At the age of a failing economic system and undeniable evidence of the effects humankind has had over the planet, it is necessary to look for alternatives to the way we live locally. This article explores the use of designing narratives and metanarratives to co-create imaginaries serving as the needed alternatives. This research starts by considering the historical factors to understand how industrialisation and the loss of traditional practices created a culture of disconnection from Nature in the Girona area, but also looks at why people start now reconnecting with it. The analysis is the foundation for speculative design practices to co-create a new local narrative of connection and regeneration. The project adopted the Integrative Worldviews Framework and used paradoxes to create possible future worldviews based on historical factors and literature. Citizens participated in conversational future-visioning workshops to develop and evaluate their local imagery of the previously created worldviews. This conversation-based exercise evidenced the potential of paradoxes in destructive futures to create imaginaries of regeneration. These imaginaries merge and form future stories. From the future narratives, the practice created cultural artefacts embodying a new culture of connection based on storytelling, traditional jobs, and a mythological understanding of Nature. Finally, as observed at the end of the project, these artefacts allow citizens to adopt them as their culture and expand their current worldview.
This is a critique of how designers deal with contending histories and multiple presents in design to speculate about socio-technical futures. The paper unpacks how embedded definitions and assumptions of temporality in current design tools contribute to coloniality in designed futures. As design practice becomes implicated in how oppression extends from physical systems to global digital platforms, our critique rejects the notion that it is only AI that needs fixing and it dissects the Futures Cone used in speculative design to make these issues visible. As an alternative, we offer a hauntological vocabulary to aid designers in reorienting their speculative tools and accommodating pluriversality in anticipatory futures. To illustrate the benefits of the proposed metaphors, we highlight examples of coloniality in digital spaces and emphasize the failure of speculative design to decolonize future imaginaries. Using points of reference from hauntology, those that engage with uncertain states of lingering or spectrality, and notions of nostalgia, absence, and anticipation, this paper contributes to rethinking the role that design tools play in colonizing future imaginaries, especially those pertaining to potentially disruptive technologies.
Dit rapport is geproduceerd door het lectoraat Duurzame Paardenhouderij en Paardensport van Hogeschool Van Hall Larenstein. De inhoud biedt algemene handvatten over het inrichten van biodiverse en paardvriendelijke paardenhouderijen, met aandacht voor landschapskwaliteit en bedrijfsvoering.
MULTIFILE
Under the umbrella of artistic sustenance, I question the life of materials, subjective value structures, and working conditions underlying exhibition making through three interconnected areas of inquiry: Material Life and Ecological Impact — how to avoid the accumulation of physical materials/storage after exhibitions? I aim to highlight the provenance and afterlife of exhibition materials in my practice, seeking economic and ecological alternatives to traditional practices through sustainable solutions like borrowing, reselling, and alternative storage methods that could transform exhibition material handling and thoughts on material storage and circulation. Value Systems and Economic Conditions —what do we mean when we talk about 'value' in relation to art? By examining the flow of financial value in contemporary art and addressing the subjectivity of worth in art-making and artists' livelihoods, I question traditional notions of sculptural skill while advocating for recognition of conceptual labour. The research considers how artists might be compensated for the elegance of thought rather than just material output. Text as Archive and Speculation— how can text can store, speculate, and circulate the invisible labour and layers of exhibition making? Through titles, material lists, and exhibition texts, I explore writing's potential to uncover latent structures and document invisible labor, considering text both as an archiving method and a tool for speculating about future exhibitions. Using personal practice as a case study, ‘Conditions for Raw Materials’ seeks to question notions of value in contemporary art, develop alternative economic models, and make visible the material, financial, and relational flows within exhibitions. The research will manifest through international exhibitions, a book combining poetic auto-theoretical reflection with exhibition speculation, new teaching formats, and long-term investigations. Following “sticky relations," of intimacy, economy and conditions, each exhibition serves as a case study exploring exhibition making from emotional, ecological, and economic perspectives.
