This paper introduces and contextualises Climate Futures, an experiment in which AI was repurposed as a ‘co-author’ of climate stories and a co-designer of climate-related images that facilitate reflections on present and future(s) of living with climate change. It converses with histories of writing and computation, including surrealistic ‘algorithmic writing’, recombinatory poems and ‘electronic literature’. At the core lies a reflection about how machine learning’s associative, predictive and regenerative capacities can be employed in playful, critical and contemplative goals. Our goal is not automating writing (as in product-oriented applications of AI). Instead, as poet Charles Hartman argues, ‘the question isn’t exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting’ (1996, p. 5). STS scholars critique labs as future-making sites and machine learning modelling practices and, for example, describe them also as fictions. Building on these critiques and in line with ‘critical technical practice’ (Agre, 1997), we embed our critique of ‘making the future’ in how we employ machine learning to design a tool for looking ahead and telling stories on life with climate change. This has involved engaging with climate narratives and machine learning from the critical and practical perspectives of artistic research. We trained machine learning algorithms (i.e. GPT-2 and AttnGAN) using climate fiction novels (as a dataset of cultural imaginaries of the future). We prompted them to produce new climate fiction stories and images, which we edited to create a tarot-like deck and a story-book, thus also playfully engaging with machine learning’s predictive associations. The tarot deck is designed to facilitate conversations about climate change. How to imagine the future beyond scenarios of resilience and the dystopian? How to aid our transition into different ways of caring for the planet and each other?
Using language adequately within specific content areas can be challenging for students. In this study a curricular design was developed through a series of trials, with the aim to arrive at general principles for a pedagogy that helps students to write about an engineering (electronics) design. The curricular design was theoretically anchored in ‘genre pedagogy’ and in the pedagogy of engineering and technology. The interventions were carried out by one experienced teacher in one course, during three consecutive cycles of trialing and improving the curricular design. Qualitative data were analyzed using theory-based codes as well as codes that emerged from the data. The resulting design principles for teaching to write about (engineering) design are categorized as: setting a functional writing task, scaffolding the writing process, and a relevant, complete and feasible focus on language. For each of these, specifications are described.
Young widowhood, conceptualized as the loss of one’s spouse before the age of 50, is a profoundly painful and distressing loss (Den Elzen, 2017, 2018). The literature on young widowhood shows the death of a partner generally causes a fragmentation of the self, as it violates expectations of the normal life cycle, namely growing old together (Haase and Johnston, 2012; Levinson, 1997). Premature loss of one’s spouse tends to be experienced by the surviving partner as distressing or traumatizing, such as having witnessed their suffering in illness or through accident (Den Elzen, 2018) or in struggling with unfinished business (Holland et al, 2020). Whilst post-traumatic stress is well-known and has been widely researched across various disciplines, the concept of post-traumatic growth is much newer and by contrast has received less attention. PTG was introduced as a scholarly concept by Tedeschi and Calhoun in the mid-1990s and is defined as a positive psychological change as a result of the struggle with highly challenging life events (2004). Calhoun and Tedeschi’s notion of PTG has been backed by a recent systematic review. In the first meta-analysis of moderate-to-high PTG, Wu et al. found that of the 10,181 subjects, about 50% experienced PTG (2019). They also reported that women, young people and victims of trauma experienced higher levels of PTG than men, the elderly and those who experienced indirect trauma. PTG has attracted some controversy, with some researchers questioning its scientific validity (Jayawickreme and Blackie, 2014). Others caution against the minimization of people’s suffering. Hayward is a trauma counsellor who advises approaching PTG carefully, highlighting that if it is introduced with clients too early it can "often be construed as minimizing someone's pain and suffering and minimizing the impact of the loss" (cited in Collier, 2016, n.p.). In addressing the critique of PTG, Calhoun and Tedeschi (2006) emphasize that the focus on investigating positive psychological change following trauma does not deny the common and well-documented negative psychological responses and distress following severe life stresses: “Negative events tend to produce, for most persons, consequences that are negative” (p.4). They argue however, and their research supports this finding, that for many people distressful events can foster positive psychological changes. We view PTG as a possibility following (profound) loss, and emphasize that PTG may continue to co-exist with painful and/or unresolved emotions regarding the loss itself. We conceptualize PTG as a continuum and not as an either/or binary with grief. Further, we wish to highlight that PTG is a highly individual process that depends on many factors, and we are not suggesting that the absence of PTG is to be seen as a failure. This chapter intends to contribute to the study of PTG through a person-centered approach. The most used method to assess PTG is the 21-item posttraumatic growth inventory developed by Calhoun and Tedeschi in 1996 (Jayawickreme & Blackie, 2014). Self-reported posttraumatic growth has been the foundation of PTG research, which has aimed to identify to what extent PTG evokes improved psychological and physical health. In discussing our own creative narrative processes of PTG, our practice-led-research lens aims to contribute to research on how PTG might be fostered. We propose a Writing-for-wellbeing approach in this context and explore what it offered us both as writers and widows and what it might offer the field of Writing-for-wellbeing and by extension clinical and scholarly practice.
