Dancing with the Unexpected and Beyond The Use of AI Assistance in Design Fiction Creation Yiying Wu

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Dancing with the Unexpected and Beyond

The Use of AI Assistance in Design Fiction Creation

Yiying Wu

School of Design, The Hong Kong Polytechnic University, Hong Kong, China, bowyiying.wu@polyu.edu.hk

Yunye Yu

School of Foreign Languages, Southeast University, Nanjing, China, yunye.yu@seu.edu.cn

Pengcheng An

Southern University of Science and Technology, Shenzhen, China, anpc@sustech.edu.cn

The creation process of design fiction is going participatory and inclusive with non-experts. Recognizing the potential of artificial

intelligence in creativity support, we explore the use of AI assistance in creating design fiction. This investigation is based on a

workshop on ‘future work in 2040’ with Chinese youth (N=20). We look into fiction quality, participants’ experiences with the AI

agent, and their ways of incorporating those texts into writing. Our findings show that human writers while responding to messy

and unexpected AI-generated texts, can elevate the richness and creativity in writing and initiate joyful and inspirational

interactions. Furthermore, for the design of AI assistance in creativity support, we suggest two implications of enhancing

interactional quality between human and AI and prompt programming. Our study indicates the potential of applying design fiction

outside the design context using a more inclusive approach for future speculation with critical reflection on technology.

CCS CONCEPTS • Human-centred computing • Human-computer interaction • Empirical studies in HCI

Keywords: Design fiction, Human-AI interaction, Creative writing, Creativity support tools

1 INTRODUCTION

How will technological futures look? What will be the societal and ethical implications of disruptive

technologies? These questions are often answered by experts such as engineers, developers, or technological

futurists. However, the expert-based practice is criticised for the reproduction of the same hegemonic structure and

the incapability of producing widen options of future [32], and the ‘power imbalance’ that disfavour certain groups

and voices that eventually do not have a future [39, 51]. Opposing it, a participatory and inclusive approach to future

speculation is increasingly seen as significant [54]. This approach is not only about the participatory process that

should involve various voices but also refer to more plural and widening options the for future [10]. Studies show

that laypeople have the future thinking and are especially good at contextualising macro impacts on their individual

lives [24]. In practice, more non-experts are involved in creating future images and expressing preferences and

opinions on technologies. In futures studies, people are invited to develop future scenarios in various themes of

sustainable lifestyle [27], work [29], and energy [60].

Regarding future images, we are particularly interested in the provocative type of technological futures in

which new technologies are not glorified and the complicated implications are discussed. By inviting people to

create such scenarios, we wish to nurture the critical thinking of technology. This practice is resonated with the

method of Design fiction from the HCI field. Design fiction has been a valuable tool in searching for the ethical and

societal implications of emerging technology and developing critical thinking towards it. Despite the diversity in

definitions, origins or approaches of design fiction practice [5, 41], the common elements refer to the narrative of

the yet-to-exist with the ‘discursive turn’ [36]. Thus, we take the two elements of speculative and provocative from

Design fiction to frame the future images to be created in our study. It is worthy of note that we are aware that one

essential element of Design fiction is the making of ‘diegetic prototype’ [6] and the design fictions created from our

case might not be considered ‘designerly’ enough for some designers. However, the primary aim of our work is to

democratise the speculative and critical thinking to the larger mass. Thus, our study takes the narrative focus of

Design fiction. It shares the affinity with other co-creation work of design fiction that is text-based [2, 19] and

emphasizes the narrative potential in enquiries [18]. Also, the design fictions produced in this study would not focus

on product development, but the development of narratives of new concepts and critical reflection.

The participatory thread in design fiction creation also leads to the challenge. The co-design literature claims

that everyone is creative and the expert of their own experience [38, 52]. However, a challenge is how to facilitate

people imagining and even debating the future that is yet-to-exist and new technologies that are unfamiliar? Taking

up this challenge, we aim to facilitate and empower everyone in the creation and reflection. In the fields of design

research and HCI, many researchers have developed tools and processes to involve non-designers’ voices in

innovating new technologies and commenting on future scenarios [37]. We will review the related work in detail in

the later section. Here, this paper looks into the potential of artificial intelligence (AI) in assisting the creation

process which is not experimented in the design fiction practice. Recently, AI-assisted tools are experimented in

creativity activities such as drawing, music composition, story creation, and design ideation [29]. Built on these

early attempts, we aim to investigate ‘how AI assistance would influence non-designers’ creation process of design

fictions. The AI-assisted tool chosen in this study is Generative Pre-trained Transformer-2 (GPT-2, referred as the

transformer), a powerful text-generation model based on unsupervised multitask learning. The transformer was

trained with corpus from THUCNews and nlp_chinese_corpus, using Cloud TPU POD v3-256 to train 22w steps

[40].And the transformer can produce Chinese texts based on a large-scale database of Chinese web texts and novels.

The investigation looks at three aspects of the quality of fictions, participants’ experiences with the AI agent, and

most importantly, their ways of incorporating those texts in writing. Our investigation is based on writing

workshops of design fictions with 130 Chinese youth studying different subjects in Southeast University. In the

workshop, each student is required to produce a piece of fiction about a future world of automated work in 2040.

The workshop is part of the university’s liberal education on technologies. help Chinese youth develop and

communicate their critical reflections on emerging technologies in the future of 2040. The 45 participants are

divided into two groups. One group (N=20) used AI-assistance in their writing process and the other group (N=25)

developed fictions entirely on themselves. The analysis focuses on the group that use AI assistance. After the

workshop, we conduct survey and post-interviews with participants and also rate the fiction quality from both

groups. Based on the data, we present our findings of the main values of AI assistance in the process of creating

design fiction. For further design and use of AI assistance in creating design fiction and similar creative work, we

propose two findings of enhancing interactional quality between humans and AI and prompt programming. Lastly,

for the practitioners with similar interest in the participatory approach to future speculation, this study shows the

potential of AI assistance in making the process more inclusive and diffuse with a larger number of audiences.

2 RELATED WORK

The investigation of AI assistance in design fiction creation is built on three bodies of work. Primarily positioned in

design fiction practice, we firstly reflect the tools and strategies of facilitating participatory process of design fiction

from the design community. Secondly, we examine some early attempts from the HCI field of applying AI assistance

in creative activities. Built on the experiences and learnings, future opportunities and concerns are proposed.

Thirdly, we review the ways of planning and studying creative writing processes from creative writing scholars.

2.1 Tools, Strategies in Creating Design Fictions with Non-experts

Design researchers have made great attempt to develop tools and processes to better craft design fictions for both

design experts and non-experts. Recently, increasing efforts are on engaging non-experts in the participatory design

fiction process [37] . The common context is the co-design workshop with a specific design investigation of a yet-

to-exist technology in which non-designers such as future users or citizens, stakeholders, or company partners are

invited. However, it is especially challenging for non-designers to imagine beyond their daily lived experiences.

Therefore, in co-design workshops, a wide range of prompts are provided to feed or spark imagination, such as

related articles, clips of TV shows or movies [7], questionable design concepts [58], and narratives of imaginary

technologies [2]. Moreover, the provision of backdrop has been found useful for participants to take a leap from the

present, enter the fictional world, and get sensitised with the futuristic ambiance. For instance, in Baumann et al.’s

[4] co-design project of envisioning future neighbourhood with urban technologies, researchers carefully

embedded design brief in ‘what if’ prompts for participants, like ‘what if self-driving shuttles replaced privately

owned vehicles?’. Another strategy is seen in Wu et al.’s [62] work which envisions a future of autonomous shipping

in 2035. The co-design workshop with company partners was structured based on the storyline that experts and

company developers ‘travelled’ to a year when the automated system of shipping had been implemented and

influenced the society. In addition, Cheon & Su [12] applied the technique of ‘autobiography’ that invited

participants to explain how the story was developed from the present.

When facilitation materials are various, participants’ ways of contributing to the creation process are also

different. For instance, participants co-compose their imagined futures [2], develop the half-finished storyline with

role-playing [62], or give opinions to the written fictions by experts [1, 57, 58]. Lately, a more performative and

interventionist approach is experimented [11]. Noortman et al. [43] gave participants a prototype of remote care

device and asked them to play the role of a caregiver for dementia patients. Similarly in the topic of elderly care, Ng

et al. [42] built a fictional online shopping page of a social robot for the Spring Festival of 2035 and asked users

about their purchase decisions and further stories.

2.2 AI Assisted Tools in Creativity Support

The advancement in artificial intelligence (AI) enables AI to play an increasingly significant role in creative work

such as drawing and music. The enquiries of applying AI in art and design activities and human-AI collaboration

have been of the interest of the HCI community. However, the design for better human-AI interaction is full of

challenges across the design process [63]. For instance, the unpredictability of AI’s capability, outcome, and error

makes designers difficult to ideate functions, plan use scenarios, or test prototypes. Despite of the challenges and

difficulties, the rapid development in AI such as learning algorithm [46] or large-scale models [9] brings new

possibilities that researchers cannot resist. In recent years, there are emerging early attempts that explore AI

support in creativity such as creative writing [15, 35, 44], drawing [21, 47, 65], design ideation [30, 31, 34]. As

Chung et al. [14] observe that the HCI field has developed more tools to support vision-oriented activities of idea

generation rather than skill-improvement such as revision or implementation.

Studies have shown the two main contributions of AI-assisted tools in creativity support which are to inspire

and to motivate. To inspire, however, researchers take a careful attitude towards keeping the autonomous role of

human writers in the collaboration. Suggestions such as ‘Machine in the loop’ [15], ‘Say Anything’ [56] and ‘Creative

Help’ [50] are provided so that when human get inspired they still have the final control over the final result. Osone

et al. [44] are more cautious, who focus on improvement based on writer’s written content and further increase

their interest in creating more new ideas on their own. Apart from suggesting new ideas, information and

knowledge [14], motivating writers is also regarded crucial. Therefore, the format of games is a common

engagement strategy to consider, such as role-playing [44] and mystery game [35].

Among the successful early endeavours of AI assistance in creativity support, they share the sense of

excitement on various new opportunities brought by more powerful AI in terms of reliability in coherent

performance, predictability in output [14], or more human-alike interaction and behaviours [28, 45]. However,

while most of the attention is paid to the improvement of machines skills [23], rare looks at user experiences related

to interface or collaboration and the specification of intended user groups [14]. However, there is an exception that

Hwang & Won [30] locate user experiences in teamworking in ideation. By closely studying the differences of

robotic-sounding and a human-like conversation styles, the study indicates the important concerns, such as

perceived image of the AI agent, and self-efficacy of human, for further research. The current stage of these exciting

and new possibilities poses a good question to designers: which improvement or new possibility do we want to

focus on?

2.3 Creative Writing: Exploring the Making of a Creative Mind in Laypersons

Creative writing studies provide this paper with insights regarding planning and studying the creative writing

process. Creative writing is a creative behaviour in nature and the generation of creative thoughts can be

synthesized as a four-stage process [59]: the first one being preparation, in which the topic or problem is

investigated in all directions; the second one being incubation, in which the author is not consciously thinking about

the problem; the third one being illumination, the appearance of the ‘happy idea’ together with the psychological

events which immediately precedes and accompanied the appearance of ideas; the fourth stage being verification.

And for short-story and novels, Crowley [16] gave out a four-stage process: ‘the germ of the story’, ‘the period of

more or less conscious meditation’, ‘the first draft’, and ‘the revision’. And for the more poetic way of expression,

Wilson suggests five stages [61]: ‘the selective perception of the environment’; ‘the acquisition of technique the

envisioning of combinations and distillation’; ‘elucidation of the vision’, and ‘the end of the poem and its meaning

to the poet’. Theories of the creative process of different genres helped us see the writing of design fiction as a

situated practice that undergoes a series of cognitive and behavioural stops before coming into being.

To study and understand the creative writing process, as Emig [20] put it, traditionally there are three major

types of data. The first type is the accounts concerning writers, such as a writer’s description of or reflection on

one’s own method of writing and revision. For instance, ‘author talk’ is the dialogue or correspondence between a

writer and ‘a highly attuned respondent’ such as an experienced editor or a fellow writer, and critical analysis of

the evolution of the writing from sources and revisions. The second type is to directives and handbooks of creative

writing by authors, editors of rhetoric and compositions. The third type is the research of ‘the creative process’ of

writing among adolescents. Aiming at a triangulation approach, we formulate our research plan using the first and

third type of data with multiple methods, such as surveys of participants’ writing experience, interviews, and

thematic analysis of writing products. We believe that the accounts about the writing process, made both by the

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DancingwiththeUnexpectedandBeyondTheUseofAIAssistanceinDesignFictionCreationYiyingWuSchoolofDesign,TheHongKongPolytechnicUniversity,HongKong,China,bowyiying.wu@polyu.edu.hkYunyeYuSchoolofForeignLanguages,SoutheastUniversity,Nanjing,China,yunye.yu@seu.edu.cnPengchengAnSouthernUniversityofScienceandTe...

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