73.1 ± 14.7% with and without music, respectively p ≤ 0.05). This was associated with a greater decrease in RPE (77.7 ± 14.4 vs. The increased number of steps during the recovery was accompanied by a significantly greater decrease in blood lactate concentration percentage (28.1 ± 12.2 vs.
413.2 ± 150.6 steps, with and without music, respectively p ≤ 0.05). Listening to motivational music during the recovery was associated with increased voluntary activity of the participants, determined by increased number of steps (499.4 ± 220.1 vs. There was no difference in the mean HR during the recovery with and without music. The mean heart rate (HR), RPE, number of steps (determined by step counter), and blood lactate concentrations were determined at 3, 6, 9, 12, and 15 minutes during the recovery from the exercise, with and without motivational music (2 separate sessions, at random order). Twenty young, active men (mean age 26.2 ± 2.1 years) performed a 6-minute run at peak oxygen consumption speed (predetermined from the VO(2) max test). Therefore, the aim of this study was to determine the effect of motivational music (music that stimulates or inspires physical activity) during recovery from intense exercise, on activity pattern, rate of perceived exertion (RPE), and blood lactate concentration. Yet, these results are not applicable for competitive athletes, who can use music only during warm-up or recovery from exercise. The effects of music played during an exercise task on athletic performance have been previously studied.
Developed from early deployments across a range of settings in everyday life, from urban guerrilla-style activism to corporate consulting, experiential scenarios do not offer definitive answers as to how the future will look, or even how it should look, but they can contribute to a mental ecology within which these questions may be posed and discussed more effectively than ever before. The upshot is that our apparent binary choice between unthinkable dystopia and unimaginable utopia is a false dilemma, because in fact, we can and should imagine ‘possibility space’ hyperdimensionally, and seek to flesh out worlds hitherto supposed unimaginable or unthinkable on a daily basis. The relationships between these three domains - futures, design, and politics - are explored to show how and why they are coming together, and what each has to offer the others. The beginnings of aesthetic, political and ethical frameworks for ‘experiential futures’ are proposed, drawing on alternative futures methodology, the emerging anti- mediumist practice of ‘experience design’, and the theoretical perspective of a Rancièrian ‘politics of aesthetics’.
In this dissertation, a methodology for ‘experiential scenarios’, covering a range of interventions and media from immersive performance to stand-alone ‘artifacts from the future’, is offered as a partial corrective.
The great existential challenges facing the human species can be traced, in part, to the fact that we have underdeveloped discursive practices for thinking possible worlds ‘out loud’, performatively and materially, in the register of experience.
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