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Posted on Friday 23 May 2025. 3,087 words, 19 links. By Matt Webb.

Il futuro desertifica / La vita ipotetica / Qui la vista era magnifica / Da oggi significa / Che ciò che siamo stati non saremo più – Baustelle (The future desertifies / The hypothetical life / Here the view was magnificent / From today it means / That what we have been will be no more)Design HustlerFor some time now I’ve plunged, against my better judgement, into the abyss of LinkedIn, and I’m not even sure why. The first time I had ventured there, several years ago, the reason was clear: I wanted to understand the workings of the platform in relation to the behaviour of its users. The investigation resulted in a chapter in my book Entreprecariat, where I argued that LinkedIn was the social network par excellence because it embodied, in the most blunt and ruthless manner, the competitive logic existing, albeit concealed, in all other social networks. At the time, however, I believed that designers did not take “the parents’ social media platform” too seriously and preferred other channels for finding work and sharing ideas.I was wrong. There’s a type of designer who straddles user experience and service design on one side and academia (somewhere between systems thinking and speculative design) on the other, posting content that resembles Instagram motivational quotes in both length and quality. People (Designers?) who have worked for Google or IDEO, or who have launched some very expensive summer schools dedicated to more-than-human design and now propose drab rehashes of already worn-out ideas, ideas whose vitality has been sucked out by countless artistic-academic manifestos. One among many: friction as a positive quality of interactions, as a mindful moment of awareness—only to indulge in an unearthly rage when Gmail doesn’t load for half a minute. This is how we go from Luna Maurer’s performance Emoticons Don’t Have Wrinkles, powerful because it embodies friction literally, as her yellow-painted face is projected in tremendous enlargement throughout her performance—to a banal motto slapped onto a lazy Canva template.But the key concept that seems to bind together these design hustlers—hustlers because their exceedingly obvious self-branding activity confirms the previously stated thesis about the importance of LinkedIn—is that of the future, or rather futures, strictly in the plural and strictly preferable. Corollary to this notion is the category of imagination, often endowed with the radical attribute: a faculty to be unleashed against our tomorrow. Indeed, many design hustlers call themselves futurists or futurologists, but I prefer to call them late futurists. To elucidate why, I will have to go on at great length, and for this I apologize in advance.Requiem for a DreamFirst, a confession: I have a hard time taking the whole conceptual scaffolding that supports preferable futures and the radical imagination seriously. Of course, just as there are, within this system of ideas, naïve and simplistic variants, there are also more subtle and elaborate ones; but my skepticism invests its fundamental assumption: the belief that the future, whether conceived as singular or multiple, lies further along the timeline; that the future is what, in a more or less predictable, more or less surprising, more or less controlled way, has yet to happen. Sadly, the future is not that, or rather is no longer that. From my point of view—and not only mine, as I shall show today, the future is nothing more than a mode of existence of the present, a style; to put it more bluntly, a senescent idea that drags on to us. It has not always been so: in the 1950s the future possessed a spatial concreteness that stood as a guarantee of the temporal one. It was within sight: all one had to do was to look up to the sky and observe the moon. That natural satellite was the future, and our distance from it, measurable in miles, also represented a temporal distance. However, the future as a ‘’world to come’’ came to a halt once we set foot on the Moon. As a matter of fact, it was already staggering. According to J. G. Ballard, “science fiction has always departed from the principle that the environment is dynamic, that changes were taking place in it, until the recent period. Now, the idea of the future is almost dead. No one plans 1995 the way people planned the future during the 1930s. The past, like the future have been annexed to the present.” Ballard places the breaking point at the end of World War II: “Probably the first casualty of Hiroshima and Nagasaki was the concept of the future. I think the future died sometime in the 1950s. Maybe with the explosion of the hydrogen bomb.” The point, however, is not so much to identify the precise decease date as to make up one’s mind once and for all to hold a funeral.Ballard was perhaps the first to address the mourning but certainly not the only one. In 2013, Franco ‘Bifo’ Berardi described the “slow erasure of the future,�

Gov/data/foresight/AI people might find this interesting, it's an AI horizon scanning tool I built. 📰 It pulls in news stories (RSS feeds) from all over the world from the last 7 days 🤖 Uses an AI to spot risks and opportunities for the UK (for example, risks to supply chains or outbreak of diseases) that might not appear in the UK press. ✍ Produces reports that compare what different governments are doing in response to global events. Purely a personal experiment in my spare time and not government policy. Any suggestions for features that it could include? Is anyone else working on anything like this? Dexter Docherty Lowell Weisbord Keri LandauEdward FoaleJames Kuht MBEDr. Laura Gilbert CBELiam Wilkinson Please share if of interest to others in this area, happy to explain how I made it too. | 38 comments on LinkedIn

Have you been trying to get a sense of what the global election outcomes from 2024 means? Our new report, the start of our series in Geopolitical Futures in partnership with Rockefeller Philanthropy Advisors provides a high level synthesis of key outcomes, impacts on public policy and how to approach anticipatory risk scenarios to be prepared its medium and long term impact. Really thrilled to publish this. As always our partner Rockefeller Philanthropy Advisors and Olga Tarasov are invaluable in this journey and we are grateful to be collaboration Research analysis provided by RAKSHAs Research Advisor Sophia Robele https://lnkd.in/euybe5iR

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This is a collaborative library to share and collect resources around AI & Design hosted by the AIxDESIGN Community [aixdesign.co] and co-created with anyone that shares our passion. We invite you too to participate and contribute your favorite resources through bit.ly/aixd-submit.