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Date: October 1, 2025

Summary: Julian Bleecker reflects on the art of making futures tangible through design artifacts — “functional fictions” that let organizations prototype possibility instead of merely predicting it. Drawing parallels between his analog cycling computer at OMATA and Bill Bowerman’s 1967 book *Jogging*, he shows how artifacts can manifest imagined worlds into being. These objects are not finished products, but fragments of alternate presents — rough, conversational probes that help teams learn, adapt, and navigate shifting technological terrain. In an era where AI and uncertainty accelerate faster than planning cycles, Bleecker argues for institutionalizing imagination itself as a strategic capacity.

Essentially: The future isn’t forecast — it’s fabricated. Every artifact worth making is a small act of time travel.

But why? To imagine is to evolve before the environment demands it.

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A photo of a retail box containing the internet
It's one thing to have an idea. It's another to get it anywhere that feels complete — especially when the terrain keeps shifting.

Ten years ago, I was building OMATA, the product design company and studio I ran out of my backyard. The product I made — a cycling computer with an analog display — was often described as unusual and to some it was even seen as laughably absurd. (I remember one guy saying that he wouldn't touch it with a 10 foot pole, whatever that means.)

But the point was not quirkiness. The point was that it carried within it a world where such an object felt completely natural. Not a novelty, not a provocation. Just a straightforward piece of equipment from a possible present — “or adjacent now” — that hadn't quite happened yet.

A page from Bill Bowerman's book 'Jogging' showing people jogging in 1967
A page from Bill Bowerman's book 'Jogging' showing people jogging in 1967
Vastly different context and scale, but I'll mention this: I keep a copy of the first edition of Bill Bowerman's book "Jogging" on the shelf next to my studio desk.

The book itself showed a world of people running about in such a way that it's just something people do. But imagine this: in 1967 when the book came out, there was no such thing as "jogging." There were no jogging clubs. No costumes to wear (as you can see in the book — women running in their housecoats and clear plastic rain coats; a guy running in Chuck Taylors and a heavy leather belt with a metal belt buckle).

You've heard the lore — Bowerman was famously prototyping this world in which people jogging was about as weird as breakfast bacon, doing it all by making his own running shoes by hand.

The book Bowerman wrote — called, simply enough, “Jogging” — was his way of making that future tangible. It was an artifact from a world that didn't yet exist, but that he was bringing into being by force of his imagination and the act of making.

That's the role artifacts can play: they make visible a world in which they belong. They allow people to step into a different register of possibility, even if only for a moment.

And this is the kind of practice organizations need now. Not more slide decks, not more reports, not sterile personas. What's required are artifacts — what I call functional fictions. Tangible probes built quickly, in two-week or four-week sprints, to make possible futures something you can see, touch, or use.

These aren't predictions. They're not market-ready products. They're deliberately partial, sometimes rough, but real enough to start conversations and expose assumptions. They're fragments from an archaeological dig, pieces of evidence from worlds that might be. And when taken together, those fragments begin to outline a terrain leaders can navigate.

Most importantly this practice that you are probably missing but desperately need allows you and your organization to learn hands-on, while the field is still vast and unexplored.

I've seen what happens when that kind of practice is missing — and also what Dawinian tragedy can unfold when it's not. (I spent 8 years at Nokia — starting the year the iPhone came out..so I can say with some insider perspective that I've seen what happens when the business consciousness trips over itself with too much imagination-constraining structure, and a lack of willingness to experiment.)

This is where many organizations find themselves today with AI. Roadmaps are compressing. Categories are shifting before they're even established. The old playbooks are running out. Efficiency won't help you here. What's needed is a capacity to explore — to send small, expeditionary teams out into this new terrain with the mandate to build functional fictions and bring back what they find.

This isn't 1995. "AI in a box" makes for a good punchline, but the future doesn't come shrink-wrapped. You cannot expect it to align neatly with your expectations.

So here's my advice: invest in your team's imagination. Imagination, as I like to say, is evolutionary advantage.

Build a space for engineered speculation and rapid prototyping. Use functional fictions not as finished answers but as conversation starters that pull strategy forward. The organizations that do this won't just be prepared for the next shift. They'll be the ones defining it.

 
 
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Anatomy of a Scene

An Explication of the Predicament of the Creative Consciousness

A continuation of an explication of the relationship between Imagination and Structure, using a scene from John Carpenter's super important 1988 film "They Live" to illustrate the struggle of the artist to get others to see the world as they do. We see the dynamics of creative consciousness and rational consciousness and the passionate desire of the Creative Consciousness to help or have the Rational Consciousness see the aspects of the world that lurk below the surface; those that are not immediately visible or obvious. These notes underscore the importance of this relationship in the creative process and the challenges faced by artists in communicating their vision. Probably ideas for a longer essay or pamphlet on the subject.

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