‘The world today is characterised by a high and growing level of connectivity’ [Manzini 2015, p. 33] This dramatic influx in connectivity is largely fuelled by the interaction allowed by significant technological advancements made throughout the past century. However, this networked interaction has its limitations, as it has seen a rise in asynchronous communications (delayed communication such as texting, messaging or any text based chatting) which afford constructed, curated and calculated responses.
As a group, we were fascinated in what effect this continued hyper connected asynchronous communication might have on the future of our social, mental and emotional wellbeing. Thus, we projected a scenario in which human to human contact has all but been replaced by technology completely facilitating any interaction between humans, subsequently, leading to growing rates in depression and loneliness as the human is replaced by the machine.
When visualising this worst case scenario, we had envisioned that only through a radical return to direct human contact could we stem the alarming rises of depression. Interaction designer, Marco Triverio, is involved directly with generating, increasing and enhancing interaction between humans and technology through design. Triverio recognised that ‘Communications with someone special are not about content going back and forth. They are about feeling the presence of the person on the other side.’ [Triverio 2011] And thus responded by developing the ‘Feel Me’ app:
‘Feel Me’ critically analyses existing asynchronous communications, which are devoid of emotional connection and ‘feeling’, and aspires to amplify and reveal the human at the other end of the communicative technology. It achieves this through non-verbal synchronous communication, displaying dots on the screen where the other person is touching their screen. Triverio states, ‘Feel Me does not aim at replacing physical interactions, but it rather aims at enriching the currently sterile digital communications.’ [2011] ultimately bringing the human from the background and placing their movements and presence into the foreground.
As the future we projected was quite bleak and extreme, with unbridled pursuit of technological and economical advancements and exponential erosion in the general wellbeing of society’s mental health, we felt that the response from the design community, and all communities in general, would be shocking and extreme. Thus we proposed an object that, through a direct connection with the brain, may transport synthetic chemicals such as dopamine and oxytocin; ultimately generating an artificial system that ensures positive chemicals can always be circulated throughout the users brain.
This object is controversial; it blurs the distinction between artifice and reality, forcing the audience to consider complex and important issues involving the ethics of design. Would we allow such an object to be created? Do we want such an object to exist? It could potentially enhance the quality of life for millions of people, perhaps even reduce suicide. Yet it also delves into the murky waters of pushing beyond the natural; synthetically altering that which, in essence, is most personal and sacred to human beings: their thoughts.
Dutch designer, Kees Dorst, has written quite extensively on the ethics of design in his book ‘Understanding Design’ [2006]:
‘Thinking about the positive aspect of a design should always be balanced by keeping track of the value you eliminate. As a designer, you are responsible for decisions that will affect this balance. Meaning well is just not good enough – the positive ends you have in mind for your design do not justify all means.’
[2006, p.170]
This provides a helpful and solid framework by which designers may be keeping themselves, and their design, accountable. When challenged by such daunting ethical questions, as a designer, it is easy to become completely consumed by the mire of semantics and philosophical debates, however, we must be prepared. It is important for us to be pushing boundaries, questioning beliefs, challenging preconceptions and innovating, but we must do so by generating ethical, honest and responsible design outcomes and solutions.
References
Dorst, K. 2006, Under-standing design, 2 edn, Bis, Amsterdam.
Manzini, E. 2015, Design, When Everybody Designs: An Introduction to Design for Social Innovation, trans. R. Coad, The MIT Press, Cambridge, Massachusetts.
Triverio, M. 2011, Feel Me, videorecording, Vimeo, viewed 15 October 2015, < https://vimeo.com/33500689 >