by antonia.muszi -

Homophobie und Sexismus im Frauenfußball

In den 70er und 80er Jahren war es der Consensus, dass Männer, die Sport treiben, nicht schwul sein können, und Frauen die es tun, lesbisch sind.1 Krane sagt, dass es heutzutage Sportkultur gibt, die sehr inklusiv ist, die es garnicht ist und viele dazwischen. Eine Studie, die 2018 von der Human Rights Campaign (HRC) durchgeführt wurde, befragte 12.000 LGBTQ Jugendliche in den USA. Die Studie hat ergeben, dass 80 Prozent der Jugendlichen sich nicht ihrem Coach geoutet haben. In Australien sind viele verschiedene professionelle Athleten und Athletinnen im Rahmen einer Kampagne gegen Homophobie dem Rainbow Laces program beigetreten. Nichtsdestotrotz gibt es ganz wenige öffentlich homosexuelle Athleten und Athletinnen. Krane geht davon aus, dass diese Athlet:innen ihre Sexualität geheim halten, weil sie schlechte Reaktionen von den Menschen in ihrer Umgebung erwarten.

Lesbische Athletinnen

Laut Mann und Krane ist das Sportklima stark von Maskulinität geprägt, und bietet deswegen keine gute Umgebung für lesbische Athletinnen.2 In dieser Umgebung wird von Athletinnen erwartet, dass sie das klassische Bild von Weiblichkeit repräsentieren. Im Jahr 1981 hat die Tennisspielerin Billie Jean King als erste bekannte Sportlerin ihre lesbischen Beziehung öffentlich gemacht.3 An einer Universität haben manche Basketballspielerinnen aus Angst, sie würden von ihrem Trainer für lesbisch gehalten werden, ihr Zimmer nicht mit anderen Frauen geteilt.4 In dieser Universität gab es sogar sogenannte Spitzel, die dem Trainer mitgeteilt haben, ob es „lesbische Aktivitäten“ gab. Den Trainerinnen ging es nicht anders. Sie haben absichtlich den Kontakt zu anderen Trainerinnen gemieden, um nicht für lesbisch gehalten zu werden. Auf diese Art und Weise haben Institutionen dazu beigetragen, zu verhindern, dass Frauen untereinander Beziehungen aufbauen, auf welche Art auch immer. Griffin beschreibt, dass es in Ordnung sei in diesem Klima lesbisch zu sein, solange man nicht öffentlich darüber sprach – dann wurde man geduldet.5 So wurde einer lesbischen Trainerin von ihrem Assistent Athletic Director gesagt, dass von ihr erwartet wird, nicht in schwulen Bars zu gehen oder in eine Beziehung mit anderen Frauen zu gehen, die ihre sexuelle Orientierung nicht ebenfalls geheim halten. Ihr Job wäre in Gefahr, wenn sie sich nicht daran halten sollte. Keiner sollte die Aufmerksamkeit auf ihre sexuelle Identität lenken. Warum outen sich Athletinnen in diesem toxischen Klima? Griffin hat einige Frauen dazu interviewt. Eine sagt, sie fühle sich nicht wie sie selbst, wenn sie ihre Homosexualität verbirgt.6 Eine andere beschreibt, dass sie sich selbstbewusster fühlt seit sie sich geoutet hat. Zusätzlich sagen einige Frauen, dass es zu viel Aufwand ist ihre Sexualität geheim zu halten. Man muss mit den eigenen Lügen mithalten, immer aufpassen was man sagt, und herausfinden, wem man trauen kann. Wie sieht es heutzutage aus?

Analyse von Zeitungsartikeln von Frauenfußballspielen

Homosexualität ist in den letzten Jahren in den Medien häufiger Thema. Es herrscht jedoch immer noch keine Chancengleichheit.7 Es wird eine Sternausgabe aus dem Jahr 2007 analysiert. So wird eine Spielerin als „Die Umstrittene“ betitelt. Sie hatte eine Beziehung mit einer Teamkollegin und verließ diese dann für einen Fußballtrainer. Hier wird die sexuelle Orientierung direkt in Verbindung mit dem Fußball gebracht. Das wird von der Autorin als bedenklich angesehen. Eine andere Spielerin wird als „Zaubermaus“ bezeichnet, unter anderem weil sie sehr gut dribbeln kann. Die Zeitung schreibt ebenfalls, dass sie beim Dribbeln noch „aussieht wie ein Popsängerin“. „Zaubern“ ist in diesem Fall positiv. „Jedoch wird suggeriert, dass sie diese Fähigkeit hat, weil sie eben auch gleichzeitig eine Maus ist, also ein süßes, aus Männerperspektive begehrenswertes Weiblein.“, so Nestserava. Es wird über den Körper einer anderen Spielerin geschrieben, auf eine Art und Weiße die Vorstellungen einer „männlichen“ Frau hinterlässt. Es wird über ihre Muskeln geschrieben, und ihr Fußballstil als „hart“ bezeichnet.

In einem Experten-Gespräch in der Welt wird über Frauenfußball im Vergleich zu Männerfußball gesprochen. Hier sagt der Experte, dass Männer Frauenfußball kaum schauen, weil die Sportlerinnen keine erotische Kleidung tragen, wie das zum Beispiel bei Volleyball der Fall ist. Ein männlicher Zuschauer schaue den Sport aus einem erotischen Blickwinkel, den die Trikots der Frauen nicht erfüllen. Diese Ansicht lässt zu der Annahme kommen, dass Männer Frauenfußball nicht wegen des Könnens der Spielerinnen schauen. „Insgesamt fällt dabei auf, dass Frauenfußball mehr Akzeptanz genießt, wenn er sich in Grenzen weiblicher Körperlichkeit bewegt. Je mehr Frau „Frau“ bleibt, desto weniger wird sie, wenn sie Fußball spielt, problematisiert.“, so Nestserava. Über eine andere Nationalspielerin wird geschrieben, dass sie attraktiv ist, und deswegen viel Potenzial hat. Dass ihr Potenzial eigentlich von ihrem Können kommen sollte, wird hier ignoriert.

Die Analyse der Artikel zeigt, dass Diskriminierung gegenüber Frauen im Fußball immer noch ein Thema sind, dass es wert ist analysiert zu werden.

  1. Krane 2019, S. 2f. ↩︎
  2. Mann und Krane 2019, S. 70 ↩︎
  3. Griffin 1998, S. 10 ↩︎
  4. Griffin 1998, S. 94f. ↩︎
  5. Griffin 1998, S. 99ff. ↩︎
  6. Griffin 1998, S. 160f. ↩︎
  7. Nestserava et al. 2008, S. 42ff. ↩︎
by lucas.nuss -

Impulse 06 // Design for the Next 50 Billion Things

Keynote: Calm Technology: Design for the Next 50 Billion Things – Amber Case

For my next blog post, I decided to dive back into the topic of Calm Technology. To do this I watched Amber Case’s keynote at the Embedded Linux Conference: “ Calm Technology: Design for the Next 50 Billion Things“. Amber Case herself is one of the leading researchers in the field of Calm Technology and has not only written a book on the subject but also recently founded the Calm Tech Institute. Her talk refreshed much of what I have been researching over the last two semesters about calm technology, but also gave me a new perspective or two and challenged me to keep exploring this, in my opinion, most important and fascinating design philosophy.

The Talk

Case began by introducing the concept of modern humans as ‚cyborgs‘ – not in the science fiction sense, but as beings who use external tools to adapt to new environments. This concept immediately resonated with my interaction design studies, as it highlights how deeply technology has become integrated into our daily lives. However, as Case pointed out, the current state of this integration is far from ideal.
The core problem she identified is what she calls ‚interruptive technology‘ – devices and systems that constantly demand our attention, often unnecessarily. From duplicated smartwatch notifications to ’smart‘ fridges that create more problems than they solve, our current technological landscape seems designed to interrupt rather than support. As someone with an interest in calm technology, this observation hit close to home, as I’ve often wondered about the real value these ’smart‘ additions bring to users‘ lives, and whether they need to be as dictating as they are, or if there are other ways. The solution, according to Case, lies in “ Calm Technology“ – a concept developed at Xerox PARC by Mark Weiser and John Seely Brown. The principle is simple: technology should require the minimum amount of attention and remain in the background until needed. This approach feels quite logical and makes perfect sense from a human-centred design perspective, but in our current context of attention-hungry devices it is revolutionary.
One of the most valuable insights for my future work was Case’s emphasis on peripheral attention and ambient awareness. She explained how technology should be designed to operate in our peripheral awareness, similar to how we notice changes in our environment without actively focusing on them. The example of a tea kettle illustrates this perfectly – it doesn’t require constant attention, but communicates effectively when needed.

The presentation also highlighted the importance of using the minimum amount of technology necessary to solve a problem. This principle particularly challenges current trends in interaction design, where we often add features because we can, not because we should. Case’s example of over-complicated smart home systems versus simple, reliable mechanical solutions made me even more certain that the topic I had chosen to research was the right way to go. Perhaps most importantly, Case emphasised the need to consider social norms and the ‚metabolism rate‘ at which people can adapt to new technologies. This insight is crucial to my Masters, as it suggests that successful interaction design isn’t just about creating innovative solutions, but also understanding how those solutions fit into existing social contexts and behaviours. The concept of ‚kairos time‘ versus ‚chronos time‘ provided a powerful framework for thinking about the impact of technology on our experience of time. As interaction designers, we should strive to create solutions that respect and enable moments of flow and meaningful engagement, rather than constantly fragmenting users‘ attention.

Reflection

This keynote reminded me of how important Calm Technology can be and is for interaction design. It has shown me that perhaps the most sophisticated design solutions are those that know when to step back, remain invisible, and only emerge when truly needed. This is in line with one of my beliefs that products should not scream for attention, but rather receive it because it is useful, practical or wanted. As I continue my studies and begin my Master’s thesis, I will take these principles of Calm Technology with me and explore them to create designs that enhance human capabilities without demanding unnecessary attention.
The challenge for me as an interaction designer is clear: how do we create technology that supports without overwhelming, assists without interrupting, and enhances without dominating? Case’s presentation provided valuable guidance on how to address these questions in my future work and master’s thesis.

by sarah.molinari -

|| Impuls 08 // Introduction to Storyboarding by Laura Ewing Ferrer

For my last impuls blog post I chose the Domestika course „Introduction to Storyboarding“ by Laura Ewing Ferrer. The course is an exploration of the art and technique behind creating effective storyboards. Through this course, Laura shares her expertise, breaking down the complexities of storyboarding into accessible and actionable lessons. Whether for animation, live-action films, or advertisements, storyboarding is an essential tool in visual storytelling, and this course emphasizes why.

Why do we need storyboarding?

One of the course’s key takeaways is the diverse applications of storyboarding. Laura emphasizes that storyboarders are essentially idea sellers, presenting a blueprint of a project before it’s even made. This „movie on paper“ allows directors and teams to visualize the composition, story and shot structure, saving significant time and money during production.

Here are some insights from the course:
  • Quick and Disposable: Storyboards are not meant to be final art pieces but working drafts that can be altered as needed. The focus is on clarity, composition, and narrative flow rather than polished illustrations.
  • Cost Efficiency: Animation projects often dedicate years to developing storyboards that align with narrative and technical requirements. This upfront investment prevents costly mistakes during production.
  • Adaptability: Directors use storyboards differently; some create rough sketches themselves, while others rely on storyboard artists to flesh out complex sequences. Advertising storyboards tend to be even simpler, emphasizing sound and key visuals over intricate detail.
Types of shot sizes and their purpose

In the course, Laura also explains different camera shot sizes and their narrative functions. Each type of shot serves a purpose in building the story:

  • Establishing Shots: Introduce the setting and give context to the audience.
  • Wide Shots: Showcase the character’s full body and their environment.
  • Medium Shots: Highlight expressions and body language, often used for dialogue.
  • Close-Ups: Focus on details or emotions, directing the audience’s attention.
  • Extreme Close-Ups: Reveal intensity or subtle details that enhance the scene’s mood.

Camera angles also play a crucial role. Low angles convey power and intimidation, while high angles create vulnerability. Dutch angles add unease, while dynamic movements like dolly shots or pans bring the audience closer to the action.

Framing and composition

Framing is essential in making each shot visually engaging. Laura introduces the rule of thirds, which divides the frame into nine equal parts to create balance and guide the viewer’s eye. Strategic placement of characters and elements within this grid can make scenes more compelling.

Another key concept is the „dirty shot,“ where a blurred object in the foreground adds depth and perspective. Laura also discusses crossing the 180-degree axis, explaining how maintaining spatial continuity keeps viewers oriented within the scene.

The author also explains different storyboarding and drawing techniques, as well es giving a basic drawing course. She also shows her process, from creating thumbnails to the final panels.

Why this course was interesting for me

What I found most fascinating about this course was how it normalized storyboarding. Before taking it, I thought storyboarding was purely about artistic skill, but Laura’s approach emphasized its practical and collaborative nature. I loved how she highlighted the adaptability of storyboarding for different mediums, from fluid, expressive animation storyboards to technical live-action guides.

Links
by sarah.molinari -

|| Impuls 07 // Heretic

The movie „Heretic“ is a masterful exploration of suspense, religion, and the human psyche. Directed by the filmmakers Scott Beck and Bryan Woods, the film delves into themes of faith, fear, and cultural intersections, all while keeping the audience on the edge of their seats. From start to finish, „Heretic“ maintains a constant sense of tension, making it an unsettling cinematic experience for the audience.

What the movie is about

„Heretic“ follows the journey of two mormon missionaries navigating a series of mysterious and unsettling events tied to religious and supernatural elements. The story takes viewers through various cultural and spiritual landscapes, examining how different belief systems interpret faith, sin, and redemption.

The movie’s plot revolves around a mysterious figure, whose actions and presence unsettle everyone around him. Through this character, „Heretic“ raises questions about morality, divine intervention, and the boundaries of human understanding.

The atmosphere of constant suspense

One of the best aspects of „Heretic“ is its ability to maintain an almost palpable sense of suspense throughout the entire runtime. The film masterfully uses pacing, sound design, and visual cues to keep the audience on edge. Every scene is imbued with the feeling that something significant is about to happen, but the movie cleverly avoids predictability, keeping viewers guessing until the very end.

This sustained tension is achieved through slow reveals, ambiguous characters and minimalist score. Firstly, the information is unveiled gradually, forcing the audience to piece together the puzzle alongside the characters. Secondly, the antagonist is morally complex and enigmatic, adding to the sense of unease. And lastly, the hauntingly sparse musical score heightens the impact of silence, making even the quietest moments feel charged with significance. The ticking of the timer aditionally makes the scenes feel as if evil is approaching.

Exploration of different religions

Another standout element of „Heretic“ is its exploration of various religions and spiritual practices. The film doesn’t limit itself to one tradition but instead weaves together elements from Christianity, Islam, Hinduism, and indigenous beliefs. This approach creates a thought-provoking dialogue about the universality of faith and the ways in which different cultures approach the divine and question their belief (or disbelief).

Why this movie was interesting for me

„Heretic“ captivated me for two main reasons: its ability to sustain suspense and its exploration of religion. The constant feeling of unease throughout the movie was thrilling. I love how a film can manipulate atmosphere and pacing to create such an intense emotional experience. Every moment felt significant, and I found myself completely captivated, eagerly anticipating what would come next.

The movie’s treatment of different religions was another highlight. It didn’t shy away from exploring the complexities and contradictions within faith, and I appreciated how it portrayed each belief system with not only respect, but also giving a realistic view.

Links

  1. Heretic Trailer

by sarah.molinari -

|| Impuls 06 // Lords of War Cinematics

The „Lords of War“ cinematics for World of Warcraft are a stunning example of how minimalistic animation can deliver powerful stories. Released as part of the promotional content for the „Warlords of Draenor“ expansion, these short films delve into the backstories of key characters, offering players a glimpse into the rich lore of the game’s universe. What sets these cinematics apart is their unique art style (a combination of illustrated stills with subtle movements and dynamic transition) which creates a dramatic and immersive narrative experience.

What the cinematics are about

The „Lords of War“ series focuses on five iconic warlords from World of Warcraft, exploring their origins, motivations, and rise to power. Each episode serves as a character study, delving into the moral complexities and pivotal moments that shaped these leaders. For example, one cinematic portrays Grommash Hellscream’s unwavering loyalty to his people, while another delves into the tragic downfall of Kilrogg Deadeye, highlighting his vision-driven decisions.

These stories are deeply rooted in the game’s lore, yet they also stand alone as very interesting short films. Even viewers unfamiliar with World of Warcraft can appreciate the emotional depth and universal themes of loyalty, sacrifice, and ambition.

Storytelling and animation style

The animation style of „Lords of War“ is to me very innovative. Instead of fully animated sequences, the series uses richly detailed illustrations (concept art style) that are brought to life through three main elements. The first one are the subtle movements. Small, deliberate animations such as flowing hair, shifting eyes, or flickering flames add a sense of life to the still images. The second one are dynamic transitions. The cinematics employ zooms, pans, and dramatic shifts between frames to create momentum and intensity. And the third one is depth created through illustration layers. Illustrations are often composed in layers, giving a sense of dimension and space as the camera moves through the scenes.

This minimalistic approach to animation focuses attention on the intricate artwork and voice acting, allowing the story to take center stage. The result is a visually unique and emotionally resonant series that captures the essence of the characters and their worlds.

Behind the scenes of the art

A key insight into the creation of these cinematics comes from the behinf the scenes video, „Lords of War Behind the Scenes – Art. “ This featurette reveals the thought process and creative decisions behind the animations. The creators discuss how they used concept art as a foundation, enhancing it with digital tools to craft a visually cohesive and impactful style.

One fascinating aspect of the process is the use of negative space and contrast. By playing with shadows and highlights, the artists create a sense of drama and focus that complements the narrative. They also emphasize how minimal motion can evoke strong emotions, proving that effective storytelling doesn’t always require elaborate animation.

Why this series was interesting for me

The „Lords of War“ cinematics deeply resonated with me because of their ability to tell complex stories through a minimalistic approach. The use of illustrated stills with subtle movements inspired me to think about how I could incorporate similar techniques into my own work.

I was particularly drawn to the way the cinematics rely on atmosphere and tone rather than overt action. The interplay of visuals, voiceovers, and music creates a rich emotional tapestry that elevates the storytelling. This approach is a reminder that sometimes less is more, and that thoughtful design can make even minimal animations feel epic and impactful.

Links
  1. World of Warcraft – Lords Of War
  2. Lords of War Behind the Scenes – Art
  3. Illustration & Concept Art with Laurel Austin

by sarah.molinari -

|| Impuls 05 // Secret Level

The Amazon Prime series „Secret Level“ takes viewers on a journey of creative exploration, presenting unique short stories inspired by iconic video games. Each episode is a standalone story that draws on the themes, aesthetics, and worlds of specific games, transforming them into captivating visual tales. This approach celebrates the cultural impact of gaming by reimagining its stories in a cinematic format, making the series a distinctive tribute to the medium.

What the series is about

„Secret Level“ is not a traditional documentary or behind-the-scenes series. Instead, it uses the essence of video games as a foundation for crafting original short stories. The show takes inspiration from titles across various genres and eras, turning their themes into stories that stand on their own.

For example, one episode channels the vibrant, chaotic energy of retro arcade games into a fast-paced, neon-drenched action sequence (A dystopian world where Pacman is trying to escape an endless hellscape with the help of flesh puppets). Each installment is a unique interpretation, blending the visual and narrative style of video games with cinematic storytelling.

Storytelling approach

The series employs a distinctive storytelling style that combines:

  1. Cinematic Narratives: Each episode unfolds as a visually stunning short film, drawing heavily on the aesthetics of the game it’s inspired by.
  2. Artistic Homage: The creators pay tribute to the design and atmosphere of the source material while crafting entirely original stories.
  3. Atmospheric World-Building: Rich visuals and sound design immerse viewers in the distinct mood of each episode, echoing the immersive nature of video games.

Unlike a typical anthology series, „Secret Level“ focuses more on evoking the spirit of the games rather than directly referencing their characters or plots. This approach allows it to appeal to both gamers and general audiences, offering something familiar yet entirely new.

Why this series was interesting for me

As someone deeply interested in storytelling and visual media, „Secret Level“ resonated with me on multiple levels. The series demonstrates how themes and aesthetics from one medium can be reinterpreted into another, sparking my own ideas for cross-media storytelling. Its ability to distill the essence of a game into a completely new narrative inspired me to think about how folklore could be similarly adapted into modern visual formats.

Watching the series encouraged me to explore how elements like atmosphere, tone, and symbolism can transcend their original medium to create something fresh and impactful. It also reinforced the idea that inspiration doesn’t have to come from direct adaptation—instead, it can emerge from the underlying themes and emotions that make a story memorable.

Links
  1. Secret Level on Amazon Prime
  2. Every Secret Level Episode Explained
  3. Secret Level Trailer

by vinzenz.weber -

Impulse #4

In the christmas break, I played Red Matter 2 on my Oculus Quest, and it completely blew me away. From a visual standpoint, it’s one of the most impressive games I’ve ever played—not just in VR, but in general. I actually had one moment when I just stood there, with my mouth open because of the crazy experience of standing in front of Jupiter.

What makes Red Matter 2 so special is how incredibly detailed and realistic it looks. The game’s environments are breathtaking, with sharp textures, dynamic lighting, and a level of polish that makes it hard to believe it’s running on the Quest’s hardware. It almost feels like it’s being rendered on a high-end PC, not a standalone VR headset. Every scene is packed with small details that make the world feel alive, from the reflections on metallic surfaces to the way light interacts with objects.

The art direction is also worth mentioning. The game has a Cold War-inspired sci-fi aesthetic that’s both futuristic and nostalgic. The combination of retro technology and advanced sci-fi elements creates a unique atmosphere that pulls you into the story. Exploring the game’s environments feels like stepping into a high-budget sci-fi movie.

But Red Matter 2 isn’t just about looks—it’s also a great example of how VR can enhance storytelling and immersion. The puzzles are clever and satisfying to solve, and the interactions feel natural and intuitive. The game does an excellent job of making you feel like you’re really there, whether you’re manipulating objects, exploring abandoned facilities, or uncovering the mysteries of the story.

Playing Red Matter 2 has been a big inspiration for my thesis. It shows how far VR technology has come and what’s possible when developers push the limits of hardware and design. It’s a reminder that great visuals aren’t just about technical power—they’re about creativity, attention to detail, and a deep understanding of how to create an immersive experience.

by Annika Drießen -

IMPULSE #5 Speculative Futures

Introduction

In a world that is constantly changing due to technology, social change and environmental factors, the ability to think about the future is becoming increasingly important. In this blog article I will collect some methods and frameworks to introduce the principles of future design thinking.

Speculative design is a method that enables us to reflect on current issues by imagining future scenarios. Its purpose is not to provide concrete solutions to existing problems, but to explore possible, often way out there future scenarios. This design approach questions existing social, ethical and technological structures. The nature of the scenarios encourages discourse and reflection.

Speculative design

Speculative design is an approach that aims to visualize alternative futures instead of focusing solely on optimizing existing systems. The term was coined by designers Anthony Dunne and Fiona Raby. In their book Speculative Everything (2013), they describe how design can be used as a tool to stimulate discussions about future developments. The focus is not on the benefits of a design, but on its ability to reveal new perspectives.

Instead of looking for practical solutions, speculative design asks “what if?” questions. For example: What if user data belonged entirely to the users, with full control over its use? Questions like this give rise to scenarios that challenge our understanding of progress.

Speculative design offers a framework to:

  • Encourage Social Dreaming
  • Expand Perspectives
  • Foster Critical Thinking
  • Inspire Innovation

Speculative design uses various methods to make future scenarios tangible:

  • Prototypes and artefacts Physical objects or digital concepts are often developed that represent a fictitious future. These artifacts appear real and make it possible to think about their consequences.
  • Design fiction Design fiction combines speculative design with narrative elements. Alternative realities are made tangible through stories, fictional news articles or advertisements.
  • Experiments and installations Interactive installations or simulations allow users to experience new future scenarios and react to them emotionally.
  • Provocative concepts Some speculative designs are deliberately provocative or dystopian in order to trigger discussions about ethical or social issues.

The Future Cone

The Future Cone is a model that categorizes different future scenarios and helps to analyze long-term developments. It is based on the idea that the future is not fixed, but rather a spectrum of possible developments. The model is often used in futurology, speculative design and strategic planning. The model helps not only to predict a “linear” future, but also to consider alternative paths. With the help of the Future Cone, we can ask ourselves: What future do we want? Which trends should we promote or prevent? What unexpected developments do we need to think about? By speculating on different scenarios and asking these questions, we can shape a more conscious, sustainable and inclusive future.

The Future Cone represents the present as a starting point and opens up into the future like a fan. The entirety of the cone represents all potential futures. It divides possible developments into different categories:

Plausible futures (plausible futures)

These futures are based on current trends, scientific findings and technological developments. They are realistic, but not guaranteed. Example: The progressive automation of jobs.

Probable futures (likely futures)

These are the futures that are most likely to occur if existing trends continue unchanged. Example: The further expansion of artificial intelligence in everyday life.

Possible futures (possible futures)

These scenarios include developments that are theoretically feasible but seem less likely because they depend on radical breakthroughs or unforeseeable events. Example: The complete abolition of the monetary system through a new form of economy.

Preferable futures (desirable futures)

This category includes futures that we should actively strive for because they bring positive social or environmental change. Example: A world with sustainable energy and fair distribution of resources.

Criticism

While speculative design offers many benefits, it is not without its critics. Some argue that it risks becoming too abstract or disconnected from real-world concerns and has little impact on everyday life. Others see speculative design only as a creative exercise without bringing about actual change.

Conclusion

Speculative design and similiar methods offer a way to explore trends to promote and prevent for our future. It helps us to define what kind of future we would like to create. It helps to identify opportunities and risks at an early stage.

By opening up new perspectives speculative design can stimulate reflection. Companies, scientists and policy makers can benefit from this method to make sustainable, ethical and future-oriented decisions.

Speculative design is an invitation to actively shape the future. That is why I believe it to be an important practice, even though it does not solve current problems it sparks thought processes. The skillset we are building at FH to create immersive and interactive work in an exhibition setting would apply nicely to such a design process and practice.

Links

Futures Cone: what it is and its uses

https://dunneandraby.co.uk/content/books/690/0

Zukünfte gestalten
by Jan Wohlmuth -

IMPULS #4 Exposé – Peer-Review

Mein vorläufiges Exposé für die Masterarbeit „Iconic Type“ war ein erster Schritt, die Grundlagen und Ziele meines Themas strukturiert zusammenzufassen. Dabei geht es darum, wie Icons und Typografie im Kontext von Markenkommunikation harmonisch miteinander verbunden werden können. Kernfragen sind, wann eine spezifische Anpassung von Icons an eine Schrift sinnvoll ist und wann eine allgemeine visuelle Harmonie ausreicht. Ziel ist es, praxisnahe Erkenntnisse zu gewinnen und einen Leitfaden für Designer:innen zu erstellen, wie Icons effektiv an verschiedene Schrifttypen angepasst werden können.

Um das Exposé weiter zu verbessern, haben wir in einer Lehrveranstatung eine Peer Review durchgeführt: Ich habe mein Exposé zwei Kommiliton:innen geschickt und 2 weitere bewertet. Dieser Perspektivwechsel war sehr hilfreich und es war spannend zu sehen, wie andere ihre Themen angehen und welche Punkte besonders positiv oder verbesserungswürdig wahrgenommen werden.

Das Feedback zu meinem Exposé war überwiegend positiv. Besonders hervorgehoben wurden:

  • Die klare und gut strukturierte Gliederung.
  • Die präzise Fragestellung, die auf eine wichtige Forschungslücke hinweist: den fehlenden Zusammenhang zwischen Typografie und Icon-Design.
  • Die fokussierte Zielsetzung, die durch konkrete Methoden wie Umfragen und Case Studies unterstützt wird.

Ein Verbesserungsvorschlag war, den Unterschied zwischen visueller Harmonie und typografischer Anpassung noch deutlicher herauszuarbeiten. Die Frage, wie genau Icons verändert werden, wenn sie harmonisch integriert, aber nicht spezifisch angepasst werden, könnte genauer beschrieben werden. Außerdem wurde angeregt, den Theoriebezug durch mehr greifbare Literaturquellen zu erweitern, um eine solide Basis für die weitere Arbeit zu schaffen. Diese Rückmeldungen haben mir geholfen, die nächsten Schritte klarer zu sehen.

by Jan Wohlmuth -

IMPULS #3 Gespräch mit Gabriele Lechner

Mein Masterarbeitsthema „Iconic Type“ beschäftigt sich mit der Frage, wie Icons gestaltet werden können, um harmonisch mit Schriftarten zu interagieren. Ziel ist es, zu erforschen, welche Wirkung typografisch abgestimmte Icons auf Lesbarkeit, Markenwahrnehmung und Designästhetik haben.

Vor Kurzem hatte ich ein Feedbackgespräch mit Gabriele Lechner, in dem ich meine Ideen vorstellte und wertvolle Anregungen erhielt:

  • Ein zentraler Punkt, den wir besprachen, war die Frage, ob es immer notwendig ist, Icons an die Typografie anzupassen. Gabriele regte an, zu untersuchen, ob es in manchen Fällen genügt, visuelle Harmonie zu schaffen, ohne dass Icons stilistisch exakt auf eine Schrift abgestimmt werden. Dieser Ansatz eröffnet die Möglichkeit, auch bewusste Kontraste als gestalterisches Mittel zu betrachten.
  • Ein weiterer Impuls betraf die Zielgruppen meiner Untersuchung. Sie schlug vor, Designer und Nicht-Designer gleichermaßen zu befragen. Während Designer als Fachleute aus einem geschulten Blickwinkel wichtige Details erkennen können, könnten Nicht-Designer praktische Einblicke geben, wie Schrift-Icon-Kombinationen von Konsumenten wahrgenommen werden.
  • Darüber hinaus empfahl sie, Fallstudien zu erstellen und reale Marken zu analysieren. Besonders interessant wäre es, Marken gegenüberzustellen, die ihre Icons gezielt an die Typografie anpassen, und solche, die das nicht tun. Diese Vergleiche könnten Aufschluss darüber geben, wie sich die unterschiedlichen Ansätze auf Markenwahrnehmung und Designästhetik auswirken.

Das Gespräch hat mir geholfen, meinen Blick zu schärfen und neue Ideen für die Umsetzung meiner Masterarbeit zu entwickeln. Besonders die Kombination aus Umfragen mit unterschiedlichen Perspektiven und der Analyse realer Markenbeispiele gibt meiner Arbeit einen guten Mix aus Theorie und Praxis.