomes with research and rationale.

Field Trips

A field trip to the National Film and Sound Archive (NFSA) will take place in week 3

Recommended Resources

Whether you are on campus or studying online, there are a variety of online platforms you will use to participate in your study program. These could include videos for lectures and other instruction, two-way video conferencing for interactive learning, email and other messaging tools for communication, interactive web apps for formative and collaborative activities, print and/or photo/scan for handwritten work and drawings, and home-based assessment.

ANU outlines recommended student system requirements to ensure you are able to participate fully in your learning. Other information is also available about the various Learning Platforms you may use.

Staff Feedback

Students will be given feedback in the following forms in this course:

• written comments
• verbal comments
• feedback to whole class, groups, individuals, focus group etc

Student Feedback

ANU is committed to the demonstration of educational excellence and regularly seeks feedback from students. Students are encouraged to offer feedback directly to their Course Convener or through their College and Course representatives (if applicable). Feedback can also be provided to Course Conveners and teachers via the Student Experience of Learning & Teaching (SELT) feedback program. SELT surveys are confidential and also provide the Colleges and ANU Executive with opportunities to recognise excellent teaching, and opportunities for improvement.

Class Schedule

Week/Session	Summary of Activities	Assessment
1	Introduction to Design Fiction	Thing From the Future
2	Speculative and Critical Design, Intro to NFSA Brief	Dr Keir Winesmith NFSA Guest Talk
3	NFSA Visit	Field Trip/Case Study
4	Speculative Film and Sound Futures	Research sprint: research and mapping NFSA Futures
5	World Building
6	NFSA Project - Sketching, Ideation, Proposal	NFSA Cards Due
7	NFSA Futures Project - Research & Development	NFSA Proposal Due
8	NFSA Futures Project - Research & Development
9	NFSA Futures Project - WIP Presentations & Feedback	WIP Presentations
10	NFSA Futures Project - Production
11	NFSA Futures Project - Production
12	NFSA Futures Project - Final Presentations	NFSA Futures Project Due

Tutorial Registration

ANU utilises MyTimetable to enable students to view the timetable for their enrolled courses, browse, then self-allocate to small teaching activities / tutorials so they can better plan their time. Find out more on the Timetable webpage.

Assessment Summary

Assessment task	Value	Learning Outcomes
NFSA Futures Research Resource	20 %	3
NFSA Archetype Cards	20 %	1,2
NFSA Project	60 %	1,2,3,4

* If the Due Date and Return of Assessment date are blank, see the Assessment Tab for specific Assessment Task details

Policies

ANU has educational policies, procedures and guidelines , which are designed to ensure that staff and students are aware of the University’s academic standards, and implement them. Students are expected to have read the Academic Integrity Rule before the commencement of their course. Other key policies and guidelines include:

• Academic Integrity Policy and Procedure
• Student Assessment (Coursework) Policy and Procedure
• Special Assessment Consideration Guideline and General Information 
• Student Surveys and Evaluations
• Deferred Examinations
• Student Complaint Resolution Policy and Procedure
• Code of practice for teaching and learning

Assessment Requirements

The ANU is using Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. For additional information regarding Turnitin please visit the Academic Skills website. In rare cases where online submission using Turnitin software is not technically possible; or where not using Turnitin software has been justified by the Course Convener and approved by the Associate Dean (Education) on the basis of the teaching model being employed; students shall submit assessment online via ‘Wattle’ outside of Turnitin, or failing that in hard copy, or through a combination of submission methods as approved by the Associate Dean (Education). The submission method is detailed below.

Moderation of Assessment

Marks that are allocated during Semester are to be considered provisional until formalised by the College examiners meeting at the end of each Semester. If appropriate, some moderation of marks might be applied prior to final results being released.

Assessment Task 1

NFSA Futures Research Resource

In preparation for the major project you will develop your knowledge of speculative design concepts and practices, as well as issues related to the NFSA Futures brief. Prepare a summary that documents your investigation and demonstrates your understanding. Your summary should include:

1. Speculative and Critical Design (2 slides - 1 slide per example)

Drawing on the resources provided in class and your own research, briefly define and distinguish between speculative and critical design. Cite sources to support your definition. In our shared Google Slides Deck, document and describe two examples of design projects that fit your definition. Briefly describe the critical and/or speculative intention of the projects. Use images and text.

2. NFSA Futures - Annotated Bibliography (3 slides - 1 slide per source)

Identify and summarise three relevant sources related to the NFSA Futures brief: What are the key issues at stake in the National Audio Visual Collection?

For each source:

• Cite each source in full, and provide a link
• Briefly evaluate each source: Who is the author? What is the publication? How credible is the source? What discipline or context does the source come from?
• Briefly summarise the points most relevant to the NFSA Futures brief (see below)

Due date: Week 4 in Class. Briefly present your examples to class.

Submission: Export your slides as a single PDF, upload to Wattle.

Assessment Criteria

• Demonstrate an understanding of speculative and critical design
• Demonstrate an ability to research, evaluate and understand relevant sources
• Effective written communication and presentation

NFSA Futures Brief

The national audiovisual (AV) collection began in 1935 under the auspices of the Commonwealth National Library. The National Film and Sound Archive became an independent cultural institution in 1984. Under its Act, it is charged with preserving the collection for future generations, adding to the collection to ensure it represents an unbroken record of Australian society and AV culture, and making the collection available for use.  

 

The definition of screen and sound artefacts in the Act encompasses all forms of AV expression, and in the 21st century, we are collecting the preeminent forms of the present day such as videogames, social video, podcasts and interactive digital media, alongside traditional forms such as television, radio, music, film and video art.  

 

One of the most prevalent forms of AV expression in Australian society is citizen-generated social video. How AV archives select, collect, preserve, interpret and share material created for closed, commercial apps like Instagram, TikTok and YouTube is an open question. The NFSA and its peers are ill equipped to collect this content and its digital context, however our establishing act requires us to collect it. 

How might we use strategies from speculative and critical design to imagine possible futures for the NFSA?

Rubric

Criteria	HIGH DISTINCTION 80-100%	DISTINCTION 70-79%	CREDIT 60-69%	PASS 50-59%	FAIL 0-49%
Conduct research into design theories, artefacts and processes, and apply findings to creative production (LO 3)	The research is directly relevant to speculative and critical design, and the NFSA. The sources are clearly summarised and identified, critically evaluated and cited correctly.	The research is relevant to speculative and critical design, and the NFSA. The sources are partly summarised and identified, evaluated and cited with some minor errors.	The research is somewhat relevant to speculative and critical design, and the NFSA. The sources are partly summarised and identified, evaluated and cited with errors.	The research is not directly relevant to speculative and critical design, and the NFSA. The sources are poorly summarised and poorly identified, evaluated and not cited correctly.	The research is not relevant to speculative and critical design, and the NFSA. The sources are not summarised, not identified, not evaluated and not cited correctly.

Assessment Task 2

NFSA Archetype Cards

Working in groups of 2-3, students will create a set of 5 archetype cards to provoke discussion, ideation and futuring for the NFSA Futures Brief. These cards will be used by the class in the development of the final project.

Each card should capture one of the social, technical, cultural, and economic issues at stake in the NFSA (ie one card for each issue), plus one wild card:

• Card 1: Social
• Card 2: Cultural
• Card 3: Technical
• Card 4: Economic
• Card 5: Wild Card (a 'black swan' event, such as a Pandemic, Societal Collapse or some other major disruption)

Existing archetypes (such as Tarot Cards) and futuring cards may be used as inspiration, but you must generate new cards specific to the NFSA Brief.

Submission: Present in class (5 mins/group) and upload to Wattle as a PDF (one per group).

Due date: Week 6 in Class

Assessment Criteria

• Develop imaginative archetype cards that capture complex issues in the NFSA
• Effectively deploy visual communication

Rubric

Criteria	HIGH DISTINCTION 80-100%	DISTINCTION 70-79%	CREDIT 60-69%	PASS 50-59%	FAIL 0-49%
apply design as a cultural practice with complex agendas and implications for society (LO1)	Outstanding NFSA Archetype Cards that are visually compelling and capture the complexities of the NFSA, its social, cultural, technical and economic barriers and opportunities.	Very good NFSA Archetype Cards that are visually compelling and capture some of the complexities of the NFSA, its social, cultural, technical and economic barriers and opportunities.	Good NFSA Archetype Cards that are visually coherent but do not capture all of the complexities of the NFSA , its social, cultural, technical and economic barriers and opportunities.	Incomplete NFSA Archetype Cards that are not visually coherent and only captures one or two of the complexities of the NFSA , its social, cultural, technical and economic barriers and opportunities.	Insufficient attempt at creating NFSA Archetype Cards, does not capture any of the complexities of the NFSA, its social, cultural, technical and economic barriers and opportunities.
design and produce artefacts that embody complex critical ideas and values (LO2)	Archetype Cards are designed with a very high degree of skill and they generate complex ideation	Archetype Cards are designed with a high degree of skill and they generate good ideation	Archetype Cards are designed with a moderate degree of skill and they generate some ideation	Archetype Cards are designed with a low degree of skill and they generate limited ideation	Archetype Cards demonstrate no degree of skill and they do not generate ideation

Assessment Task 3

NFSA Project

NFSA Futures Brief

The national audiovisual (AV) collection began in 1935 under the auspices of the Commonwealth National Library. The National Film and Sound Archive became an independent cultural institution in 1984. Under its Act, it is charged with preserving the collection for future generations, adding to the collection to ensure it represents an unbroken record of Australian society and AV culture, and making the collection available for use.  

 

The definition of screen and sound artefacts in the Act encompasses all forms of AV expression, and in the 21st century, we are collecting the preeminent forms of the present day such as videogames, social video, podcasts and interactive digital media, alongside traditional forms such as television, radio, music, film and video art.  

 

One of the most prevalent forms of AV expression in Australian society is citizen-generated social video. How AV archives select, collect, preserve, interpret and share material created for closed, commercial apps like Instagram, TikTok and YouTube is an open question. The NFSA and its peers are ill equipped to collect this content and its digital context, however our establishing act requires us to collect it. 

Through research and creative investigation, develop imaginative designs that materialise and interrogate possible futures in the NFSA, or make critical interventions in the present. Students should use the Archetypes Cards developed in class as a tool for project development and world building.

Use the NFSA as the site and context for your design. Draw on the collections and technologies of this important institution, and the ambitious aims and philosophy of the NFSA. Use these to inform your project, and be prepared to share your developed ideas with stakeholders. 

Your design may take any suitable form. Possible forms include

• Visual and digital material — graphics, posters, short films, animations, web sites, games, advertisements, logos, identities, interfaces, visualisations, diagrams...
• Objects — garments, gadgets, vehicles, buildings, devices, instruments, tools, technologies... 
• Written material — narratives, diaries, news articles, instruction manuals, policies, procedures...

Realise your design as fully as possible. Some forms (eg posters) can be fully realised. Others (eg buildings) can be realised in the form of models, maquettes or sketches. Consider how an audience would interpret, respond to or participate in your design.

Define your project scope and outcomes by agreement with your lecturer, in the form of a 150 word proposal via email in Week 7.

Submission:

Submit all components of your design, depending on its specific form. Compile a digital submission of all relevant elements (eg digital files for print, video, fabrication, web sites, other) and submit via Wattle. Document any physical elements (models, posters, objects, etc) and upload to the Teams Chat as work in progress.

Your submission must also include a 1000 word rationale that justifies your project, lists your sources and documents your research process.  

Presentations:

Present your completed project in class in Week 12. Prepare any documentation necessary to convey the project effectively to the class in a brief (10 minute max) presentation. 

Assessment Criteria:

• Develop imaginative designs that address complex issues
• Apply design as a critical practice to interrogate social and cultural values
• Effectively produce and present a design project

Rubric

Criteria	HIGH DISTINCTION 80-100%	DISTINCTION 70-79%	CREDIT 60-69%	PASS 50-59%	FAIL 0-49%
Apply design as a cultural practice with complex agendas and implications for society (LO1)	The project responds to the brief using speculative design methodologies in an evocative, complex and innovative way	The project responds to the brief using speculative design methodologies in a complex and innovative way	The project responds to the brief using speculative design methodologies	The project somewhat responds to the brief using speculative design methodologies	The project does not respond to the brief or use speculative design methodologies
Design and produce artefacts that embody complex critical ideas and values (LO2)	Artefact is designed and produced with outstanding quality, embodying the complexity of the brief through critical ideas and values	Artefact is designed and produced with very high quality, embodying some of the complexity of the brief through critical ideas and values	Artefact is designed and produced with good quality, embodying very few of the complexity of the brief through critical ideas and values	Artefact is designed and produced with some quality, embodying none of the complexity of the brief through critical ideas and values	Artefact is not designed and produced with sufficient quality, embodying none of the complexity of the brief through critical ideas and values
Conduct research into design theories, artefacts and processes, and apply findings to creative production (LO3)	The project is supported by extensive research, and this research is applied to the project in a rigorous and compelling way	The project is supported by research, and this research is applied to the project in a compelling way	The project is somewhat supported by research, and this research is applied to the project	The project is somewhat supported by research	The project is not supported by any research
Substantiate design outcomes with research and rationale (LO4)	Reflections on this project and its intentions are communicated eloquently and their details are evidenced by a wide variety media.	Reflections on this project and its intentions are well communicated and their details are evidenced by various media.	Reflections on this project and its intentions are adequately communicated and some but not all of their details are evidenced by various media.	Reflections on this project and its intentions are communicated but the discussion lacks evidence.	The project has not been situated in the field and lacks reflection.

Academic Integrity

Academic integrity is a core part of the ANU culture as a community of scholars. The University’s students are an integral part of that community. The academic integrity principle commits all students to engage in academic work in ways that are consistent with, and actively support, academic integrity, and to uphold this commitment by behaving honestly, responsibly and ethically, and with respect and fairness, in scholarly practice.

The University expects all staff and students to be familiar with the academic integrity principle, the Academic Integrity Rule 2021, the Policy: Student Academic Integrity and Procedure: Student Academic Integrity, and to uphold high standards of academic integrity to ensure the quality and value of our qualifications.

The Academic Integrity Rule 2021 is a legal document that the University uses to promote academic integrity, and manage breaches of the academic integrity principle. The Policy and Procedure support the Rule by outlining overarching principles, responsibilities and processes. The Academic Integrity Rule 2021 commences on 1 December 2021 and applies to courses commencing on or after that date, as well as to research conduct occurring on or after that date. Prior to this, the Academic Misconduct Rule 2015 applies.

 

The University commits to assisting all students to understand how to engage in academic work in ways that are consistent with, and actively support academic integrity. All coursework students must complete the online Academic Integrity Module (Epigeum), and Higher Degree Research (HDR) students are required to complete research integrity training. The Academic Integrity website provides information about services available to assist students with their assignments, examinations and other learning activities, as well as understanding and upholding academic integrity.

Online Submission

You will be required to electronically sign a declaration as part of the submission of your assignment. Please keep a copy of the assignment for your records. Unless an exemption has been approved by the Associate Dean (Education) submission must be through Turnitin.

Hardcopy Submission

For some forms of assessment (hand written assignments, art works, laboratory notes, etc.) hard copy submission is appropriate when approved by the Associate Dean (Education). Hard copy submissions must utilise the Assignment Cover Sheet. Please keep a copy of tasks completed for your records.

Late Submission

Late submission permitted. Late submission of assessment tasks without an extension are penalised at the rate of 5% of the possible marks available per working day or part thereof. Late submission of assessment tasks is not accepted after 10 working days after the due date, or on or after the date specified in the course outline for the return of the assessment item. Late submission is not accepted for take-home examinations.

Referencing Requirements

The Academic Skills website has information to assist you with your writing and assessments. The website includes information about Academic Integrity including referencing requirements for different disciplines. There is also information on Plagiarism and different ways to use source material.

Extensions and Penalties

Extensions and late submission of assessment pieces are covered by the Student Assessment (Coursework) Policy and Procedure. Extensions may be granted for assessment pieces that are not examinations or take-home examinations. If you need an extension, you must request an extension in writing on or before the due date. If you have documented and appropriate medical evidence that demonstrates you were not able to request an extension on or before the due date, you may be able to request it after the due date.

Privacy Notice

The ANU has made a number of third party, online, databases available for students to use. Use of each online database is conditional on student end users first agreeing to the database licensor’s terms of service and/or privacy policy. Students should read these carefully. In some cases student end users will be required to register an account with the database licensor and submit personal information, including their: first name; last name; ANU email address; and other information.
In cases where student end users are asked to submit ‘content’ to a database, such as an assignment or short answers, the database licensor may only use the student’s ‘content’ in accordance with the terms of service – including any (copyright) licence the student grants to the database licensor. Any personal information or content a student submits may be stored by the licensor, potentially offshore, and will be used to process the database service in accordance with the licensors terms of service and/or privacy policy.
If any student chooses not to agree to the database licensor’s terms of service or privacy policy, the student will not be able to access and use the database. In these circumstances students should contact their lecturer to enquire about alternative arrangements that are available.

Distribution of grades policy

Academic Quality Assurance Committee monitors the performance of students, including attrition, further study and employment rates and grade distribution, and College reports on quality assurance processes for assessment activities, including alignment with national and international disciplinary and interdisciplinary standards, as well as qualification type learning outcomes.

Since first semester 1994, ANU uses a grading scale for all courses. This grading scale is used by all academic areas of the University.

Support for students

The University offers students support through several different services. You may contact the services listed below directly or seek advice from your Course Convener, Student Administrators, or your College and Course representatives (if applicable).

• ANU Health, safety & wellbeing for medical services, counselling, mental health and spiritual support
• ANU Access and inclusion for students with a disability or ongoing or chronic illness
• ANU Dean of Students for confidential, impartial advice and help to resolve problems between students and the academic or administrative areas of the University
• ANU Academic Skills and Learning Centre supports you make your own decisions about how you learn and manage your workload.
• ANU Counselling Centre promotes, supports and enhances mental health and wellbeing within the University student community.
• ANUSA supports and represents undergraduate and ANU College students
• PARSA supports and represents postgraduate and research students