In the last month, the Visual Methodologies Collective participated in Regenerative Futures, a month-long design challenge to envision what a more desirable future could look like. Launched by SPACE10, a research and design lab based in Copenhagen, the call invited to use different AI generative models to develop a vision of the future home, community, or city.The call invited to reflect on different speculative briefs: resilient futures (How will future communities co-exist with non-human species? And how might the design of our homes and communities nurture surrounding ecosystems?), symbiotic futures (As we look to the future, how can we design homes as spaces of refuge and resilience? How will they flex to sudden climatic changes, while being conscious of the land and ecology around them?) collective futures (What would a self-sustaining city look like? How can we adapt and evolve existing structures and streets to better support collective living?)
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The Kenyan supreme court recently struck down a government decision to ban the registration of an LGBTIQ+ community rights organisation, sparking new homophobic rhetoric in the country. Kenya is one of 32 African countries that criminalises homosexuality. Those who identify as part of the LGBTIQ+ community are often discriminated against, harassed and assaulted. Lise Woensdregt and Naomi van Stapele, who have researched queer experiences in Kenya for nine years, explain the impact of this ruling.
"My PD-trajectory aims to contribute to knowledge development in the domains of artacademic institutions, the queer/drag/HIV community, and advocacy as context for queer safety. Emphasis will be placed on how to write, document, design, and archive elements in order to shape language to actively comprehend each other’s affinities, aspirations, and propel visibility for emancipatory realities by creating empathy among differences. Incorporating the theorization of new terms such as “gift dragonomy” and “dragging as grafting” based on drag mothering knowledge will play an active role in preserving subcultural language while avoiding ‘representational fixity.”
In 2007 at Ropecon, a large Finnish roleplaying convention, Emily Care Boss coined the term bleed to refer to emotional transference that sometimes happened to players of roleplaying games. Bleed describes an effect where emotions and attitudes experienced while roleplaying a character continue on after the roleplaying session was over, or the other way around, where a player brings their own feelings into the character they are embodying. For example, a player would roleplay a romance with another player's character, and then develop feelings for said player after the game was over. Bleed can create powerful effects in a roleplaying session, both positive and negative, which has resulted in the development of various best practices and safety tools that analogue game designers can draw upon, and roleplaying games frequently have mechanics designed around inducing and maximizing particular types of bleed in their players. Bleed mechanics lend themselves particularly well to exploring queer and otherwise marginalized identities, generating empathy, and exploring acts of political resistance. They are a powerful tool in the analogue game designers’ toolbox. Digital games make comparatively far less use of bleed in their designs than analogue games—the concept of bleed is not well-known among digital game designers. Consequently, there is little guidance for designing digital bleed mechanics, and insufficient safety tools with which to do so. With how powerful these effects can be, the knowledge and tools gaps for digital games needs addressing. This research project will create primarily digital narrative games that are explicitly designed to invoke bleed, and seeks to provide designers with new frameworks and safety tools to create bleed effects for digital games. Games will be created with varying themes and approaches regarding identity and storytelling to explore how, in particular, narrative design influences bleed in digital games.
