Apart from the more general problems anticipatory ethnography, the most obvious limitation of this particular technique is the fact it is possible only when relevant incidental design fiction material is available. There may be a way of avoiding this through developing other modes of anticipatory ethnography. Additionally it is true that science fiction (whether written or in film) consistently describes possible (and plausible) futures – a realization which is fundamental to design fiction in the first place (cf. Bleecker 2009; Kirby 2010; Dourish and Bell 2014).

One criticism which has arisen in discussion is that the insights set out here derived from Her, were obvious, no-brainers. Hence we ask the question, are the insights generated useful or relevant? If they are not, is it because of a fundamental flaw in the concept, a problem with the source material, or perhaps a shortcoming of the research approach or the researchers?

On a more methodological and practical level the authors are keen to explore using more sophisticated data collection and analysis approaches (as opposed to just post-it notes and affinity mapping) and to conduct a longer anticipatory ethnography that bridges across multiple design fictions. The substantive query is, when (or if) will we see the first product, service or system, whose design stems from insights derived from an anticipatory ethnography?

To conclude the paper it seems fair to acknowledge that elements of this approach have, and continue to exist in the world already. David Kirby’s work on diegetic prototypes (Kirby 2011) is just one demonstration of how Hollywood’s output impacts upon the world. Bleecker’s much-cited essay (2009) explores the interplay between fact and fiction, from a design-led perspective. Dourish and Bell (2014) consider using fiction as a means to shed light on academic research. Meanwhile design researchers the world over employ a myriad of workshop techniques and stimuli to generate insights to aid in design processes. The list of related approaches could go on. Anticipatory ethnography though, by standing on the academic shoulders design ethnography, facilitates a well bounded, terse, and straightforward way of operationalizing the potential for design fiction speculations.

Before embarking upon a degree in Interactive Arts, Joseph Lindley was a professional technologist and project manager. As an artist, Joseph has pursued many creative endeavors including solo exhibitions, photography commissions, and performing/publishing music. He is currently researching the emerging field of design fiction at the interdisciplinary HighWire Centre for Doctoral Training. joseph.lindley@gmail.com

Dhruv Sharma holds Masters degrees in Anthropology, Ethnography and Research Methods and is an Associate Fellow of the Higher Education Academy. Working on projects in Asia and Africa, Dhruv has industry experience as an ethnographer at one of India’s leading consultancy firms, and continues to take freelance consultation alongside doctoral research into loneliness amongst the elderly. d.sharma2@lancaster.ac.uk

Robert Potts is a HighWire PhD at Lancaster University. Trained in visual communication, he teaches and researches design. As a creative director, he consults on design projects and makes innovative films. His research uses narrative to explore collaboration across boundaries in creative and critical environments. r.potts@lancaster.ac.uk

2015 Ethnographic Praxis in Industry Conference Proceedings, ISSN 1559-8918. © Ethnographic Praxis in Industry Conference, some rights reserved.