“the place and time in which a narrative happens” (von Stackelberg and McDowell 2015, 32); “A storyworld defines the spatial and temporal situation of a narrative, including environmental, social, cultural, political, economic, and other systemic attributes, and should have a degree of internal coherence” (Burdick 2019, 83)

Diegetic prototype
“an artifact from someplace else, telling stories about other worlds” (Bleecker 2009)

the process of constructing imaginary worlds. In the context of science fiction, world-building is often contrasted to the creation plots, which operate in a temporal dimension as opposed to worlds which are spatial.

Design fiction
“the deliberate use of diegetic prototypes to suspend disbelief about change” (Sterling 2013)

Use-centred history
An understanding of technology that focuses on use in different places and times rather than innovation or the early stages of technological adoption.

Innovation-centric history
An understanding of technology that focuses on invention, innovation and the early stages of technological adoption.

David Edgerton’s way of describing the process by which different technologies are adapted and appropriated in the ‘poor world’ according to locally specific, distinctive socio-technical practices.

Speculative design
“speculative design specifically focuses on science and technology, establishing and projecting scenarios of use” (Malpass 2013, 337); “to use design as a means of speculating how things could be” (Dunne and Raby 2013, 2); “an attitude that can be applied as a kind of ‘ratchet’ or time-slider on practices like interaction or service design” (Hill 2020).

Critical design
“Critical Design uses speculative design proposals to challenge narrow assumptions, preconceptions and givens about the role products play in everyday life. It is more of an attitude than anything else, a position rather than a method” (Dunne and Raby); “Critical design, however, emerged from developments in the field of human–computer interaction and later interaction design. In that context, it challenged conventional approaches in designing human–object interaction” (Malpass 2013, 337)

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