Jul 24 2008
Do scenarios of the future fulfil their function because they are “artistic”?
I was struck by this picture
which is produced by a group called Squint/Opera, as part of a set of images of how London population would adapt to raised sea levels. The images, set in the year 2090, are on exhibition at the Medcalf Gallery in Clerkenwell, and the full set can be found here.
The “Flooded London 2090″ images are, of course, a scenario of the future. They evoke a time long after the impact of global warming / a rising sea has past. People have adapted and London is a tranquil utopia. It is not all bad – the rat race gone – swept away with other forms of current (2008) worldly obsessions in a kind of Noah’s flood. The world has become a slower, less complicated place.
As a piece of futures work there are various things to say. First of course, this is a scenario not a prediction. Nobody can predict 2090. Yet, as a scenario, with that intrinsic license to explore the margins of plausibility, it fabulously fulfils one of the primary functions of scenarios: to evoke a mental and possibly even an emotional response. Most scenarios – for example about global warming – are backed up by data and spreadsheets and citations (often necessary and correct) but these images tell the story in a somehow more direct and therefore compelling way, and the old adage a picture is worth 1000 words was never more apt. As all classic scenario analysts, from Pierre Wack to Peter Schwartz to … etc, say: a good scenario should provide a gentle jolt to management – forcing them to consider unexpected events and outcomes and prepare themselves mentally and practically to respond, and these images do that.
Scenarios: the artistic function
Now the question I pose myself – and anyone out there reading – is what is the relationship between scenario’s and art? Is the picture of the future that jolts – whether in a written narrative form or by pictures or film – not jolting in the same way as art does and for the same reason. Isn’t this the classic defamiliarization function of art (possibly mixed with social critique. Here of course it is not merely a warming about global warming that is being communicated, but also commentary about the pace of life, stress, time-crunch, and how this may not be so in the future. Everyone sees the future as more, faster, complexity. But maybe it is not.) Anyway, these images are a scenarios, and they are art, and all good scenarios should work in part “artistically” to defamiliarize the world as art does. (For background on Schklovsky and defamiliarization in art see here)
Squint/Opera is an interestingly multi-disciplinary group. It is a film and media studio that makes visualisations about the built environment, in their terms: “combining humour and narration with imaginative design, innovative visual effects and illustrative techniques.” A scenario firm, in other words, with apologies to the scenario planning traditionalists.





