Paint it black
One of the purposes of good futures work should be “to make the future strange,” to push people out of their assumption that what is normal now will go on being normal in the future. One of my favourite exercise for this is Douglas Coupland’s “Reverse Time Capsule“, published in Wired magazine in the 1990s, that listed things in the present that would have seemed unlikely, or worse, 20 years previously. One favourite example from his list: the Japanese luxury car.
When I run workshops, I sometimes get people to bring objects that would have seemed unlikely in the mid-1990s, while discouraging the obvious consumer-techno choices. Having re-read some of the early history of the AIDS epidemic recently, and the way in which it wasn’t taken that seriously at first because the main victims were gay men and drugs users, in 2016 gay marriage seems a strong candidate for the current reverse time capsule.
The past is strange
But it’s also useful to remind people that the past is also strange, and there were two good examples of this in Bill Bryson’s book on Shakespeare, which I cantered through recently, both on the colour black.
The first is that black clothes, as seen in this portrait (probably) of Shakespeare, were a sign of wealth and status. The reason for this was that black dyes were much more expensive than other dyes. This was at a time when–according to James Wallman’s book *Stuffocation*–it took two months’ work to make a shirt, which would cost the equivalent of arounf £2,000 ($3,000) at current prices.
The second is more surprising. Sugar arrived in Britain in the Elizabethan period, but again it was expensive, and therefore only the well-off could afford it. The result: they ended up with blackened teeth (dentistry didn’t catch up until a few hundred years later). So the less affluent would blacken their teeth to pretend that they too could afford sugar, and were therefore wealthier than they were.
The image of Shakespeare is from Wikimedia. It was painted sometime between 1600 and 1610, perhaps by John Taylor.