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    <description>recent bookmarks from robertogreco</description>
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	<rdf:li rdf:resource="https://farsight.cifs.dk/the-future-is-mundane/"/>
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	<rdf:li rdf:resource="https://www.dukeupress.edu/experimental-practice"/>
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	<rdf:li rdf:resource="https://futuress.org/magazine/a-designerly-inventory/"/>
	<rdf:li rdf:resource="https://dribbble.com/shots/5974795-YOU-ARE-NOT-SAFE"/>
	<rdf:li rdf:resource="https://sfbayview.com/2020/07/could-san-francisco-capital-of-anti-blackness-become-a-sanctuary-city-for-black-lives/"/>
	<rdf:li rdf:resource="https://www.newyorker.com/magazine/2020/07/20/the-argument-of-afropessimism"/>
	<rdf:li rdf:resource="https://modernitycoloniality.com/"/>
	<rdf:li rdf:resource="https://medium.com/@ajamonetbacquie/rising-for-a-global-feminist-future-with-the-movement-to-elect-bernie-sanders-87ba395d30b8"/>
	<rdf:li rdf:resource="http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/"/>
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	<rdf:li rdf:resource="http://xiaoweiwang.com/spicytakes/2019-05-01/post"/>
	<rdf:li rdf:resource="https://www.akpress.org/emergentstrategy.html"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=o341S4xh1r0"/>
	<rdf:li rdf:resource="http://www.bbc.co.uk/programmes/b08nqc4j"/>
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	<rdf:li rdf:resource="http://www.sternberg-press.com/index.php?pageId=1615&amp;l=en&amp;bookId=509&amp;sort=year"/>
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	<rdf:li rdf:resource="http://www.nytimes.com/2015/10/10/opinion/the-other-refugee-crisis.html"/>
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	<rdf:li rdf:resource="http://nextconf.eu/2015/10/keynote-how-will-we-live/"/>
	<rdf:li rdf:resource="https://tinyletter.com/vruba/letters/6-67-side-pass"/>
	<rdf:li rdf:resource="http://www.wired.com/2015/09/design-issue-future-of-cities/"/>
	<rdf:li rdf:resource="http://www.sfu.ca/dialogue/semester/courses.html#spring2016"/>
	<rdf:li rdf:resource="https://tinyletter.com/realfuture/letters/it-doesn-t-know-what-you-want-until-you-teach-it"/>
	<rdf:li rdf:resource="http://www.theamericanconservative.com/articles/life-in-the-garrison/"/>
	<rdf:li rdf:resource="http://www.cd-cf.org/articles/critical-design-and-the-critical-social-sciences/"/>
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	<rdf:li rdf:resource="https://twitter.com/JosieHolford/status/553014669611630592"/>
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	<rdf:li rdf:resource="http://www.franceswhitehead.com/"/>
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  </channel><item rdf:about="https://risingnarratives.com/">
    <title>Rising Narratives for Radical Futures</title>
    <dc:date>2026-05-24T10:20:10+00:00</dc:date>
    <link>https://risingnarratives.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rising Narratives for Radical Futures is a first-of-its-kind narrative study by RadComms and The Rising Majority. It offers movement workers a materially grounded, emotionally resonant roadmap to move beyond mere resistance, connect across different values, and set the terms for a multiracial, radical democracy where we are all free.

Whether it's the progressive base, cynical independents, or nostalgic traditionalists, there is a universal sentiment that American politics, government, and the economy are ineffective, failing, and standing in our way. But while the frustration is shared, our visions for how to fix it are miles apart."

...

"Our research analyzes the media environments people actually live in—from scripted hits like Severance and The Last of Us to cultural touchstones like Joe Rogan and Family Guy—to understand how the stories we consume shape how we view power and change. Our research studied four key audience segments (via Harmony Labs):

01. people power
The Base: Driven by justice and liberation, this group believes change happens when everyday people engage in mass collective action to transform the system.

02. if you say so
Moveables: The cynics who think everything is rigged and unchangeable. They focus on "gaming the system" for individual survival and "hacking" the rules for their own benefit.

03. tough cookies
Moveables: Traditionalists who value law, order, and fairness. They want to hold "bad actors" accountable and restore institutions to their original, "just" purpose.

04. don't tread on me
Opposition: Skeptical of government and "outsiders", this group prioritizes personal autonomy and self-reliance above all else.

Most people in America agree on one thing: 

MAKING OUR VISION LEGIBLE TO MORE PEOPLE

This digital magazine provides a strategic toolkit for organizers and others to bridge these divides and socialize a 2050 Vision of a better world. You will learn how to:

Anchor messaging in material reality by connecting abstract ideals to everyday impacts on housing, wages, and healthcare.

Tell stories that resonate by highlighting protagonists such as nurses, teachers, and small-town workers who stand up to elite extraction.

Frame collective action as a "practical hack" to move cynical audiences from "F*ck it" to "Let's rewrite the rules together."

Redirect anti-elite skepticism by shifting the focus from "outsiders" to the wealthy elites and corporate "villains" who are truly rigging the game.

OUR CORE RECOMMENDATIONS

01. start with how they see the system
Acknowledge the shared pain of "debt traps" and "soul-crushing jobs".

02. amplify real alternatives:
Show— don't just tell— how communities are already building safety nets through mutual aid and co-ops.

03. share collective wins:
Counter the "doom-scrolling" narrative with stories of successful organizing and institutional reform.

04. partner with trusted messengers:
Use voices that embody authenticity, competence, and shared values.

The social movement left has an opportunity to define a compelling, materially grounded, future-oriented story that moves beyond resistance and sets the terms for what comes next. Together, we can build narrative strategies that are emotionally resonant and strategically aligned—mobilizing audiences for action while connecting them to our long-term vision for systemic transformation."]]></description>
<dc:subject>radcomms therisingmajority democracy resistance futures abolitionism prisonabolition climate climatechange globalwarming economics solidarity care borders</dc:subject>
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<item rdf:about="https://farsight.cifs.dk/the-future-is-mundane/">
    <title>The Future is Mundane - Farsight</title>
    <dc:date>2025-11-10T10:53:55+00:00</dc:date>
    <link>https://farsight.cifs.dk/the-future-is-mundane/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Renowned anthropologist Sarah Pink explains why the sensory and embodied experiences of everyday life should take a more prominent role in imagining possible scenarios."

...

"It was really a configuration of a few different things that came together over time. From around 2005, I did research on the Slow City movement [an international movement promoting peaceful, high-quality way of life, and ‘slow’ cities, ed.]. It made me interested in how the towns that joined the movement would be writing or performing themselves into a possible future.

Around 2010, I started to work on another project in collaboration with designers. Design is another future-oriented discipline, and the collaboration led me to become interested in concepts like uncertainty and possibility in relation to the future.

I became especially interested in the question of how to harness uncertainty to invite people to think about, perform, understand, and to sense possibility in new ways. When approached in this way, uncertainty shifts from being something to be mitigated, as we often see in relation to governments and organisations, to becoming a way to investigate possibility and futures in a more speculative way.

Through these projects, questions started to arise around how to design for people who may live in these possible futures. That line of questions continued in my later work looking at possible futures of self-driving cars, possible city futures, and possible mobility futures, bridging new technology with design, anthropology and the social science disciplines.

A new phase of my work in futures has emerged through the Digital Energy Futures project, which explores how everyday life – shaped by digital and emerging technologies – might transform future energy demand. I aim to continue developing new models of foresight that are attuned to the complexities of everyday life – and that foreground the social, cultural, sensory, and material realities that shape our energy futures."

...

"For me, it is a continual process of methodological experimentation. Currently, and based in my experience with visual ethnography for generating tacit and embodied knowledge, I’ve been redeveloping the video tour and video reenactment methods which I started out with around twenty-five years ago. The tours and reenactments focused on engaging with people’s actual everyday lives to seek to understand what is important to them, how they live, and what their routines are like.

Now I’m in the exciting process of translating those methods for futures research. I have developed what I am calling the pre-tour and the pre-enactment, where we ask people to take us on a tour of their home and enact their possible future routines in 2050.

We set up the experiment with some pre-defined parameters. These could include projections for how many days will be above 40 degrees Celsius in 2050, or what we think the air quality might be like. We then ask the participants to imagine those and other elements of future life in their homes as prompts.

A lot of things become super interesting in that context. How might people use windows differently? If you have a 40-degree window, might you use that to dry your laundry indoors? How might they reorganise their space or use the rooms of their home differently? Will underground garages become cool rooms? Would patios or gardens be covered over? We are experimenting with applying this method to understand possible future life in homes as well as in city neighbourhoods, with some super-interesting outcomes.

I believe that through methods innovations like these we can arrive at a more sensory and embodied way of anticipating possible futures. The point is not simply to ask what we think we’ll do in those futures – but also to ask what we want it to feel like, emotionally and sensorially, to live in our homes, to walk up the road in our city or neighbourhood, or to go to work.

And so why is that important? I if we can develop new methods to answer those questions, then we can create a whole new layer of knowledge about what futures people truly desire, be it in 2030 or 2050, and use that as a starting point for understanding how we might better plan ahead."

...

"Our research investigates how people will participate in shaping these transitions. There is a knowledge gap there, with regards to how people will live in possible futures and how everyday life will shape and influence the anticipated digital and net zero transitions.

We know very well that when new technologies and plans for net zero and sustainability transitions do land in everyday life, they won’t just shape society singlehandedly. The dominant narrative around technology tends to claim that it drives and shapes the future – but we know from many years of anthropological research that reality is more nuanced. When a technology emerges and comes into people’s lives, it’s very often reshaped by those who use it. And people use technologies – and any other product, of course – in ways that fit their own lives, ambitions, hopes, and aspirations."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=r73s-YMcNTI">
    <title>Ursula Le Guin's Anarchist Alternative - YouTube</title>
    <dc:date>2025-10-02T16:10:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=r73s-YMcNTI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this Conversation on Anarres, we celebrate the 50th anniversary of the publication of Ursula K. Le Guin's classic novel, The Dispossessed. We talk with Dr. Alexis Shotwell who is working to spell out Le Guin's anarchist philosophy. Shotwell speculates as to the features of "Odoian anarchism"--what values it expresses and how it is related to other classical anarchist thinkers such as Emma Goldman and Peter Kropotkin-- and she envisions what lessons it might have for our political organizing today."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=__mhbuPvdZQ">
    <title>Public Transit Visions in Speculative Fiction - YouTube</title>
    <dc:date>2025-09-19T18:49:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=__mhbuPvdZQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flying cars in the Jetsons, trains snaking around towers in Wakanda, or the sentient rail system on the newly terraformed Sask-E planet. In building future and alternative worlds, the way people get around can be used to reveal and ask questions about societies, technologies, and politics.

Watch this recording of the Public Transit Visions in Speculative Fiction panel discussion to learn how depictions of public transit in fiction shape the worlds of our imagination. This event took place on September 16, 2025 at the First Unitarian Universalist Society of San Francisco as part of Bay Area Transit Month 2025.

​The panelists are Jeffery Tumlin, Annalee Newitz, Alissa Walker, Vincent Woo, and Alexis Madrigal. Discussion moderated by Audrey T. Williams.

Seamless Bay Area socials
Website: https://www.seamlessbayarea.org/

00:00 Introduction
07:23 Panelist Bios
10:52 Panel Discussion
55:24 Audience Q&A
01:18:00 Closing Remarks"

[See also:
https://luma.com/0olo6szj ]]]></description>
<dc:subject>transit transportation speculative speculativefiction annaleenewitz alissawalker vincentwoo alexismadrigal audreywilliams 2025 bayarea sanfrancisco bart scifi sciencefiction muni sfmta jeffreytumlin publictransit buses trains spikejonze her losangeles speculativedesign design mobility snowpiercer blackpanther wakanda hayaomiyazaki studioghibli catbus anime totoro access justice equity vision myneighbortotoro class crime perception fear race racism infrastructure behavior society agency control illusion safety driving cars danger collectivism community storytelling children future futures futurism government governance accessibility</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:4e9aca628be3/</dc:identifier>
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<item rdf:about="https://fordhampress.com/the-corpse-in-the-kitchen-hb-9780823298761.html">
    <title>The Corpse in the Kitchen: Enclosure, Extraction, and the Afterlives of the Black Hawk War, by Adam John Waterman (2021) - Fordham University Press</title>
    <dc:date>2025-09-13T20:44:12+00:00</dc:date>
    <link>https://fordhampress.com/the-corpse-in-the-kitchen-hb-9780823298761.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reassessing the archive of the Black Hawk War, The Corpse in the Kitchen explores relationships between the enclosure of Indigenous land, histories of resource extraction, and the literary culture of settler colonialism. While conventional histories of the Black Hawk War have long treated the conflict as gratuitous, Adam John Waterman argues that the war part of a struggle over the dispensation of mineral resources specifically, mineral lead—and the emergence of new cultures of killing and composition. The elemental basis for the fabrication of bullets, lead drawn from the mines of the upper Mississippi, contributed to the dispossession of Indigenous peoples through the consolidation of U.S. control over a vital military resource. Rendered as metallic type, Mississippian lead contributed to the expansion of print culture, providing the occasion for literary justifications of settler violence, and promulgating the fiction of Indigenous disappearance.

Treating the theft and excarnation of Black Hawk’s corpse as coextensive with processes of mineral extraction, Waterman explores ecologies of racial capitalism as forms of inscription, documentary traces written into the land. Reading the terrestrial in relation to more conventional literary forms, he explores the settler fetishization of Black Hawk’s body, drawing out homoerotic longings that suffuse representations of the man and his comrades. Moving from print to agriculture as modes of inscription, Waterman looks to the role of commodity agriculture in composing a history of settler rapine, including literal and metaphoric legacies of anthropophagy. Traversing mouth and stomach, he concludes by contrasting forms of settler medicine with Black Hawk’s account of medicine as an embodied practice, understood in relation to accounts of dreaming and mourning, processes that are unforgivably slow and that allow time for the imagination of other futures, other ways of being."]]></description>
<dc:subject>adamjohnwatrerman 2021 extraction enclosure blackhawkwar us anthropophagy indigeneity indigenous settlercolonialism minerals resources killing uppermississippi naturalresources extractivism via:javierarbona violence theft bodies commoditization agriculture dreaming mourning futures waysofbeing medicine slow</dc:subject>
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</item>
<item rdf:about="https://web.archive.org/web/20180309084238/http://speculatingfutures.club/">
    <title>Speculating Futures</title>
    <dc:date>2025-05-26T19:04:52+00:00</dc:date>
    <link>https://web.archive.org/web/20180309084238/http://speculatingfutures.club/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Speculating Futures looks at past speculative narratives, like those of Ursula K. Le Guin, and past attempts at creating technological utopia, like Chile's Cybersyn. These readings examine the shortcomings that prevented these visions from being fully realized and how they may have been limited or exclusionary. These texts also tie these visions to the contemporary issues/present dystopias that need to be addressed in subsequent utopian imaginaries. To paraphrase Gibson, "Utopia and dystopia are here, they're just unevenly distributed." Feeling like there's a future is vital for moving through the present, so we'll also envision our own utopian futures to work towards.

This syllabus was first launched in December 2016 for The New Inquiry's Science/Fiction issue. It will probably never be complete; it's always open to suggestions. If you're familiar with GitHub, please don't hesitate to submit a pull request; if not, feel free to send suggestions to me on Twitter (@frnsys).

For additional readings see the text version of this syllabus.

NB: Beyond session 1, these sessions aren't in a particular order. There's so much overlap and interaction between these topics that you can jump around as much as you want; the "session" structure is more of a loose guide. Reading "out of order" could lead to interesting connections~"]]></description>
<dc:subject>speculative ursulaleguin speculativefiction utopia chile cybersyn williamgobson scifi sciencefiction futures syllabus ursulakleguin</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=gqtrNXdlraM">
    <title>You Are Witnessing the Death of American Capitalism - YouTube</title>
    <dc:date>2025-03-09T18:07:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gqtrNXdlraM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Corrections and notes: 

A few things were possibly over-simplified to prevent this from becoming a 170 part Ken Burns series. Please do some searching/reading and learn your butt off! I'll add to these as needed, as responding to comments will just get lost in the ether of YouTube comment pages.
 
- Futures contracts and options are a bit different. In a contract, the buyer is obligated to buy the asst, and an option frees them of that obligation. 

- The wealth generated in the 1950's can also be greatly contributed to much of Europe's destruction and how America used that as leverage to lend money under the condition of the US dollar being standardized for trade. This is a fascinating hour long video in itself.

- I anticipate that a portion of viewers will argue that this is just a new phase of capitalism. I disagree, but delving further into that disagreement requires further analyzing the semantic definition of "capitalism", which is probably a waste of time. So whether this is a new thing that doesn't have a name or a new mutation of capitalism that doesn't have a name, both are correct in describing the circumstances. 

- Bitcoin would've been a great answer to a lot of these problems. Unfortunately it's not used as a currency, but as a prospective asset. If it's not replacing the US dollar enmasse, it's not a solution to anything in this video. In fact, it makes a lot of this worse when you consider the insane amount of alt-coins. 

Further viewing: 
- There is no higher recommendation on YouTube than  @PBoyle  for anything related to finance or economic history. 
- Adam Curtis (BBC, etc) makes films that provide excellent surreal recaps of recent history that absolutely inspire me greatly. 

LOTS of books I recommend:
- Technofuedalism is an excellent and accessible book about this from Yanis Varoufakis. It's actually a bit more far-reaching (and scary) than my conclusions in this video. 

All of the following inspired this video: 
- The Age of Surveillance Capitalism by Shoshana Zuboff
- Platform Capitalism by Nick Srnicek
- The Attention Merchants by Tim Wu
- New Dark Age by James Bridle
- Capital is Dead: Is this something worse? by McKenzie Wark

Finally, there are too many books to name about WWII and the Soviet Union that fascinate me endlessly. There is so much to learn those time-encapsulated parallel economies. 

Timestamps:
0:00 - Intro
1:43 - CH1 Capitalism (A Eulogy)
9:23 - CH2 History Repeats Itself
19:33 - CH3 Post Capitalism
26:27 - CH4 Digital Sharecropping
36:10 - Conclusions"]]></description>
<dc:subject>bennjordan capitalism latecapitalism venturecapital 2025 economics sharecropping digitalsharecropping history josephstiglitz jeremyrifkin yanisvaroufakis feudalism civilwar emancipation rentseeking markets economy interestrates inflation deflation ronpaul federalreserve elonmusk government governance stockmarket capital inequality greatdepression growth middleclass class futures commodities speculation dept leveraging agriculture postcapitalism 1929 fdr newdeal socialsecurity minimumwage socialism communism taxes taxation labor work workers regulation deregulation sec unions unionization organizing jeffbezos corporations corporatism ww2 wwii freemarket rationing recylcing 1940s 1950s us 2000s dotcombubble suprimemortgages greatrecession globalfinancialcrisis mortgages mortgagebackedsecurities securities housing realestate 2008 barackobama banks banking georgewbush bailouts trickledowneconomics unemployment amazon hedgefunds 2021 amazonprime walmart scale scaling fastscaling blitzscaling monopolies disruption</dc:subject>
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<item rdf:about="https://www.dukeupress.edu/experimental-practice">
    <title>Experimental Practice: Technoscience, Alterontologies, and More-Than-Social Movements, by Dimitris Papadopoulos (2018)</title>
    <dc:date>2024-12-28T21:55:05+00:00</dc:date>
    <link>https://www.dukeupress.edu/experimental-practice</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Experimental Practice Dimitris Papadopoulos explores the potential for building new forms of political and social movements through the reconfiguration of the material conditions of existence. Rather than targeting existing institutions in demands for social justice, Papadopoulos calls for the creation of alternative ontologies of everyday life that would transform the meanings of politics and justice. Inextricably linked to technoscience, these “alterontologies”—which Papadopoulos examines in a variety of contexts, from AIDS activism and the financialization of life to hacker communities and neuroscience—form the basis of ways of life that would embrace the more-than-social interdependence of the human and nonhuman worlds. Speaking to a matrix of concerns about politics and justice, social movements, matter and ontology, everyday practice, technoscience, the production of knowledge, and the human and nonhuman, Papadopoulos suggests that the development of alterontologies would create more efficacious political and social organizing."]]></description>
<dc:subject>dimitrispapadopoulos knowlegeproduction via:javierarbona futures 2018 socialjustice everyday politics justice activism interdependence technoscience morethanhuman nonhuman alterontologies ontology ontologies society social existence movements science technology sociology</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=R7NodCYbDPI">
    <title>Degrowth Communism: Envisioning a World Beyond Capitalism - YouTube</title>
    <dc:date>2024-05-28T06:47:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R7NodCYbDPI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unavoidable evidence of the catastrophic consequences of climate change confronts us at every turn. Record high ocean temperatures. Once-a-century storms that appear every other year. And on and on. In the face of ongoing ecological disaster, international best-selling author Kōhei Saitō asks why our society continues to prioritize corporate profits (and the rapacious expansion on which they depend), and proposes a revolutionary alternative to unfettered capitalism: degrowth communism.

In Slow Down, Saitō provocatively argues that any solutions that don’t directly confront capitalism itself—from the COP agreements to the “Green New Deal”—represent dangerous compromises that may ultimately worsen the climate emergency. Because it creates artificial scarcity and endlessly produces commodities based on their value, rather than their usefulness, our economic system itself makes it impossible to reverse climate change so long as capitalism remains in place. The biggest contributor to the problem cannot be an integral part of its solution.

Instead, Saitō advocates for degrowth and deceleration, which he conceives as the slowing of economic activity through the democratic reform of labor and our system of production. By returning to a system of social ownership, degrowth communism, we can restore the abundance of things that we truly need, and can focus on those activities that are essential for human life.

What would this alternative look like? How do we end mass production and mass consumption without reducing living standards? What do we need to do to redress global inequality without accelerating the rate at which the planet burns?

For this launch event Saitō will be in conversation on all of this, and more, with Science for the People editor, and Pilsen Community Books collective member, Erik Wallenberg."]]></description>
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<item rdf:about="https://futuress.org/magazine/a-designerly-inventory/">
    <title>A Designerly Inventory</title>
    <dc:date>2022-03-04T21:53:19+00:00</dc:date>
    <link>https://futuress.org/magazine/a-designerly-inventory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[book is here:
Designerly Ways of Knowing by Danah Abdulla
https://www.onomatopee.net/exhibition/designerly-ways-of-knowing/ ]

"Provocations to elicit questions, prompt critical thinking and help designers reconfigure their discipline."

...

“Design thinking does not magically rid the world of bias; it merely masks it under the guise of innovation. [...] If we are to really think, we must critique our very conception of design."

...

“As design makes the futures we inhabit an everyday reality, it paves the way for new material practices. In fact, sometimes the best solution is not to design anything at all”

...

“Standardization is not only about efficiency, it also serves a normalizing function which has broad social-political implications.”

...

“If we surround ourselves with homogeneous groups that fit into the culture we have created, we dismiss alternatives. We are more likely to keep defending the status quo than to imagine otherwise.”

...

“When we think of good design, the expression of taste manufactured by tastemakers, we think of Western design. The West makes good design while the rest practice “crafts.” As pointed out by design critic Alice Rawsthorn, many craft traditions, including those with proud histories, were dismissed on the grounds that they would impede modernization. The frame of reference for the vast majority of design histories and theories is still Europe and North America. Western audiences consume arguments of thinkers and practitioners from the Global North, without, to quote anthropologist Zoe Todd, “being aware of competing or similar discourses happening outside of the rock-star arenas of Euro-Western thought.”]]></description>
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<item rdf:about="https://dribbble.com/shots/5974795-YOU-ARE-NOT-SAFE">
    <title>YOU ARE NOT SAFE by Aaron Cavano on Dribbble</title>
    <dc:date>2020-07-28T01:50:08+00:00</dc:date>
    <link>https://dribbble.com/shots/5974795-YOU-ARE-NOT-SAFE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Quote from my favorite show, Halt and Catch Fire, about the pending apocalypse of the internet coming. Context: It's based in the mid-80's.

Full Quote: "I, Ryan Ray, released the MacMillan Utility source code. I acted alone. No one helped me, and no one told me to do it. I did this because 'security' is a myth. Contrary to what you might have heard, my friends, you are not safe.

Safety is a story. It's something we teach our children so they can sleep at night, but we know it's not real.

Beware, baffled humans. Beware of false prophets who will sell you a fake future, of bad teachers, corrupt leaders and dirty corporations. Beware of cops and robbers... the kind that rob your dreams. But most of all, beware of each other, because everything's about to change.

The world is going to crack wide open. There's something on the horizon. A massive connectivity. The barriers between us will disappear, and we're not ready.

We'll hurt each other in new ways. We'll sell and be sold. We'll expose our most tender selves, only to be mocked and destroyed. We'll be so vulnerable, and we'll pay the price. We won't be able to pretend that we can protect ourselves anymore.

It's a huge danger, a gigantic risk, but it's worth it. If only we can learn to take care of each other. Then this awesome, destructive new connection won't isolate us. It won't leave us in the end so... totally alone.""]]></description>
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<item rdf:about="https://sfbayview.com/2020/07/could-san-francisco-capital-of-anti-blackness-become-a-sanctuary-city-for-black-lives/">
    <title>Could San Francisco, capital of anti-Blackness, become a sanctuary city for Black lives?</title>
    <dc:date>2020-07-20T06:32:41+00:00</dc:date>
    <link>https://sfbayview.com/2020/07/could-san-francisco-capital-of-anti-blackness-become-a-sanctuary-city-for-black-lives/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["by Zea Malawa, MD, MPH

Dear San Francisco, 

I write to you as your Black daughter, one who is three generations rooted in this city, and one who had all but given up on you. Today, however, in the spirit of Juneteenth, I am thinking I can feel the fresh breath of something new in the air. Is it hope? Should I trust it? I want to.

But, San Francisco, you have near broken me with the profundity of your anti-Black racism. You have excluded us completely from the richness that has become emblematic of our city. Your police department has been abusing us for decades, as has your justice system, your health care systems, and your school district. And even though this abuse literally robs years from our lives, you don’t feel you owe us anything, not even an apology. 

You have all but cheered our disappearance from your neighborhoods over these last decades; it’s like you can’t even see what you have lost. Hardest of all, perhaps, is seeing how you treat Black children. I am a pediatrician and a mother – and the racism I have to watch our children endure steals my breath. San Francisco, do you even know how you are tearing our babies apart? 

Despite everything, San Francisco, I don’t want to give up on you. I am a City girl after all and have been claiming San Francisco all my life. 

I went to the San Francisco Solidarity Protest at Mission High not long ago. Based on past experiences with Black Lives Matter marches in SF, I went expecting to find the usual anemic crowd: the last few Black activists living in The City and a handful of our longtime allies. 

Instead, I was joined by an ocean of people. I found throngs of people stripped raw of the disconnected, dispassionate politeness that usually smothers our city. I was joined by masses of mostly non-Black folks who were experiencing all of their own intersecting oppressions but still coming together to say they will fight for Black lives. And within this blanket of neighbors, I felt the faintest crackle of possibility on the wind. 

Should I trust you with something precious, SF? (I guess I already trusted you enough to stand shoulder to shoulder with you, 10,000 people deep, and share your air, masked of course). Can I trust you with a dream?

I would need San Francisco to step up because you recognize and honor our humanity as Black people and because you will no longer tolerate the structural asphyxiation that has been strangling us for decades.

I have a fantasy that I can stay in San Francisco and finish raising my son here. As it stands now, I cannot, because in order for me to raise a happy, healthy, self-actualized Black child here, Black lives would have to really matter here. Not just in the wake an unimaginably atrocious act of state violence. Not just because the issue feels too stark in these moments after George Floyd’s murder. Not just because all the cool kids are out marching (although the kids who led the march last Wednesday are clearly some of the coolest). 

I would need San Francisco to step up because you recognize and honor our humanity as Black people and because you will no longer tolerate the structural asphyxiation that has been strangling us for decades.

Neighbors, do I tell you more? In this dream of mine, SF-based corporations that, in the past, wielded their political influence to get untenable tax breaks, would instead demand police accountability. They would create political pressure for transparent data from SFPD and funding for reparations and community-based police alternatives. 

I dream that privileged San Francisco parents would fight for adequate funding and staffing in schools serving Black and Brown children, and would do it with the same energy and doggedness they use to ensure high quality education for their own children. San Francisco, did you even know your schools have the lowest African-American achievement rates in the state? And that was pre-COVID.

When I daydream, I see us organizing together to demand COVID hazard pay for all low-wage frontline workers in our city, many of whom are Black or other people of color. And, instead of one-time donations in the wake of George Floyd’s murder, I see our businesses making long-term economic commitments to the Black community in the form of high quality jobs and financial sponsorship of Black-led business and non-profits.

How magical would it be, San Francisco, if we not only halted the dispersal of our Black families, but reversed it? If we demanded affordable housing, so Black parents would not have to choose between homelessness and exodus? 

I love to fantasize about all the wealthy homeowners of the city coming together to underwrite a homeownership landtrust for Black San Francisco so we could rebuild our lost Black middle class.

Can you imagine how much fun it would be to become a city rich with Black restaurants, and Black artists, and Black music, and Black barbers again. You remember, right? We used to be the Harlem of the West before our Black middle class was throttled by redlining and urban renewal. You want to become an epicenter for Black culture again San Francisco, don’t you?

Vision with me for a minute, San Francisco. What would a sanctuary city for Black people look like? Can you imagine a city full of people who have learned to be anti-racist? Can you imagine a San Francisco full of people who respond to Black skin with compassion instead of fear? People who make repair for racism instead of denying its reality? 

Breathe it in, San Francisco. Can you feel the potential?"]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2020/07/20/the-argument-of-afropessimism">
    <title>The Argument of “Afropessimism” | The New Yorker</title>
    <dc:date>2020-07-13T17:02:51+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2020/07/20/the-argument-of-afropessimism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the essay “Theory as Liberatory Practice,” the writer bell hooks offers an account of her initial attraction to theory. It had nothing to do with cherished books or favorite teachers—nothing to do with education, as we think of it, at all. She’d had a sad childhood. “I came to theory because I was hurting,” she wrote. “I found a place where I could imagine possible futures, a place where life could be lived differently.” Wilderson’s philosophical framework is impersonal; Blackness, for him, is a structural position. But “Afropessimism” is also, in its way, a chronicle of personal pain. The book opens after Columbia, after South Africa, when Wilderson is a “middle-aged graduate student,” experiencing what he refers to as a psychotic episode. He’s staring into the mirror in his apartment, feeling “as though my shirt were made of insects.” He starts to drool, and, fearing that his white neighbors will hurt him if he cries out for help, makes his own way to the hospital. It’s a jarring, dramatic curtain-raiser, and it gives the rest of the book the feeling of a flashback—all these events are the prelude to a breakdown.

But, unlike hooks, Wilderson does not choose to imagine possible futures. The only way to cure the condition of slavery that ails Black people, he says, is “the end of the world.” There will have to be a total end to things—an apocalypse. From civilization’s ashes something truly new might finally grow. How to hasten this final reckoning? Wilderson doesn’t say. To offer some further prescription would be a betrayal of the style of his book, and of the shape of his ideas.

For all the word’s problematic history, I like “Black” as a shorthand for African-descended people everywhere precisely because of its indefiniteness, its fluidity, its fealty to no nation. It is as fleeting and symbolically rich as the color image it brings to mind, and is always flirting with and escaping strict classification. It brings me joy. It tends, on its best days, to grow. The cultural theorist Stuart Hall, in his posthumous memoir, “Familiar Stranger,” writes of the colonial Jamaica of his youth, in which middle-class “colored” families like his—their brownish skin the product of congress between white colonial planters and the descendants of African slaves—would never think to call themselves Black. That word was reserved as a slur for the darker-skinned, lower-class masses, against whom people like Hall’s mother defined themselves. (In the wildly mixed society of antebellum New Orleans, some “colored” Creoles—people who today would undoubtedly be considered Black—were not only free but owned darker-skinned slaves.) Only when Hall moved to England to study, and started to meet other African-descended people—first from other West Indian islands, eventually from points all over the world—did he understand Blackness as a wide-ranging political category, always unfixed but centered on justice for all, including the colonized Third World peoples of Asia and Latin America, who were their siblings in struggle.

Something similar is happening right now among people of Latino heritage. Many of the Dominican kids I knew when I was growing up in Washington Heights had skin as dark and hair as kinky as mine. None of them would ever have called themselves Black. (Some of their parents made it a point, they told me, to periodically remind them that they weren’t.) Today, an increasing acceptance of, and pride in, African heritage among young Puerto Ricans and Dominicans means that many of these people celebrate their “Afro-Latinidad.” By Wilderson’s lights, were these people humans before this change of mind, but slaves now? Were they always socially dead, but pitifully unaware? Does Blackness have simply to do with ancestry, with which box a person ticks off on the census, or with how that person is seen by the police and understood by the state? My preference, in any case, is just to say, “Welcome home.”

The most radiant American example of an always gathering, instinctively expansive conception of Blackness comes from the Black radical feminist tradition. One of its most famous documents, the Combahee River Collective Statement, is frank about the woeful position of Black women in society, and about how poorly they have been treated by others—including Black men—who should be their allies. “We realize that the only people who care enough about us to work consistently for our liberation are us,” the statement says. Still, the collective was steadfast in its commitment to solidarity, and asserted that the “position” of Black lesbians—oppressed by dint of class, race, gender, and sexual orientation—would help their struggle against capitalism, racism, patriarchy, and homophobia, and would help bring about the freedom of the entire world. “We might use our position at the bottom,” the statement says, “to make a clear leap into revolutionary action. If Black women were free, it would mean that everyone else would have to be free since our freedom would necessitate the destruction of all the systems of oppression.” That’s an end of days I’d like to see. It will require, I think, a conviction that our lives, however devalued, have many facets, and that we are all intimately related, and that one sufficiently emancipatory gesture might scoop us all up."]]></description>
<dc:subject>frankwilderson vinsoncunningham 2020 afropessimism orlandopatterson blackness minneapolis weatherunderground davidbrooks harrietjacobs frederickdouglass richardwright malcolmx angeladavis assatashakur robertstepto time hierarchy howwethink howwewrite autobiography frantzfanon epidermalization form auto-theory humanism decolonization race racism slavery palestine society kinship solidarity liberation algeria latinamerica friendship africannationalcongress southafrica johannesburg nadinegordimer apartheid americanness plantations sameness bellhooks theory futures futurism fluidity indefiniteness stuarthall ancestry combaheerivercollective</dc:subject>
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<item rdf:about="https://modernitycoloniality.com/">
    <title>Modernity and Coloniality Syllabus: A free online summer course on coloniality and decoloniality</title>
    <dc:date>2020-06-11T22:52:01+00:00</dc:date>
    <link>https://modernitycoloniality.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A free online summer course on coloniality and decoloniality

Course Instructor: Ahmed Ansari

Dates & Times: Every Saturday, 2pm to 3:30pm EST
Rules: Please make sure you enter the Zoom session with your name, city or institution to prevent zoombombings. Please ensure you are muted during the lecture, and raise hands before speaking during the discussion. Be respectful and kind. 

Thank you.

What’s this course about?

“Many words are walked in the world. Many worlds are made. Many worlds make us. There are words and worlds that are lies and injustices. There are words and worlds that are truthful and true. In the world of the powerful there is room only for the big and their helpers. In the world we want, everybody fits. The world we want is a world in which many worlds fit.”
- Ejército Zapatista de Liberación Nacional, “The Fourth Declaration of the Lacandón Jungle”

This course will be run as a reading seminar and survey course looking into the constitution, scale, and many dimensions of the modern\colonial world-system. The texts here are merely a tiny fraction of the work done by non-Anglo-European, non-white scholars and activists in articulating the origins, development, and hegemony of the modern world-system, and yet my hope is that these will act as sparks for curious minds and a place within which to situate oneself and start from. This course was created keeping design students in mind, so, yes, we will have a few choice readings connecting coloniality to technology, but really, anyone can and should take this!

What are the expectations for the course?

A list of readings for each session have been provided below. I realize that the readings here are somewhat long, and so I’ve indicated which readings you should go over if you have limited time, and will be adding more resources to go over. The readings are at a Masters graduate level, and if you can only skim over the readings, please come anyway - the way I plan to run this is around a 30-45 minute lecture or presentation clarifying many of the key points and insights, and then we can open it up to discussion. If you have knowledge expertise in any of the domains we’ll be discussing, don’t be afraid to speak up and chime in!

When is this happening?

So, we’re going to try and make the time as possible for most people, but we can always discuss this and change things around if needed after the first class, and folks can drop in and out as they wish. I’ve been debating whether to hold these on weekdays or weekends, since people are all working from home, but we will start with Saturdays after lunch, and change it if we need to later. You can Zoom in at the link provided below for each meeting.

How are we securing these meetings and preventing zoombombings?

We can’t ensure that meetings won’t be zoombombed, but all participants will move from a waiting room into the active call, so if someone fishy shows up the host won’t let them in; similarly, if anyone in the meeting does misbehave or attempt to bomb it, they will be immediately kicked out and not allowed back in. I would really urge people coming in to attend to have their full name on display, and ideally, their city or institution, e.g. Ahmed Ansari (NYC, NYU).

What Are We Reading\Discussing\Viewing This Week?


June 13. Before European Hegemony

Janet Abu-Lugodh, Selections from Before European Hegemony

Ovamir Anjum, Islam as a Discursive World-System
If you have time, this is a nice video to watch on extractive global capitalism that also briefly mentions (somewhat reductively) world-systems theory as a framework

Zoom Link: https://us02web.zoom.us/j/87254280774


June 20. On Violence

Frantz Fanon, Concerning Violence, from The Wretched of the Earth

Ashish Nandy, Revisiting the Violence of Development
If you have time, please also read W.E.B Du Bois, The Souls of Black Folk, Chapter XIV


June 27. The Invention of The Other

Edward Said, Reconsidering Orientalism

Dipesh Chakraborty, Provincialising Europe, Chapter 1


July 04. The Coloniality of Power

Anibal Quijano, Coloniality of Power, Eurocentrism & Latin America

Ramon Grosfoguel, Decolonizing Post-Colonial Studies and Paradigms of Political-Economy


July 11. Borderlands & Delinking

Gloria Anzaldua, Borderlands\La Mestiza, Chapters 1,2 and 7

Walter Mignolo & Madina Tostlanova, Theorizing from the Borders


July 18. Settler Colonialism

Patrick Wolfe, The Elimination of the Native

Eve Tuck & Wayne Yang, Decolonisation is not a Metaphor


July 25. Allyship

Sa’ed Atshan & Darnell Moore, Reciprocal Solidarity

Sara Ahmed, Declarations of Whiteness: The Non-Performativity of Anti-Racism or
Vijay Prashad, The Karma of Brown Folk


August 01. Pluriversality & Other-Thought

Marisol de la Cadena & Arturo Escobar, Pluriverse: A Proposal for a World of Many Worlds

Ruth Mayer, Africa as an Alien Future


August 08. Decolonising Research

Boaventura de Sousa Santos, Beyond Abyssal Thinking

Linda Tuhiwai Smith, Twenty-Five Indigenous Projects


August 15. Decolonising Gender

Oyèrónke Oyewùmi, Selections from The Invention of Women

Saba Mahmood, The Politics of Piety: The Islamic Revival and the Feminist Subject, Chapter 5


August 22. Cosmotechnics

Yuk Hui, Cosmotechnics as Cosmopolitics

Shadreck Chirikure, The Metalworker, the Potter, and the Pre-European African Laboratory”]]></description>
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<item rdf:about="https://medium.com/@ajamonetbacquie/rising-for-a-global-feminist-future-with-the-movement-to-elect-bernie-sanders-87ba395d30b8">
    <title>Rising for a Global Feminist Future with the Movement to Elect Bernie Sanders.</title>
    <dc:date>2020-04-29T21:32:53+00:00</dc:date>
    <link>https://medium.com/@ajamonetbacquie/rising-for-a-global-feminist-future-with-the-movement-to-elect-bernie-sanders-87ba395d30b8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are a coalition of feminists contending with both our differences and our commonality in age, race, class, religion, labor, and sexual orientation. We meet at the intersection of our fluid identities. Though our experiences are different, we share a vision of a feminist future.

We urgently call in our friends, families, and comrades to unite with us in the broad passionate movement supporting Senator Bernie Sanders’ campaign, and to work to heal the relationships necessary to create a new era for our communities, this country, and the world. We support the volunteers, door knockers, and movement to elect Senator Sanders because his proposed policies are ideas whose time has come. All of our lives we have been creating movements and art organized around the critical basic human dignity of all people. We support the movement to elect Senator Sanders because engaging electoral politics is a part of the larger strategic democratic movement for solidarity and a feminist future to take hold. We believe an end to patriarchy demands an end to class and racial oppression.

All across this country and globe, women and children have been working toward a shift in collective consciousness. A feminist future requires political change by men, women, and gender non-binary people not just in the structures and laws but in our collective values and behaviors. It requires an end to violence against women, girls, and all femme people. A feminist future demands the spirit of cooperation. We are inspired and motivated by the grassroots movements brewing across the globe and here in the United States of America for decency, dignity, and respect. We amplify poor, unemployed, and working people behind this political moment aching with passion and anxiety toward the uncertainty of tomorrow. We must strategically rally and rise together.

Time is not on our side.

We are explicitly naming the ecological disaster we are facing and we must vote for a future where our environment and our planet are treated with the utmost respect and protection. A world where our rainforests are protected, where clean drinking water is not a privatized commodity, and the earth is finally free of fracking and extraction. We are voting for a future to end poverty and rebuild the corrupt dehumanizing state of our world and the fragmentation of ourselves. We choose a politics of collectivity. We choose a future that honors social responsibility and connection.

We stand with the abolitionists, healers, and storytellers who pursue a world where we are brave enough to consider one another and fight for each other. We envision a world where discrimination, war, and white terrorism are laughed out of the room and become a thing of our past. Where we honor the dignity, respect, and self-determination of the Palestinian people. Where the people of Puerto Rico are free of colonial debt and domination. Where our government commits to the transformational power of an authentic apology and restorative process with millions of people displaced and torn apart by corporate interests masked as foreign policy.

We envision a formal acknowledgment and apology to the First Nations of this land and accountability for the millions of African-Americans oppressed by this country’s denial of the generational repercussions of slavery and Jim Crow. We envision a world that boldly confronts its past so that we can begin the corrective process of atonement, repair, and healing.

We vote for a future free of state inflicted, sponsored, and sanctioned violence. In the not so far and brilliant feminist future, we look forward to communities free of dominance, aggression, isolation, and separation. Where no child is caged. Where schools and communities are free from police and prisons. We envision a world without violence.

We envision a country and world that prioritizes mental health and therapy as universally accessible. We look forward to a future where comprehensive high-quality childcare and education are free. We believe in a future where nobody gets evicted or has to choose between medicine or food. Where we each have the access and ability to vote and be counted.

We look forward to the day of true sexual autonomy and personal reproductive freedom. Where access to safe abortions, contraception, and quality health care is a human right. Where all forms of violence against all women, cis-gender, transgender and non-binary are a distant memory.

We write this statement alongside the broken-hearted people of this country and we welcome the courageous risk a feminist future requires. Our “we” is bigger than any one campaign, person, or agenda. We know that Senator Elizabeth Warren has inspired so many women who care about justice and freedom. Because of their values, and because they are women and non-binary supporters, they have faced skepticism and misogyny. Many of us, including Senator Sanders, have condemned these attacks and continue to do so. We invite Warren supporters to continue to fight for a future that she believes in with us- Medicare for All, a bold Green New Deal, student debt cancellation, and a world where people are not attacked on the basis of their gender, sexuality, race, class, immigrant status, disability, or criminal legal status.

We also know that people may consider Joe Biden because he seems safe or a return to normal but through Biden many people who are sick will continue to die because he opposes universal healthcare. The planet will perish because his climate plans are weak. Immigrants looking to rebuild a home will be deported and Black people will continue to be murdered by police. We deserve more. We are all we got. Senator Sanders cannot guarantee a feminist future, it is up to us. But between him and Biden, Sanders is the clear choice. Biden represents the worldview that brought us enormous income inequality and injustice.

For the nurses, teachers, cooks, domestic workers, bus drivers, farmers, librarians, organizers, caretakers, writers, sex workers, shamans, and waitresses: there’s another America waiting for us and we are ready to greet her. We need you to participate, to cooperate, to be a part of shaping our future on this planet together. Join us.

Read this statement aloud with your friends. Share it in your communities. Post it on your platforms. Let’s organize for a #FeministFuture #IWD2020 #Bernie2020.

In struggle and with love,

Melina Abdullah, Thandiwe Abdullah, Hamdia Ahmed, Zaina Alsous, Taina Asili, May Boeve, Cori Bush, Rosa Clemente, Patrisse Cullors, Molly Crabapple, Dr. Victoria Dooley, Jonel Edwards, Jodie Evans, Eve Ensler, Zillah Eisenstien, Barbara Ehrenreich, Laura Flanders, Rachel Gilmer, Kim Gordon, Sandra Guzman, Alexandra Halaby, Leah Hunt-Hendrix, Saru Jayaraman, Mahdis Keshavarz, Naomi Klein, DJ Kuttin Kandi, Rachel Kushner, Winona LaDuke, Sarah Leonard, Annie Leonard, Aya De Leon, Thenjiwe McHarris, Jane McAlevey, Anuradha Mittal, Aja Monet, Helen Peña, Carmen Perez, Derecka Purnell, Varshini Prakash, Barbara Ransby, Shana L. Redmond, Linda Sarsour, Barbara Smith, Beverly Smith, Sarah Schulman, Sandra Steingraber, Susan Stryker, Keeanga-Yamahtta Taylor, Astra Taylor, Sunaura Taylor, Opal Tometi, Amy Vilela, Kenidra Woods"]]></description>
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<item rdf:about="http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/">
    <title>On Design Fiction: Close, But No Cigar - Near Future Laboratory</title>
    <dc:date>2020-01-10T21:53:40+00:00</dc:date>
    <link>http://blog.nearfuturelaboratory.com/2019/10/23/on-design-fiction-close-but-no-cigar/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here: https://mailchi.mp/nearfuturelaboratory/seldom-dispatch-6-from-the-near-future-laboratory-2969593 ]

“We are super excited and thrilled that the term “Design Fiction” is being heard beyond the relatively small community of designers who have been practicing it over the last decade or so. More organizations and teams are now coming to us looking for a fresh and different approach to addressing their needs, concerns, fears, failures and ambitions that the old PowerPoint and Post-it Design Processes simply cannot handle.

This is encouraging for us as we believe the practice of Design Fiction has enormous potential.

We are also concerned — concerned for the many perspectives that present a misconstrued perspective on Design Fiction.

We appreciate the take on Design Fiction by IDEO in their Prototype the Future of Your Business With This 4-Step Design Exercise podcast. We’re fans of their work and have many friends there, so this is encouraging for us as we believe the practice of Design Fiction has enormous potential.

However, IDEOs discussion and description do not embrace the sensibilities of the canonical Design Fiction treatise, “Design Fiction: A Short Essay on Design, Science, Fact and Fiction.” We feel the need to add a few notes to rectify some of the most common confusion about Design Fiction.

[image]

Note #1: Design Fiction is about understanding implications of decision making. Design Fiction is like a design-based A/B test.

— Have an idea or a range of possible ideas?

Run it through the Design Fiction process to understand how these ideas might play themselves out. Design Fiction allows you to engage the implications of your ideas deeply by creating some possible/probable outcomes. In those engagements you are actually creating artifacts that exist in those possible/probable futures. The artifacts you create are things from the future. When you do Design Fiction, you are like some kind of time traveling anthropologist bringing back things you’ve found. When you create these artifacts, you are engaging the context of its existence — why does this exist? what kind of world surrounds it? who are the people and what are their goals and ambitions?

In this kind of Design Fiction process, the discussions with your team and other stakeholders are bound to yield new ideas. The primary activity though, is to work with your team and stakeholders to understand the implications of decision making. Implications come first. New ideas follow.

Yes, we know that organizations often want to be told the solution to their problems and Design Fiction can certainly help here, as just described. Design Fiction is about studying possible implications — not all of them ‘preferred’, but they are always pragmatic and aligned with reality — not reality distorted.

— How do we do this?

Through the Design Fiction process we create design-based tangible artifacts that represent those implications. Sometimes we refer to these artifacts as props, as if they were the objects from that future, brought back to today to be considered, discussed, mulled over, debated and reflected upon.

With Design Fiction so may get your ’new possibilities’, but you will get something more valuable: a richer understanding of the results of your ideas, good, bad, normal. This ultimately better prepares you for what happens when your idea is in the world. It allows you to de-risk based on the unexpected outcomes (which always happen). 

Design Fiction does something no other design process does — it analyzes the outcomes of decision making today, so you have a clearer perspective and understanding of your possible/probable futures.

[video: TBD, A Design Fiction Intervention https://vimeo.com/107034605 ]

Note #2: The Design Fiction process produces tangible future artifacts. It does not produce written stories about a future state. This is a common and understandable misconception, probably based on the fact that the word “Fiction” is in the name.

Design Fiction is not a literary style, nor a purely dystopian visual style, despite its roots in Science Fiction and more specifically the important work of Near Future Laboratory Ambassador, His Eminence, Bruce Sterling, one of the founding fathers of the cyberpunk genre and aesthetic.

If you end up with a draft of a short story or a few paragraphs of a typical UX interaction scenario, or a storyboard, or a little film of someone swiping on a screen to show how your App idea would work — you have not done Design Fiction. 

What you’ve done is write a short story, which can only possibly be read as a short story. You haven’t created a designed artifact that is the result — an implication — of a set of decisions, current conditions and other inputs, and wrote something down about it.

What you should ideally produce is something a casual observer may mistake for a contemporary artefact, but which only reveals itself as a fiction on closer inspection. It should be very much “as if..” this thing really existed. It should feel real, normal, not some fantasy. Nor should it be construed as a representation of the future — like a short story, or an illustration of some kind of interaction. (My favorite example of an artifact based on a recent workshop? A pizza menu — from the near future. An actual menu that describes a future state of food tastes, ingredients, means of payment, etc.)

[image]

Note #3: Creating an artifact forces you to get into the details of your future world in a way that writing a story does not. When writing, it is easy to skip over uncomfortable details in favor of the “big picture”. Design Fiction makes you sweat the details. For example, if you create a Quick Start Guide for a Self Driving Car there are myriad topics that would need to be addressed to describe how to activate, switch into Uber mode, upgrade firmware, etcetera.

 — What should you do then if Design Fiction is more than writing stories? 

You should be creating artifacts from that world and going through the work of actually making them — not writing about them. 

If you’re exploring a future of self-driving cars and the implications for urban policy, create a physical map for a city as might be given out to the local public, or tourists. What would be in the map and why? Have debates with stakeholders about the challenges that would be faced, the failures that might occur, the brand names of services, new kinds of signage, etcetera. Now you’re doing Design Fiction. 

[image]

[video: #m3k – Design Museum Design Fiction https://vimeo.com/305574698 ]

Note #4: Creating artifacts happens early.

Design Fiction is called Design Fiction because it adheres to the principle of making-things-with-which-to-think. If you do this at the end, you’ve missed the point of Design Fiction. You have missed the opportunity to discuss, discover with your team and stakeholders the implications of decision making.

[image]

[video: Lost AI Notice – Design Museum Design Fiction https://vimeo.com/305574970 ]

Note #5: Design Fiction does not bias towards “perfect” or preferred outcomes — not because we wouldn’t like these, but because we’re pragmatic.

We are skeptical optimists. We have been doing this long enough to know that such things are always mired in the intractably complicated ways in which earnestly naive ideas (particularly from Silicon Valley) are disconnected from the way they are received and reacted to in the real world.

Most design processes fail to indicate the risks and challenges of decision making today. They are all “Blue Team” exercises that can only imagine the perfect outcomes. The world does not work this way. Decisions today never lead to ideal outcomes. Design Fiction allows you to run through multiple perspectives, multiple outcomes (Good. Neutral. Bad. Ugly.) It’s your “Red Team” exercise that goes along with the hopeful, optimistic outcome that explore a rich, wide, fulsome set of outcomes represented in tangible artifacts — Instagram Stories, YouTube Unboxing Videos, Customer Testimonial Videos (good ones, bad ones), a lower-thirds chyron crawl describing some epic fail of your idea as shown on Fox News, A Quick Start Guide that forces you to figure out how your “idea” would actually work so you can discover that even you can’t (yet) describe how it would actually work. These truly tangible futures help decision makers assess not only their “ideal” outcomes (which we always hope for and, if you’re honest, rarely get perfectly) but the neutral and completely failed outcomes.

This is also one of the reasons why we have pioneered a perspective on the future that we call “The Future Mundane”. There’s too much richness to summarize here but you can hear Nick Foster talk about Future Mundane at dConstruct. Here is Nick’s original essay on the Future Mundane.

[video: The Future Mundane https://vimeo.com/139358108 ]

3 Main “Take Aways”: 

1. Design Fiction isn’t a literary form. 

2. Design Fiction creates a range of possible future implications of decisions made today. 

3. If you want to do Design Fiction, you should come to the folks who pioneered it — the Near Future Laboratory.”
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=4tf7T2TySG0">
    <title>Anab Jain | Imagining What the Future Looks Like | SkollWF 2019 - YouTube</title>
    <dc:date>2020-01-09T21:35:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4tf7T2TySG0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anab Jain, Co-Founder and Director of Superflux, presented an imagined future as both a cautionary tale and a provocation for the possible. “Bring the future close enough to feel,” she urged the gathering. “Together we can find the tools to transform our greatest challenges into our greatest triumphs.”

Anab Jain is a filmmaker, designer and futurist. She creates worlds, stories and tools that provoke and inspire us to engage with the precarity of our rapidly changing world. Following an extensive career in the design and foresight industry, working for some of the world’s biggest organisations such as Microsoft and Nokia, she co-founded Superflux, an experimental design, foresight and technology studio in London, UK. Alongside her practice, Anab is Professor and Programme Leader for Design Investigations at the University of Applied Arts in Vienna. Over the last 15 years, 

Anab has gained international recognition for her work and commentary on design, innovation, emerging technologies and complex futures. She is the recipient of the Award of Excellence ICSID, UNESCO Digital Arts Award, and Grand Prix Geneva Human Rights Festival, as well as awards from Apple and the UK Government’s Innovation Department. Her work has been exhibited at MoMA New York, V&A Museum, Science Gallery Dublin, National Museum of China, Vitra Design Museum, and Tate Modern. Anab has delivered talks and keynotes at several conferences including TED, MIT Media Lab and MOMA’s first design summit ‘Knotty Objects’, PICNIC, NEXT, WCIT2010, LIFT, SIGGRAPH, Global Design Forum, EPIC, Design Engaged and FuturEverything. 

About the Skoll World Forum:
Each year, nearly 1,000 of the world’s most influential social entrepreneurs, key thought leaders, and strategic partners gather at the University of Oxford’s Saïd Business School to exchange ideas, solutions, and information. The Skoll World Forum on Social Entrepreneurship is the premier international platform for advancing entrepreneurial approaches and solutions to the world’s most pressing problems."]]></description>
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<item rdf:about="http://xiaoweiwang.com/spicytakes/2019-05-01/post">
    <title>notes from the periphery | spicytakes [Futures/futurities for The Redirect at SFMOMA]</title>
    <dc:date>2019-08-27T19:05:12+00:00</dc:date>
    <link>http://xiaoweiwang.com/spicytakes/2019-05-01/post</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For this talk, I was asked to present a vision of the future, guided by a series of questions sent to me. I am very grateful for these questions, the chance to present a vision. But I was unable to conjure a vision of the future.

Instead, I will try the difficult task of describing the present as I see it, and perhaps somewhere our views might overlap – difficult these days. For me, traveling through the world, through China, through the US can be time travel enough.

I see the hyperspeed of the Bay Area, as a black Tesla scrapes against a parked car in slow motion, outside a historic black church in Oakland, next to a new brunch spot. Churchgoers and Sunday brunchers mix in a line that goes around the corner, spirituality and community threaded. A homeless man sells print media, as brunchers are glued to their phones. Depending on who you ask these days, Oakland is in the middle of a tech induced decline or a creative renaissance, or both. Survival at the edges.

I can describe to you a warp speed visit to Shenzhen, in its tech culture that remixes and hacks parts into new forms of hardware, hardware that hold an exuberant virality. In Shenzhen’s lack of intellectual property rights, I see entirely modular phones that make repair easy, unlike the cypher of an iPhone. There are phones with built in compasses that point to Mecca, earbuds that sell like hotcakes in Nairobi, co-designed by young Kenyan and Chinese entrepreneurs.

The death of intellectual property rights means a death to a human right, the assumed human right towards claiming invention. It spells a death to the elevated, individual genius. In much of Western media this death is noted as deeply problematic: copy cat culture in Shenzhen, the Chinese inability to innovate, only steal.

In Shenzhen I interview a prominent member of the maker movement who calls herself a cyborg. She brings up the deep contradictions of Western views on innovation. Why was it, she tells me, that the girls she grew up with in Shenzhen, who went on to work as factory girls in electronics factories were seen as mindless drones, while a few miles away, she soldered on Youtube and was heralded as a maker movement star? In this challenge to an Enlightenment era construction of humanity, of a purity of invention, I think of Sylvia Wynter’s wise words. “…The struggle of our new millennium will be one between the ongoing imperative of securing the well-being of our present ethnoclass (i.e., Western bourgeois) conception of the human”, she writes. And this line between security and uncertainty I believe, marks so much of our relationship to technology. the moment, as the computer scientist Terry Winogrand writes about, as the moment where we ascribe rationality to machine and the ongoing obsession with who is human.

I travel to another fold in time, rural Shandong China, in a Taobao village. In this village, over 70% of households make products at home for Taobao.com, an e-commerce platform made by the Chinese tech giant Alibaba. In rural Taobao land, the laws of Taobao supersede government laws. Farmers toil in the fields and during holiday seasons, they make costumes in home workshops for customers from Shanghai to Hanoi. One farmer is now a millionaire. I wander through fields, judging and gauging, ready to indict the viscitudes of platform capitalism, worried of a future where an entire village uses Alibaba’s mobile payment system, of tech led credit ratings. Of being beholden to Alibaba forever, amidst a village Taobao kindergarten and a Taobao hotel. The number of Taobao villages have skyrocketed, with more to come under Alibaba’s Rural Development Strategy. Other companies, like Foxconn are beginning to understand this spatial fix, this moving inward into the countryside, leaving expensive cities, like Shenzhen. Last year, Foxconn opened a 300,000 person iphone factory in Henan. All of this, under a loose policy by the government of “rural revitalization” – a nod to the rise of industrialized farming and the tech economy that must replace it.

I ask one farmer, who is also a Taobao producer, about his concerns for the future of his village’s close ties to Taobao.

He tells me that “the future” is a concept created if you believe that everything in the present is imperfect. He says that here, in the fields, in the long dark of winters, is the revelation that the universe is perfect as is. It is up to us to maintain it. There is no future, because every day depends on precariously balancing the present.

So if the future is produced, what does it mean to hold still the present? When we speak of crisis and apocalypse in the future, what needs do those words serve? Who’s needs do they serve? I think of an interview with indigenous sci-fi writer Rebecca Roanhorse. In it, she says “I think Native folks have already experienced an apocalypse, all the sort of dystopian tropes you see in movies, we’ve experienced those — our land lost, our children taken away, sent to schools and things like that. And we’ve survived.”

To hold still the present for a moment, means facing the different threads of time that weave our understanding of technology, of who we construct as the human, of what we construct as technology to begin with. After all, technology itself is a produced concept, as historian Ruth Oldenziel has documented: it was Thorsten Veblen who came up with the idea that technology is something that engineers produce. Before that, the loose umbrella of how-to was an unelevated, technical art that anyone (including) could attend to.

In a constructed futurity: who has the right to the future, who is left to steward the present? I think of software and how its builders dream of changing the world, while underneath, labor and geographic peripheries power copper mines and data centers. I think of how much work we have if we commit to the project of revolution, and who really does the work.

I wonder who are the people who must agree to the fictions someone else wrote, and those who are powerful enough to write fictions for the rest of us? I am not good at inscribing fiction, because I am still unlearning everyday the concrete and psychological fictions someone else has written.

And spending time in the Chinese countryside trying to unravel rural technology use, economic prosperity and nationalism, I begin to realize my questions are all insufficient. The mismatch is my urban understanding of time, the fictions that I have learned. Life in one village still centers around the agricultural calendar. In the agricultural calendar there are nine days in a week. Because of this, I never get the market days right.

When I finally figure out the days, I walk by people stirring sesame oil in a giant wok, all sorts of contraptions to distill, boil, assemble, nourish. If Veblen could divide realms into technology or not, surely these contraptions can be technologies too. And if we already live in a world where time travel is possible simply by traveling through multiple understandings of time and talking to others, what happens when there are multiple understandings of technology? If we embrace multitudes, what happens to the desire for a singular future, for reassurance, or our even our desires for certainty?"]]></description>
<dc:subject>xiaoweiwang 2019 rural shenzhen china manufacturing alibaba taobao capitalism platformcapitalism ruraldevelopmentstrategy foxconn revitalization ruralrevitalization future bayarea oakland peripheries nairobi present futures countryside</dc:subject>
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<item rdf:about="https://www.akpress.org/emergentstrategy.html">
    <title>Emergent Strategy, by adrienne maree brown | AK Press</title>
    <dc:date>2018-10-21T00:22:57+00:00</dc:date>
    <link>https://www.akpress.org/emergentstrategy.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Inspired by Octavia Butler's explorations of our human relationship to change, Emergent Strategy is radical self-help, society-help, and planet-help designed to shape the futures we want to live. Change is constant. The world is in a continual state of flux. It is a stream of ever-mutating, emergent patterns. Rather than steel ourselves against such change, this book invites us to feel, map, assess, and learn from the swirling patterns around us in order to better understand and influence them as they happen. This is a resolutely materialist “spirituality” based equally on science and science fiction, a visionary incantation to transform that which ultimately transforms us.

“Necessary, vital, and timely.” —Ayana Jamieson, Octavia E. Butler Legacy Network

“Adrienne leads us on a passionate, purposeful, intimate ride into this Universe where relationships spawn new possibilities.  Her years of dedication to facilitating change by partnering with life invite us to also join with life to create the changes so desperately needed now.” —Margaret Wheatley, author of Leadership and the New Science

“Adrienne has challenged me, enlightened me and reminded me that transformation happens in our natural world every day and we can borrow from it strategies to transform ourselves, our organizations, and our society.” —Denise Perry, Black Organizing for Leadership and Dignity (BOLD)

“A word/heart sojourn through the hard questions.” — Makani Themba,  facilitator for the Movement for Black Lives

“Emergent Strategy…reminds us, directly and by example, that wonder (which at its heart is love), is the foundation of our ability to shape change and create the world we want.” —Alta Starr, leadership development trainer at Generative Somatics

“Drawing on sources as varied as poetry, science fiction, forests, ancestors, and a desired future, Emergent Strategy speaks with ease about what is hard and brings us into that ease without losing its way.  Savor and enjoy!” —Elissa Perry, Management Assistance Group

adrienne maree brown, co-editor of Octavia’s Brood: Science Fiction from Social Justice Movements, is a social justice facilitator, healer, and doula living in Detroit.:]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=o341S4xh1r0">
    <title>Impakt Festival 2017 - Performance: ANAB JAIN. HQ - YouTube</title>
    <dc:date>2017-11-14T06:32:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=o341S4xh1r0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Embedded here: http://impakt.nl/festival/reports/impakt-festival-2017/impakt-festival-2017-anab-jain/ ]

"'Everything is Beautiful and Nothing Hurts': @anab_jain's expansive keynote @impaktfestival weaves threads through death, transcience, uncertainty, growthism, technological determinism, precarity, imagination and truths. Thanks to @jonardern for masterful advise on 'modelling reality', and @tobias_revell and @ndkane for the invitation."
https://www.instagram.com/p/BbctTcRFlFI/ ]]]></description>
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<item rdf:about="http://www.bbc.co.uk/programmes/b08nqc4j">
    <title>BBC Radio 4 - FutureProofing, The Future of the Future</title>
    <dc:date>2017-05-07T18:00:39+00:00</dc:date>
    <link>http://www.bbc.co.uk/programmes/b08nqc4j</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Does the accelerating pace of technology change the way we think about the future?

It's said that science fiction writers now spend more time telling stories about today than about tomorrow, because the potential of existing technology to change our world is so rich that there is no need to imagine the future - it's already here. Does this mean the future is dead? Or that we are experiencing a profound shift in our understanding of what the future means to us, how it arrives, and what forces will shape it?

Presenters Timandra Harkness and Leo Johnson explore how our evolving understanding of time and the potential of technological change are transforming the way we think about the future."]]></description>
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<item rdf:about="http://crapfutures.tumblr.com/post/139786385254/counter-constraint-1-non-progress-dogma">
    <title>crap futures — counter-constraint #1: non-progress dogma</title>
    <dc:date>2016-02-23T09:45:57+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/139786385254/counter-constraint-1-non-progress-dogma</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world’s fairs also offer their insights into this dichotic system. For example, Futurama’s hidden agendas are strikingly revealed in E. L. Doctorow’s novel World’s Fair (1985). As a family leaves the exhibit, the father says: ‘“When the time comes General Motors isn’t going to build the highways, the federal government is. With money from us taxpayers.” He smiled. “So General Motors is telling us what they expect from us: we must build them the highways so they can sell us the cars.”’

Bel Geddes’s vision of super-highways largely came true, but so did various dystopian imaginaries that were generated out of the Futurama vision. In ‘Futurama, Autogeddon’, Helen Burgess describes the way in which ‘a messy, always-under-construction, polluted highway system, beaming cheerfully forward into the future, is reflected back to us in the second half of the century as a degraded landscape in J. G. Ballard’s Crash and The Atrocity Exhibition. In these tales,’ Burgess writes,

Bel Geddes’ optimistic narrative of the Interstate has collapsed … because the Interstate system is unsustainable - both narratively and ecologically. The ghosts of the highway call back to us from these future narratives, reminding us that death is just around the next bend.

Progress dogma as an eternally recurring phenomenon

The progress boosterism in the West of the 19th century was followed by two highly regressive world wars. Yet the postwar period saw an almost immediate return to … optimism! Progress dogma was reborn! America, isolated from the worst ravages of the two World Wars, kept blowing the trumpet for progress, and the other western countries followed. The lessons of history continued, and continue, to fall on deaf ears.

Designing counter-constraints

We realise now that we’ve not set ourselves an easy task. These are massive, complex systems that are more easily identified and critiqued than challenged with alternatives. But inaction is no solution. So we’ll go on, inspired by historical examples of how critical approaches have impacted on specific research directions and undermined progress dogma. The public inquiry into genetically modified food development in Europe and the consequent demonising of an entire scientific area (‘Frankenstein foods’) led by certain newspapers is one example of technology being steered away from its intended trajectory. In that case, however, the approach was problematic because the debate was simplified as a contest between good and evil, dystopia vs. utopia, rather than being an open and constructive dialogue. As this article suggests, the reality is often more nuanced and complex than a simple binary opposition can express.

So how do we move toward a more constructive approach to counter-constraints?
Here, as a discussion starter, are some first steps:

1. Stop assuming that, through technology, the future will be better than the present.
2. Be wary of too-positive presentations of technological future solutions.
3. Don’t assume that any of society’s problems will be solved by technology alone.
4. Do assume that for every benefit a new technology brings there will be unforeseen implications.
5. Remember to ask: ‘Progress for whom?’
6. And: ‘What in this specific case does progress actually mean?’
7. Remember that progress is easily confused with automation. Or efficiency.
8. Watch Adam Curtis’s The Century of the Self (and then watch it again).
9. Find ways of encouraging a critical perspective in others, without being a dystopian dick about it.
10. Actively start building the future you want, with or without technology.

One approach where we have first-hand experience and that begins to address point 10 is speculative design, which aims to facilitate a more critical and considered approach to future-formation. By countering the constraints that limit normative design to slavishly serving the market, speculative design is free to present futures that are neither explicitly utopian or dystopian. Using this approach we can explore possible scenarios when specific emerging technologies collide with everyday life. Or we can see what happens when we apply alternative configurations of contemporary technologies or systems to generate fresh perspectives on particular problems (a counter-constraint to constraint no. 2: legacies of the past, which we’ll return to in a future post). Speculation is time well spent.

We’ll give further thought to counter-constraints over a game of ping-pong on our rough-hewn autoprogettazione table, followed by coffee and toast. More, much more, to come. "]]></description>
<dc:subject>crapfutures counter-constraints futures speculativedesign design 2016 technosolutionism technology progress progressdogma automation efficiency normanbelgeddes eames productification utopia dystopia resistance richardbarbrook processfatigue eldoctorow helenburgess interstatehighways cars history optimism sustainability boosterism adamcurtis thecenturyoftheself statusanxiety bladerunner pollution traffic futurama world'sfairs 1939 1964 ibm</dc:subject>
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<item rdf:about="http://crapfutures.tumblr.com/post/138659230834/counter-constraints">
    <title>crap futures — counter-constraints</title>
    <dc:date>2016-02-23T09:38:06+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/138659230834/counter-constraints</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In recent posts, starting with ‘how the future happens’, we have been exploring the factors that keep us to established paths or limit the potential for preferable futures. But as we aim in this blog (and in life generally) to go beyond mere critique, the next batch of posts will outline the concept of counter-constraints.

Counter-constraints take the identified constraining factors and invert, work around, or ignore them entirely to propose fresh perspectives and possibilities. The resulting new ways of thinking about technological futures may be more inclusive, imaginative, socially-orientated, non-corporate, or they might simply facilitate a more meaningful relationship between science and society.

For example, open-source everything can be seen as a series of counter-constraints to restrictive infrastructure such as copyright laws, gated knowledge systems, and complex production lines. Back in the 1970s, Italian designer Enzo Mari sought to democratize furniture construction with autoprogettazione?, a DIY approach to ‘making easy-to-assemble furniture using rough boards and nails’. Mari wrote:

In my job as designer, or rather as an intellectual who contradicts the actual state of things, I try within the network of commissions and projects to ‘smuggle in’ moments of research and ways of creating the stimulus to free oneself from ideological conditioning, standard norms, behaviour and taste.
The book is full of beautiful stuff - we’ve already made two ping-pong tables and a couple of chairs from his instructions. Taking Mari’s lead, it is possible for anyone - without sophisticated tools or machinery - to sidestep the usual trip to Ikea.

Well, almost anyone - you still need basic building skills. The Enzo Mari example also relates to another constraint we’ve discussed, that of education. We’ve used his book to teach students the kinds of skills that are becoming rarer these days thanks to over-digitalisation, the consequential focus on 3D printing and laser-cutting, and the rapid shift toward sealed-box design.

Time for coffee and toast. In our next post we’ll look at how to ‘counter-constrain’ progress dogma.

note: apologies to the Mari purists. We used screws rather than nails for dismantleability."]]></description>
<dc:subject>constraints counter-constraints enzomari 2016 diy furniture autoprogettazione inversion futures future design crapfutures democratization 1970s science society technology knowledgesystems perspective possibilty</dc:subject>
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<item rdf:about="http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education">
    <title>crap futures — constraint no. 4: education</title>
    <dc:date>2016-01-12T06:35:51+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We hesitated a bit before tackling this one, because education is such a vast and complex subject. But as far as constraints on possible futures go, education is impossible to ignore. Skill sets and thought paths are determined at an early age, shaping and constraining future possibilities for entire generations of pupils. (It is worth rediscovering Ken Robinson’s 2008 talk on changing paradigms in relation to educational constraints.) There are serious consequences to enforcing the constraint of economic utility on education, drastically narrowing curricula to what are considered core subjects, replacing older - not to say obsolete or useless - technologies with newer ones in the classroom, and so on. Maslow’s evocative maxim, often attributed to Mark Twain for reasons unknown, comes to mind: ‘It is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.’ Today this might be paraphrased as: ‘Give a child a computer, and everything has to be coded.’ Or 3D printed. Or laser cut. Or CNC machined. Obviously the more of these tools girls and boys are given, the better for them and the country they live in.

Unfortunately, recent educational trends in the UK paint a rather bleak picture where constraints are concerned. An article from the BBC on the rise of 3D printing in schools states: ‘the key inspiration … has been what is loosely termed the “digital maker” movement’. But why digital maker movement and not simply maker movement? The article goes on to tell us that ‘"Fab lab" stands for a “fabrication laboratory”, where digital ideas are turned into products and prototypes.’ Again, why digital ideas and not just ideas? What is it about a fablab that needs to be wholly digital and not a hybrid of materials and practices? (Some spaces and curricula do seek to fuse the old ‘shop’ class with the new computer lab, but other concerns may arise - as in the case a few years ago of controversial DARPA military funding to put a thousand DIY workshops in US high schools.)

A UK Government report, meanwhile, that lays out the agenda on 3D printing in education there, includes the following ‘points to consider’: ‘Who will use it? What will it be used for?’ These are good questions, too seldom asked. As for the questions that were not asked, they might include: ‘What will happen to the old machines?’, ‘What will happen to the old knowledge?’ and ‘What is lost in the headlong rush to full digitalisation?’ 3D printing holds an enormous amount of potential, as boundary pushing movements like 3D Additivism demonstrate. But the 3D printer and the laser cutter shouldn’t be the only tools in the box, and deskilling leads to a narrowing of possibilities for everyone.

Roland Barthes, writing in the 1950s about the sudden shift from traditional wooden toys to plastic ones, observed:

<blockquote>Wood makes essential objects, objects for all time. Yet there hardly remain any of these wooden toys…. Henceforth, toys are chemical in substance and colour; their very material introduces one to a coenaesthesis of use, not pleasure. These toys die in fact very quickly, and once dead, they have no posthumous life for the child.</blockquote>

A word of warning to those who would abandon old areas of knowledge and useful materials too quickly."]]></description>
<dc:subject>crapfutures 2016 rolandbarthes wood education children durability materials time slow plastic future futures 3dprinting digital digitization 3dadditivism fablabs darpa diy making makermovement economics purpose additivism fablab</dc:subject>
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<item rdf:about="http://www.sternberg-press.com/index.php?pageId=1615&amp;l=en&amp;bookId=509&amp;sort=year">
    <title>Sternberg Press - Benjamin H. Bratton</title>
    <dc:date>2016-01-08T06:41:28+00:00</dc:date>
    <link>http://www.sternberg-press.com/index.php?pageId=1615&amp;l=en&amp;bookId=509&amp;sort=year</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["e-flux journal 
Benjamin H. Bratton
Dispute Plan to Prevent Future Luxury Constitution

With a foreword by Keller Easterling

Equal parts Borges, Burroughs, Baudrillard, and Black Ops, Dispute Plan to Prevent Future Luxury Constitution charts a treacherous landscape filled with paranoid master plans, failed schemes, and dubious histories. 

Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture. 

The cast of characters in this ensemble drama of righteous desperation and tactical trickery shuttle between fact and speculation, action and script, flesh and symbol, death and philosophy: insect urbanists, seditious masquerades, epistolary ideologues, distant dissimulations, carnivorous installations, forgotten footage, branded revolts, imploding skyscrapers, sentimental memorials, ad-hoc bunkers, sacred hijackings, vampire safe-houses, suburban enclaves, big-time proposals, ambient security protocols, disputed borders-of-convenience, empty research campuses, and robotic surgery. 

In this mosaic we glimpse a future city built with designed violence and the violence of design. As one ratifies the other, the exception becomes the ruler."

[on Amazon: http://www.amazon.com/Dispute-Prevent-Future-Constitution-journal-ebook/dp/B01ABCB8FM/ ]]]></description>
<dc:subject>benjaminbratton kellereasterling borges baudrillard blackops williamsburroughs fiction toread books future futures utopia politics security control propaganda sciencefiction violence jeanbaudrillard</dc:subject>
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<item rdf:about="http://crapfutures.tumblr.com/">
    <title>crap futures</title>
    <dc:date>2016-01-08T06:03:06+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/justinpickard/status/685336107312009217 ]

"Crap Futures is a blog about futures, innovation, politics, technology.

Crap in this context means underwhelming, disappointing, poorly thought out, badly done, inadequate, or sad. Nonsense or drivel.

Crap Futures casts a critical eye on corporate dreams and emerging technologies. It asks questions about where society is heading, who is taking us there, and whether ‘there’ is where we really want to end up.

who we are

James Auger is an Associate Professor at Madeira Interactive Technologies Institute, Portugal. On graduating from Design Products at the Royal College of Art in 2001 James moved to Dublin to conduct research at Media Lab Europe (MLE) exploring the theme of human communication as mediated by technology. After MLE he worked in Tokyo as guest designer at the Issey Miyake Design Studio developing new concepts for mobile telephones. Between 2005 and 2015 James was part of the critically acclaimed Design Interactions department at the RCA, teaching on the MA programme and continuing his development of critical and speculative approaches to design and technology, completing his PhD on the subject in 2012. Running parallel to his academic work, James is half of the speculative design practice Auger-Loizeau, a collaboration founded in 2000. Auger-Loizeau projects have been published and exhibited internationally, including MoMA, New York; 21_21, Tokyo; The Science Museum, London; The National Museum of China, Beijing and Ars Electronica, Linz. Their work is in the permanent collection at MoMA. 

Julian Hanna is an Assistant Professor at M-ITI. His writing on modernist and avant-garde culture has appeared in academic journals as well as the Atlantic, 3:AM, Berfrois, and elsewhere. Since joining M-ITI in 2013 his research has shifted toward futures studies, digital storytelling, design fiction, and livability."

[from http://crapfutures.tumblr.com/post/133586760654/about-about

"Here’s a bit of background on the authors, in the form of an interview.

James: Julian, as someone coming from literature, etc., what is your interest in the future?

I was never as interested in science fiction, or what I thought was sci-fi, as I was in other types of experimental literature - modernists like Joyce and the sort of stuff you were meant to read in university. At a certain point I had to make up for lost time, and began devouring Bradbury, Le Guin, Wells and the rest. What I did read a lot of during my studies, though, were manifestos - and all those improbable visions of the Futurists and Vorticists and Situationists still shape my thinking about futures, including what we’ll call ‘crap futures’. The Futurist Fortunato Depero, for example, who was a brilliant designer, wanted to design toys that not only stimulated children’s creativity, but also prepared them for the total and perpetual war that the Futurists were always promoting. So that was an early crap future.

But as far as literature informing my thoughts about futures - I remember feeling a mix of gratitude and relief when I heard Warren Ellis’s closing keynote (‘Some Bleak Circus’) at FutureEverything last year. Ellis spoke about the future through manifestos and ideas drawn from literature, and without resorting to a bunch of tech jargon. He looked like a storyteller, sitting in his old leather armchair and reading from a Kindle. That’s when it hit me that talking about the future wasn’t just the business of foresight consultants. But in fact there is a long history - Marshall McLuhan, for example, couldn’t go two pages in a future prophecy without mentioning Finnegans Wake.

The other way I engage with futures is through my training in critical thinking, close reading, and so on. I found I could look at the fictions propagated by the corporate world about possible futures the same way I could look at other types of storytelling. Thankfully this critical approach to futures has been gaining ground in recent years, establishing some much needed resistance to the kind of boosterism that dominates not only the corporate world but also a lot of tech research in the academic sphere. For various reasons the question of why more innovation in needed is far too seldom asked.

Julian: And you, James: as a designer - etc.! - how do you see the future?

It would be fair to say that I am approaching the time of life when men typically become grumpy. I am becoming increasingly grumpy about design and about the future.

As a young design student in the 90s I was proud to be practicing in my chosen discipline and happily set about learning how to develop new products that people might want to own. But looking back I realise that my education (and the majority of other designers’) desperately lacked any critical or philosophical foundation.

Myths taught at design school:

1. Design is good

2. Design makes people’s lives better

3. Design solves problems

Of course design can be and do all of these things but it has become so intrinsically linked to the complex systems of commerce and innovation that it has essentially been reduced to a novelty machine. Optimism is endemic meaning that it is unnatural for designers to think about the implications of their (technological) products: technology is good; products are good; and the future (through technological products) will therefore also be good!

I have recently been thinking a lot about constraints (it is normal for a designer), but going beyond the immediate and obvious such as costs, material, physical etc. to consider what are the constraints that reduce the possibilities of the future, or perpetuate certain trajectories.

Or alternatively the un-constraints of libertarian thinking - the techno-utopian dictatorships of Silicon Valley …

I will explore these over the coming weeks …"]

[See also: http://www.nicolasnova.net/pasta-and-vinegar/2016/1/7/crap-future ]]]></description>
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<item rdf:about="http://www.nytimes.com/2015/10/10/opinion/the-other-refugee-crisis.html">
    <title>The Other Refugee Crisis - The New York Times</title>
    <dc:date>2015-10-10T17:03:49+00:00</dc:date>
    <link>http://www.nytimes.com/2015/10/10/opinion/the-other-refugee-crisis.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dadaab may be the world’s largest, but there are many other examples of these temporary-but-permanent cities. In Pakistan, along the border with Afghanistan, the camps founded in 1979 for Afghan refugees are now a string of 79 permanent slums run by the United Nations and home to nearly a million people. Hundreds of thousands of refugees from Darfur have been living in a collection of 12 camps across the border in Chad since 2004, with no end in sight. Similar numbers and situations exist in Ethiopia, South Sudan, Thailand, Lebanon, Yemen, Jordan, Turkey and elsewhere, where people are living, and reproducing, in limbo. The numbers are growing not only because of a world in turmoil, but also because whole generations are growing up in camps.

Gaza is perhaps the best example of this. The eight original refugee camps have morphed into towns that, together, are now one of the most densely populated areas in the world, home to 1.7 million people. Separate from the U.N.H.C.R. and with a different mandate, the United Nations Relief and Works Agency for Palestine Refugees in the Near East was founded in 1949 for around 750,000 Arab Palestinians forced to flee their homes in 1948. But with no peace deal or return in sight, the agency looks after their five million descendants at a cost to the international community of over $1 billion a year. The agency was supposed to be an exception, but Gaza now looks like the rule. In Dadaab, the United Nations resettles around 2,000 refugees annually to Europe, Australia, Canada and the United States. But the birthrate in the camp of 1,000 a month will always outstrip that effort.

As refugee populations spiral higher, host nations usually move toward ever stricter encampment policies. Kenya is one of the strictest; last year the police rounded up thousands of refugees found outside designated camps and incarcerated them in the national stadium. Pakistan has threatened several times not to renew refugee status for Afghan refugees, and periodically attempts to force people back to Afghanistan. In Jordan, refugees have the right to move and work in theory, but authorities have reportedly issued no new work permits since 2014 and have begun coercive administrative measures to keep them in the camps.

To leave Dadaab, residents require a “movement pass,” just like under apartheid. Acquiring one usually involves a bribe. Thus, members of the third generation that is now beginning life in Dadaab may well spend their whole life in the camp. If they win one of the fiercely contested slots at secondary school, they could gain diplomas and degrees online or through the mail, but when there’s no viable path to a free future elsewhere, education in the closed camp is a cruel trick: There are no jobs except volunteer positions with the aid agencies that run the hospitals, schools and social programs, and these pay a fraction of what Kenyan staff members receive for doing the same job.

One might expect that in such circumstances, talent would curdle into bitterness, but the most striking thing about Dadaab is that the miserable conditions do not seem to have engendered radicalization. People are frustrated, but until now, the isolation of the camp and the United Nations mantras on rights and gender balance have fostered a subdued but tolerant society in which women are more emancipated than their sisters back in Somalia.

This is the ultimate contradiction of camp life: how to locate hope for the future in a desperate situation that appears permanent. People are trying. Life in Dadaab and all the other camps is a daily exercise in manufacturing hope. But for many, the fiction of temporariness no longer holds. And we are seeing the results of that realization washing up on Europe’s beaches.

Separate enclaves are beginning to appear in the rich world, too: slums such as “the Jungle” in Calais, where refugees and migrants wait to try to enter Britain illegally, or the detention centers that are now common in Europe, Australia and the United States where people must wait sometimes for years while their status is determined. In a world centered on nation-states, the full range of human rights is increasingly unavailable to those without citizenship. A whole gray population of second-class citizens has emerged, and their numbers are growing.

The proper and legal response should be to allow refugees and asylum seekers freedom of movement within their host nations and all the rights accorded to other citizens, including the right to travel abroad and seek work legally. But the tide of public opinion in most countries is moving in the opposite direction.

Of course rich nations should take more. But even if Europe and the United States stepped up and admitted much larger numbers than the paltry offers that have been suggested in recent weeks, it would still make only a small dent in the global refugee population.

Until our current wars die down, the world needs to adjust to the new reality of permanent refugee cities in legal limbo. Even if host nations wish to deny citizenship to long-staying refugees, it would make sense to allow the United Nations and refugees themselves to invest in infrastructure to reduce disease, provide employment and make these ramshackle slums more habitable. They could perhaps become autonomous open cities or international zones where those with United Nations documents were permitted to move and trade within the normal international visa regime. If camps were economically viable they might at least offer some pull to remain there. As one man told me as I was nearing the end of my time in Dadaab: “I belong nowhere. My country is the Republic of Refugee.”"]]></description>
<dc:subject>dabaad kenya somalia citizenship refugees limbo 2015 geopolitics impermanence permanence hope hopelessness calais afghanistan benrawlence pakistan darfur un unitednations africa unhcr migration palestine refugeecamps future futures</dc:subject>
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<item rdf:about="https://tinyletter.com/nicolasnova/letters/livraison-vingt-quatre-pk-pagers-ipod-touch-et-feature-phones-lee-scratch-perry">
    <title>Livraison vingt-quatre : PK, pagers, iPod Touch et feature phones + Lee Scratch Perry</title>
    <dc:date>2015-10-05T07:06:58+00:00</dc:date>
    <link>https://tinyletter.com/nicolasnova/letters/livraison-vingt-quatre-pk-pagers-ipod-touch-et-feature-phones-lee-scratch-perry</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["2. Pagers, iPod Touch et feature phones 

Dans son ouvrage "Quoi de neuf ?" publié en 2006, l’historien anglais David Edgerton observait la persistance, la "résistance" ou la ré-introduction de "vieilles techniques". Il citait notamment la résurgence de la télévision par cable dans les années 1980s (après avoir été en vogue dans les années 1950s) ou l’acupuncture (à son paroxysme au XIXème puis de retour depuis trente ans).

Un autre exemple historique marquant dans son livre est celui l'importance du cheval durant la Seconde Guerre mondiale:

<blockquote>"L’armée allemande, si souvent décrite comme reposant sur des formations blindées, eut bien plus de chevaux durant la Seconde Guerre mondiale que n’en eut l’armée britannique durant la Grande Guerre. Le réarmement de l’Allemagne, dans les années 1930, passa par un achat massif de chevaux, au point qu’en 1939 cette armée en possédait 590 000, et en avait 3 millions d’autres en réserve dans l’ensemble du pays. […] Début 1945, la Wehrmacht disposait de 1.2 millions de chevaux ; on estime à 1.5 millions les pertes en chevaux accumulés durant la guerre."</blockquote>

Avec ces exemples, Edgerton nous rend attentif au fait que "le temps technologique ne va pas uniquement vers l’avant"; et qu’il n’y a donc pas un bel ordonnancement chronologique. En adoptant le point de vue des usages des objets techniques, on peut regarder différents “mondes technologiques” et s’apercevoir de la diversité des pratiques. C’est un sujet qui intéresse votre correspondant dans le cadre d’un projet d’enquête sur les téléphones mobiles. En cherchant dans mes notes de terrain je suis tombés sur quelques cas de ce genre (( dans l’app Notes sur mon téléphone, j’ai une Note nommée "Livefieldnotes" dans laquelle je consigne mes observations concernant les usages des téléphones mobiles. C’est écrit à la volée sur le terrain donc avec des fautes d’orthographes et un certain laconisme ))

Voici les notes en questions:

<blockquote>23.08.2015 - train Genève - Lausanne Un homme regarde son pager Motorola, une technologie que je pensais disparue... Mais qui semble encore exister à ce que je lis sur le site de sigmacom.ch et qui sert des "besoins professionnels" avec des èchanges de messages alphanumeriques. Il dit mystérieusement l'utiliser du fait de sa fiabilité : "ça marche partout meme dans les zones a faible reseau de telephone, le fabricant me dit que ca joue a 99% partout dans le pays"

11.08.2015 - Genève, square Chantepoulet Rencontre avec J. un chercheur suisse-allemand, qui sort ses deux telephones (un iPod Touch et un vieux Nokia), il n'a pas de data plan et dit aussi utiliser cette combinaison d’appareils "pour se proteger des distractions". Il me dit utilise le Nokia (un feature phone noir) pour les appels, et le iPod Touch pour l’accès aux apps. Et s’il a besoin d’être connecté au Web mobile pour browser ou certaines apps, il le fait dans les lieux où il y a du Wifi

8.08.2015 - Geneve, marché aux puces Discussion avec un vendeur de telephone mobile genre nokia 3210 d'occasion (30chf), se vend bien, pour les gens qui n'arrivent pas bien a utiliser les smartphone "c trop complique", par exemple me dit le vendeur dans son francais approx: "par exemple une dame qui vient et dit que son fils lui a offert un iphone et elle comprend rien... Elle m'achete ce nokia [3310] et elle sait faire, elle recoit l'appel elle appuie sur le bouton et c bon; donc j'en vends toujours un peu"</blockquote>

Ces exemples, pris parmi d’autres, sont intéressants à plusieurs niveaux. D’abord parce qu’il montre la persistance et la diversité des usages d’objets techniques généralement considérés comme moins à la page (sans jeu de mot aucun sur le premier). Ensuite car ils renvoient à un autre aspect discuté par Edgerton : celle de la prétendue “résistance aux techniques nouvelles”, problèmes parfois abordés par psychologues ou historiens. Or, comme il l’explique, “il est absurde de parler de résistance à la technique ou à l’innovation dans un monde dont les individus ou les sociétés n’acceptent pas nécessairement toute innovation – ou, en fait – tout produit qui leur est proposée. De toute façon, il y a résistance. En adoptant une technique, la société résiste nécessairement à de nombreuses techniques substitutives ‘anciennes’ et ’nouvelles’.” Les pagers très fiables, les features phones en sont de bons exemples. Et l’usage des iPod Touch, à la manière de J., était d’ailleurs précisément proposé dans un article récent de la revue Wired comme l’un des système de communication les plus sécurisé à l'heure actuelle. Même si ces usages ne sont pas majoritaires – tout dépend où ! – ils existent et nous rappellent que différents critères influent sur les choix d'utilisation.

Cette combinaison d'objets techniques est d'ailleurs ce qui pêche souvent dans les vidéos prospectifs des grandes sociétés technologiques. On ne voit que des appareils rutilants, les dernières interfaces, alors que la réalité des pratiques correspond davantage à une grande diversité. C'est certes moins glorieux (un téléphone non-tactile ferait-il tâche à côté d'Hololense ?) mais bien plus plausible. Mon collègue du Near Future Laboratory Nic Foster utilisait dans cet article de Core77 une métaphore géologique pour ce phénomène : celui de l'accrétion qui lui permettait d'en discuter les enjeux deson point de vue de designer:

<blockquote>"In order to communicate our vision, it may be helpful to incorporate the existing designed space in parallel with the new. On a very practical level, we should embrace legacy technologies when conceiving new ones. Ethnographic studies constantly highlight technology accretion: the drawer full of cables, the old interaction behaviors, the dusty hard drives, the mouse mats and inherited hardware. Rather than avoid this complexity, good science fiction embraces accretive spaces, where contemporary design and technology sits side by side with older artifacts. In some cases, this technique can be used to show potential disconnects between the new and established, places where technology sticks out like a sore thumb. This is a useful tool for all designers and using it well can help us depict a more tangible future."</blockquote>

Comme il l'exprime ici, cette prise en compte de la diversité des pratiques peut stimuler la rechercher de voies originales. Dans le cas des mobiles, c'est la raison pour laquelle on voit toujours des produits pertinents basés sur des pagers aujourd'hui (c'est d'ailleurs le cas par exemple avec de la géolocalisation indoor) ou des téléphones servant uniquement à téléphoner...  avec des propositions loin d'être inesthétiques, absurdes ou curieuses."]]></description>
<dc:subject>nicolasnova davidedgerton technology time chronology nicfoster designfiction future futures mobilephones cv fieldnotes diversity tools mobile phones smartphones complexity design novelty earlyadopters lateadopters difference ipodtouch innovation</dc:subject>
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<item rdf:about="http://nextconf.eu/2015/10/keynote-how-will-we-live/">
    <title>How Will We Live? | NEXT Network</title>
    <dc:date>2015-10-04T07:51:40+00:00</dc:date>
    <link>http://nextconf.eu/2015/10/keynote-how-will-we-live/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Those with the least power to shape the future suffer its worst consequences of its manifestations."

[Text, slides, and videos here: 
http://superflux.in/blog/howwillwelive
https://medium.com/@anabjain/how-will-we-live-d9baf00acac9#.lmc9kxsed ]]]></description>
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<item rdf:about="https://tinyletter.com/vruba/letters/6-67-side-pass">
    <title>6, 67: Side pass</title>
    <dc:date>2015-09-28T21:54:59+00:00</dc:date>
    <link>https://tinyletter.com/vruba/letters/6-67-side-pass</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Q: Where do you find the time to write a newsletter?

A: I think of things that I was going to do, but which I don’t want to do as much as I want to do a newsletter, and then I don’t do those other things, and do the newsletter instead.

Q: You said once that you were pretty optimistic about the world’s future, despite your deep fear of climate change. Why?

A: Well, short version, because of what I think of as the genre of whig graphs. I strongly disagree with the hypercapitalist, only-humans-matter, business-as-usual agenda of most people I see deploying those graphs. (← Between that sentence and the coming sentence is where a longer version would have to do a lot of careful bridge-building. →) But I have much more trust in the futures of vaccinated, nourished, educated, relatively non-traumatized children who are close to the world’s biggest problems than I do in my own analyses. The risk in this stance is quietism. In any case, I think we’re in big trouble. My optimism isn’t a kind of satisfaction, only a kind of hope.

…

Q: How do I learn to write better?

A: Not sure. But maybe try stuff like: Write about things you care about. When you read something that surprises you, think about why, and how it could have been different. Good writing teaches you how to read it. As a reader, pay attention. As a writer, reward attention. Accept that you can’t make any one piece of writing avoid every valid criticism, communicate the whole truth, or please everyone you’d like to please. Notice peers whose writing is like yours and watch them learn. Find things you appreciate in writing that you (or common wisdom) don’t like. Ask someone who knows better than me.

Q: As you might expect from the fact that I subscribe to your newsletter, I think we share some tastes and interests. 

A: What do you read and pay attention to? Dunno. I follow a lot of amazing people on Twitter. When I come across something especially interesting, I assume it’s part of a network of interesting things and try to map that out. (For example, if I particularly enjoy a book, I’ll do web searches for the people thanked in the acknowledgments.) Looking for gaps, ruthlessness about things that are supposed to be interesting but aren’t, etc. I don’t know! Really there’s nothing in particular that I would point to other than the entire internet."]]></description>
<dc:subject>charlieloyd 2015 reading writing howweread howwewrite process learning howwelearn generalists twitter education unschooling attention interestedness interested classideas communication ideas hypercapitalism future hope optimism climatechange humanism newsletters futures quietism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.wired.com/2015/09/design-issue-future-of-cities/">
    <title>8 Cities That Show You What the Future Will Look Like | WIRED</title>
    <dc:date>2015-09-26T01:46:40+00:00</dc:date>
    <link>http://www.wired.com/2015/09/design-issue-future-of-cities/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>losangeles shanghai medellín eindhoven mecca nairobi sanfrancisco dubai 2015 cities urban urbanism future futures water technology museums cablecars transportation airports libraries parks activism graffiti streetart bikes biking pilgrimage muslims religion trash garbage mosques islam minibuses coworking design architecture colombia kenya matutus medellin</dc:subject>
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</item>
<item rdf:about="http://www.sfu.ca/dialogue/semester/courses.html#spring2016">
    <title>What are the Topics? - Semester in Dialogue - Simon Fraser University</title>
    <dc:date>2015-09-25T04:37:44+00:00</dc:date>
    <link>http://www.sfu.ca/dialogue/semester/courses.html#spring2016</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Spring 2016. Semester in Experimental Futures
Full-time, 15 credits (DIAL 390W, 391W, 392W)

Application Deadline: Friday, October 23, 2015 at noon (PST)

“Experimental Futures” will explore the intersections of the environment (nature), politics (culture) and the role of the arts and dialogue to rethink and imagine new environmental and political associations and attitudes. Climate change and environmental degradation are rapidly increasing around the world, disproportionately impacting the globe’s most vulnerable. The intersection of culture, language, and ways of being are pushing us all to rethink how we consider, live among, and interact with each other.

We are bombarded with information in this digital age while struggling to find the meaning within it. Profound cultural changes are afoot and clearly needed in this newly named epoch the Anthropocene, compelling us to seek out new and substantially different solutions, shifting how we collectively engage one another. We will use the arts and dialogue as guides to explore building new relationships between people, places, and institutions while enunciating with clarity and impact the communities we seek for the future. 

Focal questions may include:

How can we imagine new disruptive interventions, new models of engagement, collaboration, and governance, even new economic systems?

How can these new ideas be brought to the forefront as we try to bridge that gap between the old way of being in the world with novel ideals and policies for the future?

How do we articulate new progress while honouring powerful and important histories?

What role do the arts and dialogue play in locating and responding to these challenges?

What might relationships between the technological, ecological, and political become in light of these changes and possibilities?

We will explore these questions at various personal, local, regional, and global levels of scale, but focus our work at the local level to facilitate seeking vital responses to the challenges of political, ecological, and cultural issues faced in our immediate communities.

Possible questions might include:

What are the implications of the Anthropocene on the future of the greenest city?

How are the arts understood in the Lower Mainland and what role are they currently playing as disruptive and imaginative forces?

How does this kind of cultural work gain traction in our communities? What is the future of public spaces in the politics of the local?

What role do public movements and changing definitions of the social play in responding to the growing environmental crisis?

Where and how can emergent voices intervene, participate and shape these conversations?

This course will explore these and related themes through dialogues with thought leaders from across the spectrum of the arts, politics, environment and social change.  You’ll be exposed to cinema, fiction, art projects and interventions, theoretical writings, case studies and on-the-ground projects with guest thought leaders, attend public events and organize participatory public programming to develop richer, more nuanced understandings of the challenges and possibilities of the future. You will be challenged to develop practices, ways of being, and the skills needed to play active roles as citizens, innovators (experimental imaginers), and collaborators in this new and changing world. This is about the creative imaginings at the intersection between nature and culture.

Course runs Monday thru Friday, 10:00-4:00, January 5 - April 11
15 credits (Dial 390W, 391W, 392W)

INSTRUCTORS

Sean Blenkinsop is an Associate Professor in the SFU Faculty of Education with a secondment for five years to the Semester in Dialogue.

Am Johal is the Director of SFU's Vancouver Office of Community Engagement in the SFU Woodward's Cultural Unit."]]></description>
<dc:subject>via:selinjessa futures education classideas amjohal seanblenkinsop anthropocene environment nature politics culture art climatechange dialog urbanism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a8635a9e5840/</dc:identifier>
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<item rdf:about="https://tinyletter.com/realfuture/letters/it-doesn-t-know-what-you-want-until-you-teach-it">
    <title>It Doesn't Know What You Want Until You Teach It</title>
    <dc:date>2015-09-20T00:58:40+00:00</dc:date>
    <link>https://tinyletter.com/realfuture/letters/it-doesn-t-know-what-you-want-until-you-teach-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So, I just got home from Tel Aviv, which, while I happened to be there, was hit by a massive sandstorm that swept across from Syria.

Now, sandstorms, or at least the one I saw, do not work like the ones in Mad Max. I woke up in my little hotel cocoon, threw back the blackout curtains and saw … nothing. Because that’s what sandstorms do: they make landscape into nothing. They disappear buildings and the sea and the horizon and even the sun. Beyond half a mile, everything fades into white-yellow nothing.

I went for a run up the beach until I got to an old crumbling stone jetty. An old shirtless man with a huge belly was fishing from it. All I could see was a few big hotels behind me rising into dust and this jetty with the man in front of me. And it was possible to imagine that this was all the world, that this little narrow spit of land was all that was left.

That’s the dystopian story.

But, at the same time, I could snap a photo of the sea and the sky and send it to my wife across the world and have her send me back a picture of our son. And I could go look up the sandstorm and see it from a NASA satellite. And Apple would put out a new version of their phone, and just down the road, hundreds of Israeli startups were building new things in the world. And as I wandered around Tel Aviv, the strange light of the sandstorm making every photo look as if it were taken in a dream, I thought to myself: there are so many futures happening at once.

When we imagine a utopia or dystopia, both represent a hope that human lives will somehow be less messy and complex in the future than they are now. Because, good or bad, that’s the most comforting lie we can tell ourselves about what’s going to come: that we might be able to process and understand it more easily than we do our own short moment.

It's good to be back."]]></description>
<dc:subject>alexismadrigal sandstorms future futures life messiness complexity technology 2015 communication photography perception utopia dystopia understanding presence humanity</dc:subject>
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<item rdf:about="http://www.theamericanconservative.com/articles/life-in-the-garrison/">
    <title>Life in the Garrison | The American Conservative</title>
    <dc:date>2015-06-11T08:33:35+00:00</dc:date>
    <link>http://www.theamericanconservative.com/articles/life-in-the-garrison/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To think in this way — to think seriously in this way — is to commit oneself to slow and incremental change, to what W. H. Auden in one of his poems calls “local understanding.” It is also to acknowledge that the order and value you crave will not be handed to you by your environment; rather, you must build it ad hoc, improvising as you go with like-minded people, as you can find them."

…

"A genuinely conservative — i.e., conserving — counter-culture of any kind, including the Christian kind, will be similarly improvisatory, small-scale, local, fragile. It will always be aware that “to inhabit an ecology of attention that puts one squarely in the world” is a task to be re-engaged, with more or less success, every day. Over its (imaginary) gates it will carve a motto, one taken from a late Auden poem, “The Garrison”:

"Whoever rules, our duty to the City
is loyal opposition, never greening
for the big money, never neighing after
a public image.

Let us leave rebellions to the choleric
who enjoy them: to serve as a paradigm
now of what a plausible Future might be
is what we’re here for."]]></description>
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<item rdf:about="http://www.cd-cf.org/articles/critical-design-and-the-critical-social-sciences/">
    <title>Critical Design Critical Futures - Critical design and the critical social sciences: or why we need to engagem multiple, speculative critical design futures in a post-political and post-utopian era</title>
    <dc:date>2015-05-22T06:05:28+00:00</dc:date>
    <link>http://www.cd-cf.org/articles/critical-design-and-the-critical-social-sciences/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We, anxious citizens of the affluent global North have some rather conflicted attitudes to futuring. In the broad realm of culture, "futures" have never been more popular. In the realm of politics, it is widely believed that those who engage in utopian speculations, are "out to lunch or out to kill[1].""

…

"Thoughtful reflections on widening inequality, class struggle, climate crisis, human-animal-machine relations, trans-humanism, the future of sexuality, surveillance and militarism can all be found in all manner of places. Consider Ronald Moore's Battlestar Galactica, the sci-fi novels of Ursula LeGuin, the Mars trilogy of Kim Stanley Robinson, films such as District 9, Gattica, Elysium or Snowpiercer, the graphic novels of Alan Moore or Hayao Miyazaki's stunning retro-futurist animations. All these currents – and many others – have used futures as a narrative backdrop to open up debate about worlds we might wish to inhabit or avoid.

In the "real world" of contemporary politics, no such breadth of discussion can be tolerated.

"Futures" once played a very significant role in Western political discourse. Western political theory: from Plato onwards can reasonably be read as an argument about optimal forms of institutional configuring.

For much of the twentieth century, different capitalisms confronted different vision of communism, socialism, anarchism, feminism, black liberation, fascism. Rich discussions equally took place as to the possible merits of blended systems: from the mixed economy and the welfare state to "market socialism", mutualism to populism, associationalism to corporatism. Since the end of the Cold War, it would be hardly controversial to observe that the range of debate about political futures that can occur in liberal democracies has dramatically narrowed. 

Of course, it would be quite wrong to believe that utopianism has gone away in the contemporary United States. Pax Americana, The Rapture, or a vision of the good life spent pursuing private utopias centered around the consumption-travel-hedonism nexus celebrated by "reality TV" is all alive and well."

…

"Design is important for thinking about futures simply because it is one of the few remaining spaces in the academy that is completely untroubled by its devotion to futures. Prototyping, prefiguring, speculative thinking, doing things differently, failing… and then starting all over again are all core component of design education. This is perhaps why Jan Michl observed that a kind of dream of functional perfectionism [4] has haunted all matter of design practice and design manifestos in the twentieth century."

…

""Utopian thought is the only way of speculating concretely about a projective connection between architecture and politics. To design utopias is to enter the laboratory of politics and space, to conduct experiments in their reciprocity. This laboratory – unlike the city itself – is a place in which variables can be selectively and freely controlled. At the point of application of the concrete, utopia ceases to exist". [8]

Moreover, if we think of the utopian imaginary as disposition, as opposed to the blueprint, we might well get a little further in our speculations. Sorkin makes a plausible case for the centrality of a utopian, ecological and political architecture of the future as a kind of materialized political ecology. His intervention can also remind us that hostility to design utopianism or any discussion of embarking on "big moves" in urban planning, public housing, alternative energy provision and the like, can itself function as a kind of "anti-politics". It can merely re-enforce the status quo, ensuring that nothing of substance is ever discussed in the political arena."

…

"Whilst Wright never actually uses the word design to describe what he is up to in his writings, his demand for concrete programmatic thinking resonates with John Dryzek's call for a critical political science concerned with producing and evaluating discursive institutional designs.

Further points of convergence between design and the critical social sciences open up when we recognize that design is not reducible to the activities of professional designers. As thinkers from Herbert Simon, to Colin Ward have argued, if we see design as a much more generalizable human capacity to act in the world, prefigure and then materialize, the reach and potential of future orientated forms of social design for material politics can be read in much more interesting and expansive ways.

The writings of Colin Ward and Delores Hayden can be fruitfully engaged with here for the manner in which both of these critical figures have drawn productive links between design histories of vernacular architectures and the social histories of self built housing, infrastructure and leisure facilities. Both demonstrate that there is nothing particularly new about the current interest in making, hacking or sharing. There are many "hidden histories" of working men and women embarking on forms of self-management, building co-operative enterprises and networks of mutual aid. In doing so they have turned themselves into designers of their own workplaces, communities and lives [12]. Such experiments in what we might call "worker centred design" continue to resonate. Attempts by trade unionists to define new modes of ownership with socially useful production (as represented by the Lucas plan), and the recent spate of factory takeovers in Argentina, all indicate that workers can be designers[13].

All manner of interesting potential convergences between critical design, futurism and social critique can additionally be found in the many experimental forms that contemporary urban-ecological activism has given rise to. Consider experiments in urban food growing, forms of tactical or pop-up urbanism, guerrilla gardening and open streets, attempts to experiment in solidarity economies, experiments with urban retrofitting or distributed energy systems or experiments with part finished public housing (that can be customized by their residents). All these currents have the potential to draw design activism and design-oriented social movements into direct engagement with critical theory, political economy and the critical social sciences."]]></description>
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<item rdf:about="http://aeon.co/magazine/technology/how-design-fiction-imagines-future-technology/">
    <title>How design fiction imagines future technology – Jon Turney – Aeon</title>
    <dc:date>2015-03-20T05:09:14+00:00</dc:date>
    <link>http://aeon.co/magazine/technology/how-design-fiction-imagines-future-technology/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As technological choices become ever more complex, design fiction, not science, hints at the future we actually want"

…

"Design fiction’s efforts to create imaginative realisations of technology, which consciously try to evoke discussion that avoids polarising opinion, have a key ingredient, I think. Unlike the new worlds of sci-fi novels, or the ultra-detailed visuals of futuristic cinema, their stories are unfinished. Minority Report is not about critical design because its narrative is closed. In good design fiction, the story is merely hinted at, the possibilities left open. It is up to the person who stumbles across the design to make sense of how it might be part of a storied future."

…

Design fiction’s proponents want to craft products and exhibits that are not open to this simplified response, that fire the imagination in the right way. That means being not too fanciful, not simply dystopian, and not just tapping into clichéd science‑fictional scripts. When it works, design fiction brings something new into debates about future technological life, and involves us – the users – in the discussion."

…

"As design fiction comes to be recognised as a distinctive activity, it will continue to find new forms of expression. The US design theorist Julian Bleecker of the Near Future Laboratory suggests that the TBD Catalog with its realistic depictions of fictional products models a different way of innovating, in which designers ‘prototype and test a near future by writing its product descriptions, filing bug reports, creating product manuals and quick reference guides to probable improbable things’. The guiding impulse is to assist us in imagining a new normality. Design and artistic practice can both do that.

Design fictions are not a panacea for some ideal future of broad participation in choosing the ensemble of technologies that we will live with. Most future technologies will continue to arrive as a done deal, despite talk among academics of ‘upstream engagement’ or – coming into fashion – instituting ‘responsible research and innovation’. The US Department of Defense, for instance, and its lavishly-funded, somewhat science-fictional Defense Advanced Research Projects Agency (DARPA) has an extensive catalogue of research and development (R&D) projects on topics from robotics to neural enhancement, selected according to a single over-riding criterion: might they give the USA a military advantage in future? DARPA’s Biological Technologies Office tells us, in a ghastly combination of sales talk and bureaucratese, that it is ‘looking for the best innovators from all fields who have an idea for how to leverage bio+tech to solve seemingly impossible problems and deliver transformative impact’. Here, as in other fields, military, security and much commercial R&D will probably go its own way, and we’ll get weaponised biology whether we like it or not.

For the rest, though, there is a real contribution to be made through a playful, freewheeling design practice, open to many new ideas, and which is technically informed but not constrained by immediate feasibility. There are already enough examples to show how design fiction can invite new kinds of conversations about technological futures. Recognising their possibilities can open up roads not taken.

Design fiction with a less critical (and more commercial) edge will continue to appeal to innovative corporations anxious to configure new offerings to fit better with as yet undefined markets. Their overriding aim is to reduce the chances of an innovation being lost in the ‘valley of death’ between a bright idea and a successful product that preys on the minds of budget-holders.

But the greatest potential of this new way of working is as a tool for those who want to encourage a more important debate about possible futures and their technological ingredients. This is the debate we’re still too often not having, about how to harness technological potential to improve the chances of us living the lives we wish for."]]></description>
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<item rdf:about="http://www.oxy.edu/third-los-angeles-project">
    <title>Third Los Angeles Project | Occidental College | The Liberal Arts College in Los Angeles</title>
    <dc:date>2015-02-10T22:41:30+00:00</dc:date>
    <link>http://www.oxy.edu/third-los-angeles-project</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A series of public conversations examining a city moving into a dramatically new phase in its civic development.

Los Angeles, as it finally builds a comprehensive public transit system and pays serious attention to its long-neglected civic realm, is in the midst of profound reinvention. Or perhaps it’s better to call it a profound identity crisis. Either way, the old clichés about L.A. clearly no longer apply. This is a city trying, and often struggling, to define a post-suburban identity.
 
At the same time, it’s important to remember that all of the things that L.A. is aiming to add (and in fact grew infamous around the world for lacking) in the post-war years -- mass transit, places to walk, civic architecture, forward-looking urban planning, innovative multifamily housing -- it actually produced in enviable quantities in the early decades of the 20th century.  Contemporary L.A. also shares with that earlier city an anxiety about the environment, in contrast to the confidence about controlling nature that shaped Los Angeles in the post-war decades.

In the most basic sense, that’s why we’re calling the initiative the Third Los Angeles Project. We are not just entering a new phase. We are also rediscovering the virtues and challenges of an earlier one -- and acknowledging the full sweep of L.A.’s modern history.

In the First Los Angeles, stretching roughly from the city’s first population boom in the 1880s through 1940, a city growing at an exponential pace built a major transit network and innovative civic architecture.

In the Second Los Angeles, covering the period from 1940 to the turn of the millennium, we pursued a hugely ambitious experiment in building suburbia –- a privatized, car-dominated landscape –- at a metropolitan scale.

Now we are on the cusp of a new era. In a series of six public events, some on the Occidental College campus and others elsewhere, the Third Los Angeles Project will explore and explain this new city. 

The Third Los Angeles Project is a unique collaboration between Occidental College, Southern California Public Radio and Christopher Hawthorne, professor of practice in the Urban & Environmental Policy Department at Occidental, as well as architecture critic at the Los Angeles Times since 2004. A corresponding academic course is running concurrent with the public events.

All events are open to the public and free of charge. Register by clicking on any of the events below:

Welcome to the Third Los Angeles - Thursday, Feb. 12, 7:30 PM
The series kicks off with an introduction to the goals and central themes of the Third Los Angeles project.

Post-Immigrant Los Angeles - Wednesday, Feb. 18, 7:30 PM
Immigration to Southern California peaked in 1990, and we’ve now entered a post-immigrant phase, with foreign-born residents likely to be more financially and culturally stable and better connected than they were a generation ago.

City of Quartz at 25 - Wednesday, Mar. 4, 7:30 PM
Arguably the most important book written about Los Angeles in the last four decades -- and easily the most controversial -- City of Quartz is about to turn 25.

A Debate over the New LACMA - Wednesday, Mar. 25, 7:30 PM
Architect Peter Zumthor’s plan to radically redesign the Los Angeles County Museum of Art has divided critics and architects in L.A. like no other proposal in recent memory.

The Future of the Single-Family House: New Housing Models for Los Angeles - Wednesday, Apr. 8, 7:30 PM
At once vulnerable and inviolate, a disappearing architectural species and the most protected building type in the city, the single-family house continues to play an outsize role in debates over architecture, planning and growth in Los Angeles."]]></description>
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<item rdf:about="https://vimeo.com/112105187">
    <title>Anab Jain, “Design for Anxious Times” on Vimeo</title>
    <dc:date>2015-02-08T02:36:31+00:00</dc:date>
    <link>https://vimeo.com/112105187</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As 2014 rushes past us, a venture capital firm appoints a computer algorithm to its board of directors, robots report news events such as earthquakes before any human can, fully functioning 3D printed ears, bones and guns are in use, the world’s biggest search company acquires large scale, fully autonomous military robots, six-year old children create genetically modified glow fish and an online community of 50,000 amateurs build drones. All this whilst extreme weather events and political unrest continue to pervade. This is just a glimpse of the increased state of technological acceleration and cultural turbulence we experience today. How do we make sense of this? What can designers do? Dissecting through her studio Superflux’s projects, research practice and approach, Anab will make a persuasive case for designers to adopt new roles as sense-makers, translators and agent provocateurs of the 21st century. Designers with the conceptual toolkits that can create a visceral connection with the complexity and plurality of the worlds we live in, and open up an informed dialogue that help shape better futures for all."]]></description>
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<item rdf:about="https://twitter.com/JosieHolford/status/553014669611630592">
    <title>JosieHolford on Twitter: &quot;It's a way - an expanding set of thinking practices @MrBlendy for getting from where we are now to where we want to be. #dtk12chat&quot;</title>
    <dc:date>2015-01-08T05:43:14+00:00</dc:date>
    <link>https://twitter.com/JosieHolford/status/553014669611630592</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“[Design thinking] It's a way - an expanding set of thinking practices @MrBlendy for getting from where we are now to where we want to be.”

“So basically - is design thinking about strategizing our collective futures? #dtk12chat”
https://twitter.com/JosieHolford/status/553016235374686208]]></description>
<dc:subject>josieholford designthinking utopia speculativefiction speculativedesign future futures 2015 howwethink education learning schools design thinking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:03e5f8058850/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=GQH-nVX8hT4">
    <title>Junot Diaz - Art, Race and Capitalism - YouTube</title>
    <dc:date>2014-11-29T06:41:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=GQH-nVX8hT4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Despite what we think, we're more isolated and atomized than ever before. […] The fact is that most poor people are more segregated and isolated than they've ever been. […] There's something really bewildering about the fact that we feel so rhizomatically interconnected to people, but we've never been more isolated. Classes no longer come into contact with each other in any way that's meaningful. I look at my mom and people are like “oh, she's that old generation.” My mom had more interclass contact than the average person has today. Because these great barriers — what we would call the networked society in which we live — hadn't been put into place yet. Think about how much public space my mother inhabited where she was going to encounter people from different cultures and different classes every day. There's almost no public space left at all. And any public space that we have is so patrolled and under so much surveillance and has been schematized and culturalized in certain ways that we're not really coming into contact with anyone who isn't like us. […] You basically encounter people in your network. So that if you are of a certain class, that's who you're encountering in the village. If you come from a certain educational background or from a certain privilege, that's who you're encountering in Williamsburg, these quote-unquote diverse spaces."

[via: http://botpoet.tumblr.com/post/103750710570/you-gotta-remember-and-im-sure-you-do-the

quoting these lines: “You gotta remember, and I’m sure you do, the forces that are arrayed against anyone trying to alter this sort of hammerlock on the human imagination. There are trillions of dollars out there demotivating people from imagining that a better tomorrow is possible. Utopian impulses and utopian horizons have been completely disfigured and everybody now is fluent in dystopia, you know. My young people’s vocabulary… their fluency is in dystopic futures. When young people think about the future, they don’t think about a better tomorrow, they think about horrors and end of the worlds and things or worse. Well, do you really think the lack of utopic imagination doesn’t play into demotivating people from imagining a transformation in the society?”]]]></description>
<dc:subject>junotdíaz capitalism race class segregation dystopia utopia hope faith humans 2013 humanism writing literature immigration life living classism activism ows occupywallstreet punk hiphop compassion identity failure guilt imperfection politics self work labor courage howtobehuman forgiveness future oppression privilege society change changemaking futures schools education business funding policy resistance subversion radicalpedagogy burnout teaching howweteach systemschange survival self-care masculinity therapy cultureofcare neolithic optimism inventingthefuture humanconstructs civilization evolution networkedsociety transcontextualism paradigmshifts transcontextualization</dc:subject>
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<item rdf:about="http://designculturelab.org/2014/10/23/three-uncertain-thoughts-or-everything-i-know-i-learned-from-ursula-le-guin/">
    <title>Three Uncertain Thoughts, Or, Everything I Know I Learned from Ursula Le Guin | Design Culture Lab</title>
    <dc:date>2014-10-23T20:43:00+00:00</dc:date>
    <link>http://designculturelab.org/2014/10/23/three-uncertain-thoughts-or-everything-i-know-i-learned-from-ursula-le-guin/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One.

In her 1969 novel The Left Hand of Darkness, Ursula K Le Guin writes, “The unknown, [...] the unforetold, the unproven, that is what life is based on. Ignorance is the ground of thought. Unproof is the ground of action . . . [T]he only thing that makes life possible is permanent, intolerable uncertainty; not knowing what comes next.”

If the only certainty is death, then to deny uncertainty is to deny life.

My work (creative? social science?) is vital not in the sense of being necessary or essential, but energetic, lively, uncertain. In a short 2006 piece in Theory, Culture & Society, Scott Lash argues that the classical concept of vitalism has re-emerged in the face of global complexity and uncertainty, manifesting itself in cultural theory that acknowledges that “the notion of life has always favoured an idea of becoming over one of being, of movement over stasis, of action over structure, of flow and flux.”

In my research I take seriously the idea that what I am seeing, doing and making is emergent; I cannot know how — when, where, for whom or why — it will all end. I can only live with, and through, it. This means I do not want to convince others that I am right. (Have you ever noticed that Le Guin’s stories unfailingly explore ethics and morality without dealing in absolutes?)

I only — as if this were a small thing! — invite you to accompany me for a while, and see what we can become together. This is just — as if this too were a small thing! — one way of knowing the world.

Two.

In a 2014 interview for Smithsonian Magazine, Le Guin explains that the future is where “anything at all can be said to happen without fear of contradiction from a native. [It] is a safe, sterile laboratory for trying out ideas in, a means of thinking about reality, a method.”

My work makes things, and explicitly makes things up, in some near or far future. I practice different worlds.

Fictions and futures give me (you? us?) space to move, and be moved. This is the space of utopia, but not an idealist utopia set against a pessimist dystopia. Fictions and futures are literally no-places: real but not actual, and always vital. I feel as though I thrive in these spaces, both grounded and reaching toward the sky, open to the elements, potential.

But here’s something I’ve learned: I can’t make up anything and expect it to work. The stories need to resonate. And that means they need to be internally coherent and consistent, plausible. So I locate others and myself empirically, ethnographically. I look to the hopes and promises that bind us together, to the threats that rip us apart, and I look to the expectations that constrain and orient us along particular, but not certain, paths.

And then I imagine it (me, you, us) otherwise.

Three.

In her 2007 essay “The Critics, the Monsters, and the Fantasists,” Le Guin clarifies “although the green country of fantasy seems to be entirely the invention of human imaginations, it verges on and partakes of actual realms in which humanity is not lord and master, is not central, is not even important.”

My imagination has sought out this vital, “green country of fantasy” by focussing on possible futures for multispecies, more-than-human, agents. But I’ve yet to be successful in my quest to avoid anthropocentrism. (My dragons remain stubbornly human!)

Still: I follow Donna Haraway’s argument, in 2007’s When Species Meet, that “animals enrich our ignorance.” When I look at people and technology and design and everyday life with — and through — animals I am never more uncertain about what they all mean. To take animals (and other nonhumans) seriously forces me to let go of many preconceptions, even when I fail to imagine a plausible alternative.

But perhaps that uncertainty is only appropriate, too."]]></description>
<dc:subject>annegalloway 2014 ursulaleguin unknown uncertainty unproven certainty death life scottlash vitalism complexity culture theory morality ethics absolutism knowing unknowing future futures fiction worldbuilding process method making speculativefiction designfiction ethnography imagination utopia dystopia potential fantasy invention design anthropocentrism multispecies donnaharaway ignorance technology preconceptions posthumanism ursulakleguin</dc:subject>
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<item rdf:about="http://www.franceswhitehead.com/">
    <title>Frances Whitehead</title>
    <dc:date>2014-10-14T19:29:32+00:00</dc:date>
    <link>http://www.franceswhitehead.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHO WE ARE

Frances Whitehead is a civic practice artist bringing the methods, mindsets, and strategies of contemporary art practice to the process of shaping the future city. Connecting emerging art practices, the discourses around culturally informed sustainability, and new concepts of heritage and remediation, she develops strategies to deploy the knowledge of artists as change agents, asking, What do Artists Know?

Questions of participation, sustainability, and culture change animate her work as she considers the surrounding community, the landscape, and the interdependency of multiple ecologies in the post-industrial city. Whitehead’s cutting-edge work integrates art and sustainability, as she traverses disciplines to engage with engineers, scientists, landscape architects, urban designers, and city officials in order to hybridize art, design, science, and civic engagement, for the public good.

Whitehead has worked professionally as an artist since the mid 1980’s and has worked collaboratively as ARTetal Studio since 2001. She is Professor of Sculpture + Architecture at the School of the Art Institute of Chicago."


HOW WE THINK

strategic
edge-dwelling
collaborative
cultural futures
experimental
complexity 
ethics + aesthetics
place-based culture
change
participatory
urban ecologies
systemic
re-directive
post normal
art + science
integrative
adaptive"


WHAT WE DO

Whitehead works in disturbed urban and rural sites, to integrate art and cultural expertise into their transformation. A series of linked civic initiatives include the Embedded Artist Project with the City of Chicago, SLOW Cleanup, a culturally driven phytoremediation program for abandoned gas stations, climate-monitoring plant programs throughout the USA and Europe, and an urban agriculture plan with the city of Lima, Peru. Currently, Whitehead is Lead Artist for The 606, a rail infrastructure adaptation project in Chicago, and serves as Advisor to re-imagine the environmental art program at the Schuylkill Center, in Philadelphia."]]></description>
<dc:subject>franceswhitehead via:anne art science cities urban urbanism remediation heritage participation sustainability culture culturechange culturecreation community landscape interdependence ecology civics artetalstudio chicago collaboration strategy urbanecology urbanecologies ethics aesthetics systems systemsthinking participatory complexity future futures edge-dwelling phytoremediation lima perú the606 engineering urbandesign interdisciplinary</dc:subject>
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<item rdf:about="http://futurismic.com/2014/10/12/make-technological-utopia-easier-with-this-one-weird-trick/">
    <title>Make technological utopia easier with this one weird trick | Blog | Futurismic</title>
    <dc:date>2014-10-13T23:20:03+00:00</dc:date>
    <link>http://futurismic.com/2014/10/12/make-technological-utopia-easier-with-this-one-weird-trick/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Now, as a card-carrying Harawayian, I am in no way averse to ascribing agency to non-human and/or artefactual subjects; what bothers me about these scenarios is that they largely remove agency from human subjects, being variations on the Software Salvationism which believes that all obstacles might be overcome through the addition of EVN MOAR ALGOS PLZ*, and assumes (falsely, I hope) that people would like less direct control over the way their world works rather than more. But it’s kind of inevitable, really: when you ask “how can technology make a better future?” you foreclose (whether deliberately or not) on the possibility of making that better future with anything other than new technology; this is one of the epistemological bear-traps of technological determinism, which Kelly and many other tech-centric futures people have been circling around for decades.

But it’s easily enough stepped out of; all you need to do is take the “technology” specifier out of the question, and/or avoid asking it of people who identify with technology in either a entrepreneurial or quasi-religious manner (no beer for you, Ray Kurzweil). By way of example, here’s my own late submission to Kelly’s call, a 101-word haiku describing a desirable future:

<blockquote>No one goes hungry. No one sleeps outdoors, unless they choose to. No one is conscripted as a child-soldier. No one is maimed by land-mines made on the other side of the world. No one is exploited for the betterment or gain of another. No one is a second class citizen to anyone. Nothing is wasted. Things – whether material or digital – are made with care and thought, and are made to last a long, long time. We appreciate a plurality of systems of value alongside the legacy cash-money system, which we keep going as a honey-trap distraction for the instinctively acquisitive.</blockquote>

If that’s not utopian and desirable, I don’t know what it is. And as implausible, unlikely and peacenik-pie-in-the-sky as you might (very reasonably) choose to call it, it is possible — because it doesn’t require us to make a single damned invention or piece of software we don’t already have. We have everything we need already; it’s just, as Gibson didn’t quite say, not yet evenly distributed. That means my little scenario above is intrinsically more plausible than any future that requires a technological novum to make it work, because [Occam's Razor]. And if you’re aching to say “but hang on, you’ll never get that to work because getting people to change the way they do things isn’t at all simple”, then congratulations –you’ve internalised the very point I’ve been trying to make all along. Have a cookie.

In short, then, and in hope of answering Kelly’s rhetorical question: the reason it is no longer possible/easy to write believable technological utopias is that we’ve had enough historical and personal experience with previous technologies failing to deliver on their utopian promises that we are no longer willing to take them at face value; we no longer believe that new technologies are an unalloyed good in and of themselves, and there have been sufficient charlatan futurists that we’ve started to assume they’re all charlatans until proven otherwise.

So perhaps we’re edging closer to utopia faster than we thought."]]></description>
<dc:subject>paulgrahamraven 2014 utopia economics donnnaharaway transhumanism humanism technology inequality kevinkelly future futures policy politics waste environment care thought</dc:subject>
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<item rdf:about="https://twitter.com/Interdome/status/346078214201958400">
    <title>Adam Rothstein on Twitter: &quot;&quot;The slow food equivalent for futurism.&quot; @threadbare on #solarpunk #WSC&quot;</title>
    <dc:date>2014-10-06T19:44:34+00:00</dc:date>
    <link>https://twitter.com/Interdome/status/346078214201958400</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""The slow food equivalent for futurism." @threadbare on #solarpunk #WSC"]]></description>
<dc:subject>solarpunk slow slowfood adamrothstein future futures futurism 2013</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:49951802243c/</dc:identifier>
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<item rdf:about="https://twitter.com/Threadbare/status/517715485106790400">
    <title>Eh, Flynn on Twitter: &quot;&quot;Oh, I guess I should see if anyone made a solarpunk board on pinterest.&quot; THERE ARE 46 OF THEM.&quot;</title>
    <dc:date>2014-10-06T19:13:47+00:00</dc:date>
    <link>https://twitter.com/Threadbare/status/517715485106790400</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[great thread here]

[Starts with:]
"Oh, I guess I should see if anyone made a solarpunk board on pinterest." THERE ARE 46 OF THEM."
https://twitter.com/Threadbare/status/517715485106790400

[some highlights:]

@Dymaxion Been reading Seeing Like A State for book club and reflecting on how much of solarpunk comes out of 'fuck high modernism.'
https://twitter.com/Threadbare/status/517726051984633856

"@Threadbare Yeah. I confess I'm still unsure about it. I guess I feel like the way forward is half solarpunk, half walmart+socialism."
https://twitter.com/Dymaxion/status/517738774298886144

"@Dymaxion Yah, I ponder that; even if you have a bunch of idyllic yeoman maker communities, you still need an industrial base + governance."
https://twitter.com/Threadbare/status/517739529277427712

".@Threadbare Yes - "Maker" is a charismatic not-that-megafauna playing tricks with the last mile of the global infrastructural supplychain."
https://twitter.com/Dymaxion/status/517739932732096512

"@Threadbare And everything that really makes an impact is basically in the infrastructural/governance layers."
https://twitter.com/Dymaxion/status/517740048050315267

"@Threadbare Hong Kong and Sinagpore still feel more like the future than your average hackerspace, problematic governance and all."
https://twitter.com/Dymaxion/status/517740166220640256

"@Dymaxion My friend @ChrisBurkeShay once described Hong Kong as "eighties-future.""
https://twitter.com/Threadbare/status/517740315243851776

"@Threadbare @Dymaxion theme of fictional something I'm working on: how much does getting 'off grid' become an abandonment of solidarity?"
https://twitter.com/timmaughan/status/517740324492685313

"@timmaughan @Dymaxion This is partly why I've tried to focus on communities, not households, as the place to do things."
https://twitter.com/Threadbare/status/517740548719792128

"@Threadbare @timmaughan That's a big step in the right direction, because if nothing else we need to reinvent communitas anyway."
https://twitter.com/Dymaxion/status/517740732422316034

"@timmaughan @Dymaxion Communities/cities as largest polity a public can reasonably affect, lived experience transcends filter bubbles..."
https://twitter.com/Threadbare/status/517740795365830656

"@Threadbare @Dymaxion of course, but what differentiates those communities from say, seasteaders?"
https://twitter.com/timmaughan/status/517740990556557313

[continues]]]></description>
<dc:subject>solarpunk anarchism infrastructure community communities cities 2014 communitas polity future futures governance seeinglikeastate jamescscott highmodernism modernism yeomen eleanoraitta timmaughan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed93bbafe4dc/</dc:identifier>
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</item>
<item rdf:about="http://missolivialouise.tumblr.com/post/94374063675/heres-a-thing-ive-had-around-in-my-head-for-a">
    <title>Land of Masks and Jewels, Here’s a thing I’ve had around in my head for a...</title>
    <dc:date>2014-10-06T18:57:47+00:00</dc:date>
    <link>http://missolivialouise.tumblr.com/post/94374063675/heres-a-thing-ive-had-around-in-my-head-for-a</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s a thing I’ve had around in my head for a while!

Okay, so I’m pretty sure that by now everyone at least is aware of Steampunk, with it’s completely awesome Victorian sci-fi aesthetic. But what I want to see is Solarpunk – a plausible near-future sci-fi genre, which I like to imagine as based on updated Art Nouveau, Victorian, and Edwardian aesthetics, combined with a green and renewable energy movement to create a world in which children grow up being taught about building electronic tech as well as food gardening and other skills, and people have come back around to appreciating artisans and craftspeople, from stonemasons and smithies, to dress makers and jewelers, and everyone in between. A balance of sustainable energy-powered tech, environmental cities, and wicked cool aesthetics. 

A lot of people seem to share a vision of futuristic tech and architecture that looks a lot like an ipod – smooth and geometrical and white. Which imo is a little boring and sterile, which is why I picked out an Art Nouveau aesthetic for this.

With energy costs at a low, I like to imagine people being more inclined to focus their expendable income on the arts!

Aesthetically my vision of solarpunk is very similar to steampunk, but with electronic technology, and an Art Nouveau veneer.

So here are some buzz words~

    Natural colors!
    Art Nouveau!
    Handcrafted wares!
    Tailors and dressmakers!
    Streetcars!
    Airships!
    Stained glass window solar panels!!!
    Education in tech and food growing!
    Less corporate capitalism, and more small businesses!
    Solar rooftops and roadways!
    Communal greenhouses on top of apartments!
    Electric cars with old-fashioned looks!
    No-cars-allowed walkways lined with independent shops!
    Renewable energy-powered Art Nouveau-styled tech life!

Can you imagine how pretty it would be to have stained glass windows everywhere that are actually solar panels? The tech is already headed in that direction!  Or how about wide-brim hats, or parasols that are topped with discreet solar panel tech incorporated into the design, with ports you can stick your phone charger in to?

(((Character art by me; click the cityscape pieces to see artist names)))"

[See also: http://missolivialouise.tumblr.com/tagged/solarpunk-tag ]]]></description>
<dc:subject>solarpunk solar futures art future artnoveau craft make makers making steampunk victorian nearfuture sciencefiction scifi energy edwardian sustainability 2014</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7bab45bb0cb5/</dc:identifier>
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</item>
<item rdf:about="http://hieroglyph.asu.edu/2014/09/solarpunk-notes-toward-a-manifesto/">
    <title>Solarpunk: Notes toward a manifesto | Project Hieroglyph</title>
    <dc:date>2014-10-06T18:49:48+00:00</dc:date>
    <link>http://hieroglyph.asu.edu/2014/09/solarpunk-notes-toward-a-manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s hard out here for futurists under 30.

As we percolated through our respective nations’ education systems, we were exposed to WorldChanging and TED talks, to artfully-designed green consumerism and sustainable development NGOs. Yet we also grew up with doomsday predictions slated to hit before our expected retirement ages, with the slow but inexorable militarization of metropolitan police departments, with the failure of the existing political order to deal with the existential-but-not-yet-urgent threat of climate change. Many of us feel it’s unethical to bring children into a world like ours. We have grown up under a shadow, and if we sometimes resemble fungus it should be taken as a credit to our adaptability.

We’re solarpunks because the only other options are denial or despair.

The promises offered by most Singulatarians and Transhumanists are individualist and unsustainable: How many of them are scoped for a world where energy is not cheap and plentiful, to say nothing of rare earth elements?

Solarpunk is about finding ways to make life more wonderful for us right now, and more importantly for the generations that follow us – i.e., extending human life at the species level, rather than individually. Our future must involve repurposing and creating new things from what we already have (instead of 20th century “destroy it all and build something completely different” modernism). Our futurism is not nihilistic like cyberpunk and it avoids steampunk’s potentially quasi-reactionary tendencies: it is about ingenuity, generativity, independence, and community.

And yes, there’s a -punk there, and not just because it’s become a trendy suffix. There’s an oppositional quality to solarpunk, but it’s an opposition that begins with infrastructure as a form of resistance. We’re already seeing it in the struggles of public utilities to deal with the explosion in rooftop solar. “Dealing with infrastructure is a protection against being robbed of one’s self-determination,” said Chokwe Lumumba, the late mayor of Jackson, MS, and he was right. Certainly there are good reasons to have a grid, and we don’t want it to rot away, but one of the healthy things about local resilience is that it puts you in a much better bargaining position against the people who might want to shut you off (We’re looking at you, Detroit).

Solarpunk punkSolarpunk draws on the ideal of Jefferson’s yeoman farmer, Ghandi’s ideal of swadeshi and subsequent Salt March, and countless other traditions of innovative dissent. (FWIW, both Ghandi and Jefferson were inventors.)

The visual aesthetics of Solarpunk are open and evolving. As it stands, it’s a mash-up of the following:

• 1800s age-of-sail/frontier living (but with more bicycles)
• Creative reuse of existing infrastructure (sometimes post-apocalyptic, sometimes present-weird)
• Jugaad-style innovation from the developing world
• High-tech backends with simple, elegant outputs

Obviously, the further you get into the future, the more ambitious you can get. In the long-term, solarpunk takes the images we’ve been fed by bright-green blogs and draws them out further, longer, and deeper. Imagine permaculturists thinking in cathedral time. Consider terraced irrigation systems that also act as fluidic computers. Contemplate the life of a Department of Reclamation officer managing a sparsely populated American southwest given over to solar collection and pump storage. Imagine “smart cities” being junked in favor of smart citizenry.

Tumblr lit up within the last week from this post envisioning a form of solar punk with an art nouveau Edwardian-garden aesthetic, which is gorgeous and reminds me of Miyazaki. There’s something lovely in the way it reacts against the mainstream visions of overly smooth, clean, white modernist iPod futures. Solarpunk is a future with a human face and dirt behind its ears."

[via: https://twitter.com/jqtrde/status/519152576797745153 ]]]></description>
<dc:subject>solarpunk future futures jugaad green frontier bikes biking technology imagination nearfuture detroit worldchanging ted ngos sustainability singularitarianism individuality cyberpunk steampunk ingenuity generativity independence community punk infrastucture resistance solar chokwelumumba resilience thomasjefferson yeomen ghandi swadeshi invention hacking making makers hackers reuse repurposing permaculture adamflynn denial despair optimism cando posthumanism transhumanism chokweantarlumumba singularity</dc:subject>
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</item>
<item rdf:about="http://extrapolationfactory.com/">
    <title>The Extrapolation Factory</title>
    <dc:date>2014-09-20T20:39:56+00:00</dc:date>
    <link>http://extrapolationfactory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Extrapolation Factory is an imagination-based studio for design-led futures studies. We focus on developing future scenarios, embodied as artifacts in familiar, present-day contexts. The studio proposes a method for collaboratively envisioning possible futures with diverse participants, experts and non-experts, and doing so in a variety of accessible ways. With this work, the Extrapolation Factory is exploring the value of rapidly imagined, prototyped, deployed and evaluated visions of possible futures on an extended time scale.

Co-founded by Elliott P. Montgomery and Chris Woebken"]]></description>
<dc:subject>hriswoebken elliottmontgomery extrapolationfactory designfiction design futures future speculativedesign speculativefiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95ae832ec975/</dc:identifier>
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</item>
<item rdf:about="https://ello.co/dymaxion/post/9F9I4PC5SmlyHW0s6HWwzg">
    <title>Ello | dymaxion - Creatures of the Network</title>
    <dc:date>2014-09-16T04:56:23+00:00</dc:date>
    <link>https://ello.co/dymaxion/post/9F9I4PC5SmlyHW0s6HWwzg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the interests of thinking in public, this is the talk I submitted yesterday to CCC (well, the interesting one -- there's also one on threat modeling for organizations, which should be a good, functional talk, but it's pushing few intellectual boundaries for me). I'm not sure if I know how to give it yet, but I think I can get there between now and then, which is exactly where I want to be:

Creatures of the Network

Our tools change us in fundamental ways. When we learned to cook food, our brains grew in size and made us the humans we are now. As we organized into more complex social groups and now as we've built tools that can act on our behalf, we have been and will continue to be changed by these tools. In the meantime, we live in a world that we haven't completely caught up with. There are four big fractures between our bodies and our lives right now: trust, agency, tempo, and scale.

Each one of these fractures causes a host of problems, touching everything from security failure modes in our global network to the damage venture capital is doing to the future of humanity. Solving these problems means building prostheses for our brains while we wait for our bodies to catch up. In this talk, I'll share some of the prostheses we've found.

We are at a juncture in the story of humanity. The decisions we make and the systems we build in the next twenty years will determine not just whether we live free from the boot of repressive dictatorships, but whether we live at all. The way out lies through hope, empathy, and learning to think like our systems -- through becoming creatures of the network."]]></description>
<dc:subject>eleanorsaitta future futures humanity 2014 tools society systems systemsthinking systemsbuilding networks learning empathy hope agency trust tempo scale</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5e3f30fc5c42/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hope"/>
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</item>
<item rdf:about="https://medium.com/futures-exchange/the-future-of-ed-tech-is-here-its-just-not-evenly-distributed-210778a423d7">
    <title>The future of ed tech is here, it’s just not evenly distributed — Futures Exchange — Medium</title>
    <dc:date>2014-06-19T09:20:54+00:00</dc:date>
    <link>https://medium.com/futures-exchange/the-future-of-ed-tech-is-here-its-just-not-evenly-distributed-210778a423d7</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using design fiction to cut through the relentless TEDTalk-like optimism of ed tech marketing"

…

"People talk about the future of technology in education as though it’s right around the corner, but for most of us we get to that corner and see it disappearing around the next. This innovation-obsessed cycle continues as we are endlessly dissatisfied with how little difference these promises make to the people implicated in these futures. These products and practices, cloaked in the latest buzzwords and jargon, often trickle down to non-western geographic regions after they’ve been tried and rejected, yet still adopted as the new and advanced “western” methodology that will solve the “problem” of education.

In an attempt to cut through the relentless TED Talk-like optimism of ed tech marketing, this year at the HASTAC conference in Peru we presented a series of fictional case studies. These four design fiction based personas aimed to illustrate the possible impact on society and education, in both positive and negative ways, of not just emerging technologies but also global social and economic trends. They give brief snapshots of the lives of individuals in imagined futures from different geographic, ethnic, economic, and cultural backgrounds, illustrating how each of them might interface and interact with the different technologies."

[See also: http://www.hastac.org/blogs/savasavasava/2014/06/19/hastac-2014-future-ed-tech-here-it%E2%80%99s-just-not-evenly-distributed
Wayback: https://web.archive.org/web/20150630153225/http://www.hastac.org/blogs/savasavasava/2014/06/19/hastac-2014-future-ed-tech-here-it%E2%80%99s-just-not-evenly-distributed ]]]></description>
<dc:subject>savasahelisingh timmaughan designfiction edtech technology education dystopia marketing optimism pessimism 2014 williamgibson speculativefiction futures future innovation buzzwords hastac casestudies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c488eadf6975/</dc:identifier>
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</item>
<item rdf:about="http://www.creativeapplications.net/theory/delineating-the-future-an-interview-with-n-o-r-m-a-l-s/">
    <title>Delineating the Future – an interview with N O R M A L S / @lab_normals</title>
    <dc:date>2013-12-07T21:44:03+00:00</dc:date>
    <link>http://www.creativeapplications.net/theory/delineating-the-future-an-interview-with-n-o-r-m-a-l-s/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In recent years, the speculative design arms race has accelerated to a dizzying blur. In taking stock of the provocative fictions like those exhibited by Dunne & Raby, augmented by Keiichi Matsuda, or broadcast on Charlie Brooker’s Black Mirror, one can’t help but wonder: how do weird hyper-mediated futures translate into print? I’m happy to report that N O R M A L S new eponymous graphic novel series picks up where the 2011 Warren Ellis, Matt “D’Israeli” Brooker, and BERG comic SVK left off and really answers that question with gusto. For the past few months, I’ve been flipping through creative duo Cedric Flazinksi and Aurélien Michon’s three 80-page self-described ‘design research journals’ and I’ve been simultaneously awed by the gritty clarity of the near-future scenarios they delineate, and floored by the interlocking networks of ideas that are at play. This work is a strange combination of vital, sardonic, disturbing, and brilliant, and has some meaningful contributions to offer to conversations about representation and prototyping in design fiction-related practices. In celebration of the forthcoming release of a limited-edition 500 copy run box set of the first three books in the series (which just became available for pre-order), Cedric and Aurélien have participated in a super-detailed interview about the graphic novels and their broader practice. We’re really excited to have N O R M A L S contributing to the first issue of HOLO and I strongly advise that you don’t sleep on this publication."]]></description>
<dc:subject>futurism speculativefiction designfiction future futures comics blackmirror normals gregsmith cedricflazinski aurélienmichon glvo interviews</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:df8ce00fc01b/</dc:identifier>
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<item rdf:about="http://normalfutu.re/">
    <title>normalfutu.re</title>
    <dc:date>2013-12-07T21:42:43+00:00</dc:date>
    <link>http://normalfutu.re/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["N O R M A L S is an independent creative group devoted to the practice of 'anticipation.' As of February 2012, the group is active producing speculative designs and exhibiting them in an epic piece of fiction.

After spending a few years researching and conceiving an entire portrait of future society, we are finally publishing our first three issues, comprising everything ranging from hair-plucking technology to automatic circumstantial social responses. The last two years, we have been working on it full-time, on our own, just like crazed and solitary monks. From a blank slate and a little wishful thinking, we've eventually come up with thick research folders, custom-coded tools, isbn numbers, but most importantly: an uncompromised object. This is probably the most meaningful thing we've ever done. Studied in its every detail, beyond our own limits. And it was fun as hell.

Of course, we couldn't have made it without the help and support of our friends, families, and the awesome people we've met along the way. So thank you, and enjoy!

  N O R M A L S 
  Cedric Flazinski — design 
  Aurélien R. Michon — stories"

[See also: http://www.creativeapplications.net/theory/delineating-the-future-an-interview-with-n-o-r-m-a-l-s/ and http://mixtur.es/normalshop/ ]]]></description>
<dc:subject>normals futurism speculativefiction designfiction future futures comics cedricflazinski aurélienmichon glvo france</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9320e42d295c/</dc:identifier>
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<item rdf:about="https://events.ccc.de/congress/2013/Fahrplan/events/5491.html">
    <title>Schedule 30C3</title>
    <dc:date>2013-12-03T22:45:44+00:00</dc:date>
    <link>https://events.ccc.de/congress/2013/Fahrplan/events/5491.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The news of the past few years is one small ripple in what is a great wave of culture and history, a generational clash of civilizations. If you want to understand why governments are acting and reacting the way they are, and as importantly, how to shift their course, you need to understand what they're reacting to, how they see and fail to see the world, and how power, money, and idea of rule of law actually interact.

Our relationships with work and property and with the notion of national identity are changing rapidly. We're becoming more polarized in our political opinions, and even in what we consider to be existential threats. This terrain determines our world, even as we deal with our more individual relationships with authority, the ethics imposed by our positions in the world, and the psychological impact of learning that our paranoia was real.

The idea of the Internet and the politics it brings with it have changed the world, but that change is neither unopposed nor detatched from larger currents. From the battles over global surveillance and the culture of government secrecy to the Arab Spring and the winter of its discontent, these things are part of this moment's tapestry and they tell us about the futures we can choose. The world is on fire, and there is nowhere to hide and no way to stay neutral."]]></description>
<dc:subject>2013 quinnnorton eleanorsaitta politics change government culture history arabspring futures identity geopolitics economics labor property nationalidentity authority psychology paranoia surveillance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://medium.com/what-i-learned-building/9b1fbba7ae2b">
    <title>Design Fiction as Pedagogic Practice — What I Learned Building… — Medium</title>
    <dc:date>2013-07-17T21:19:06+00:00</dc:date>
    <link>https://medium.com/what-i-learned-building/9b1fbba7ae2b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Asking students to imagine a world and design artefacts to communicate a set of beliefs or practices though the utilisation of fiction has been an essential part of the BA Design curriculum for over a decade. But the thing I’m most surprised by is how little has been written about the role of fiction and speculation as part of design education. I can understand how DF can have value in a research context in order to provoke and convince an audience of a possibility space; a mode of questioning and coercion. I can also see its role in technology consultancy, as the construction of narratives, where products, interactions, people and politics open up new markets and directions for a client. But I think people have missed its most productive position; that of DF as a pedagogic practice.

I’m fully located in the ‘all design is fiction’ camp, so I’m not a big fan of nomenclature and niche land grabs. Design as a practice never exists in the here and now. Whether a week, month, year or decade away, designers produce propositions for a world that is yet to exist. Every decision we make is for a world and set of conditions that are yet to be, we are a contingent practice that operates at the boundaries of reality. What’s different is the temporality, possibility and practicality of the fictions that we write."]]></description>
<dc:subject>pedagogy designfiction teaching learning education mattward temporality imagination speculation design fiction future futures designresearch designcriticism darkmatter designeducation reality prototyping ideology behavior responsibility consequences possibility making thinking experimentation tension fear love loss ideation storytelling narrative howwelearn howweteach 2013</dc:subject>
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<item rdf:about="https://vimeo.com/68526168">
    <title>Tobias Revell on the future of art and design at 'A New Dawn' by ArtEZ studium generale, 24 May 2013 on Vimeo</title>
    <dc:date>2013-06-21T17:09:41+00:00</dc:date>
    <link>https://vimeo.com/68526168</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tobias Revell outlines how the willing acceptance and grasping of uncertainty has led to a new way of thinking in the present and a resurgence of romantic futurism. He gives specific examples of solutions outside of a 'grand plan', new production methods that liberalise and free design and art from larger systems. He shows how science-fiction imagery and fantasy have penetrated the arts.
Opening lecture at 'A New Dawn' by ArtEZ studium generale on 24 May 2013, Enschede, the Netherlands."]]></description>
<dc:subject>tobiasrevell 2013 art design designfiction futurism systems towatch artez uncertainty video debate reflection critique change futures kickstarter bitcoins makerbot 3dprinting reprap globalvillageonstructionset opensource opensourceecology cohenvanbalen thomasthwaites manufacturing control consumption economics systemsthinking bigdog robots technology normalization marsone uncannyvalley spacetravel space film nasa hierarchy music vincentfournier prosthetics evil googleglass internetofthings superflux dance computing data anabjain iot bitcoin</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vincentfournier"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:googleglass"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:superflux"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:computing"/>
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</item>
<item rdf:about="http://www.centreforthelivingarts.com/futures-project/">
    <title>Futures Project | Centre for the Living Arts</title>
    <dc:date>2013-06-13T07:01:39+00:00</dc:date>
    <link>http://www.centreforthelivingarts.com/futures-project/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Futures Project (May—January 2014) is a nine-month program that will examine  future possibilities for the Gulf Coast, with focus areas that are both expected and unexpected.

Futures Project will feature a group exhibition of emerging and established visual artists from around the world in our 16,000 square ft. gallery. In addition to the exhibition, the CLA will organize an extensive slate of educational and public programming to compliment and amplify Futures Project.

Artists’ projects are considered a springboard for new conversations, and the CLA welcomes their input and ideas for all public programs and activities. A different topic relating to the future will be examined each month through film screenings, public forums and conversations, studio classes and workshops for all ages, plus special programming for teens and seniors.

Topics under consideration for monthly programming include:
Future of:

Childhood & aging
Home, place & immigration
Race, class & ethics
Communication, information, knowledge & wisdom
Education & learning, success & failure
Health, wellness & spirituality
Environment, climate change, prediction & politics
Art & cultural organizations
Mobile & downtown economic development]]></description>
<dc:subject>centerforthelivingarts art futures childhood aging home place immigration race class ethics communication information knowledge wisdom education learning success failure health wellness spirituality environment climatechange prediction politics culture mobile economics development 2013 2014 2x4 candychang dawndedeaux tomleeser kennyscharf artpark xavierderichemont</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:20a3106337a7/</dc:identifier>
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<item rdf:about="http://blogs.walkerart.org/design/2012/10/17/julian-bleecker-design-fiction-the-future-never-gets-old/">
    <title>Julian Bleecker: The Future Never Gets Old — The Gradient — Walker Art Center</title>
    <dc:date>2013-04-03T17:25:20+00:00</dc:date>
    <link>http://blogs.walkerart.org/design/2012/10/17/julian-bleecker-design-fiction-the-future-never-gets-old/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I have personally been interested in the overlap of design and speculation for a while, but inviting Julian out in the context of the IWG posed a new set of questions: how can an organization like the Walker embed speculative practices into its workflow, how is interdisciplinary experimentation already inherently speculative, and when should our institution embrace a process that is not necessarily results-oriented—or at least, not in the typical sense? Speaking of mundane . . .”

[Related: Julian Bleecker on ‘Undisciplinarity’ https://vimeo.com/7196709 ]]]></description>
<dc:subject>julianbleecker designfiction future futures futurism design williamgibson longtail walkerartcenter interdisciplinary interdisciplinarydesigngroup emmetbyrne susannahschouweiler 2012 nearfuturelaboratory making storytelling lcproject openstudioproject undisciplinarity doing scifi sciencefiction innovation</dc:subject>
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</item>
<item rdf:about="http://www.extrapolationfactory.com/">
    <title>The Extrapolation Factory &amp; 99¢ Futures</title>
    <dc:date>2013-03-05T20:19:45+00:00</dc:date>
    <link>http://www.extrapolationfactory.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["..is an imagination-based assembly line for developing snapshots of future scenarios- embodied as artifacts for sale in a local store. In this 'workshop,' participants use our future-scope to cast present-day news, statistics and developments into future products to be exhibited in these nearby stores."]]></description>
<dc:subject>extrapolationfactory chriswoebken nyc brooklyn futures rapidprototyping elliottmontgomery studio-x</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8c03ab4668a8/</dc:identifier>
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</item>
<item rdf:about="http://designgeopolitics.org/projects/california-as-a-design-problem/">
    <title>California as a Design Problem &gt; Projects &gt; D:GP The Center for Design and Geopolitics</title>
    <dc:date>2013-01-15T08:33:30+00:00</dc:date>
    <link>http://designgeopolitics.org/projects/california-as-a-design-problem/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["California is D:GP’s object of study, a meta-design problem composed of heterogeneous components and constituents. California is a State whose dynamism is driven by its own divisions. So despite current problems we look to the dynamic, often chaotic history of invention and conflict that has defined California as inspiration for what is follow."]]></description>
<dc:subject>d:gp designinggeopolitics benjaminbratton california future history geography geopolitics politics economics futures glvo government governance change californiaincrisis</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:44400095ea6b/</dc:identifier>
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</item>
<item rdf:about="http://www.smartpopbooks.com/girls-guns-gags/">
    <title>Smart Pop Books — Girls, Guns, Gags</title>
    <dc:date>2012-09-01T20:52:01+00:00</dc:date>
    <link>http://www.smartpopbooks.com/girls-guns-gags/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is how feminism is supposed to work-women aren’t better than men at everything, they’re better at some things and less good at others, and thus they are equals. This is illustrated by the fact that they talk to each other like equals—teasing, mocking, and cracking jokes, acknowledging each other’s strengths and weaknesses with humor and generosity, and occasionally outright spite. That’s what you got in Firefly. Yes, Mal could have taken Saffron in a fist-fight. And she could have taken him in a battle of wits—not because she had feminine wiles, but because she was willing to take advantage of his humanity. And Mal knew that; that’s why he had Inara on his team. He won in the end, just like Buffy, not by being the strongest individual, but by having the strongest gang. They were bound together by affection, and that’s why jokes were the key. Lucky Firefly only ran for half a season, or I might have got the idea that everything could be this good."]]></description>
<dc:subject>difference differences violence scifi sciencefiction women gender television tv via:anne nataliehaynes 2012 buffy feminism humor firefly future futures</dc:subject>
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</item>
<item rdf:about="http://www.guardian.co.uk/books/2012/aug/21/china-mieville-the-future-of-the-novel">
    <title>China Miéville: the future of the novel | Books | guardian.co.uk</title>
    <dc:date>2012-08-22T20:08:50+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2012/aug/21/china-mieville-the-future-of-the-novel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With the internet has come proof that there are audiences way beyond the obvious."

"In fact what's becoming obvious - an intriguing counterpoint to the growth in experiment - is the tenacity of relatively traditional narrative-arc-shaped fiction. But you don't radically restructure how the novel's distributed and not have an impact on its form. Not only do we approach an era when absolutely no one who really doesn't want to pay for a book will have to, but one in which the digital availability of the text alters the relationship between reader, writer, and book. The text won't be closed."

"A collection of artists and activists advocating the neoliberalisation of children's minds. That is scandalous and stupid. The text is open. This should – could – be our chance to remember that it was never just us who made it, and it was never just ours."

"We piss and moan about the terrible quality of self-published books, as if slews of god-awful crap weren't professionally expensively published every year."

"There's a contingent relationship between book sales and literary merit, so we should totally break the pretence at a connection, because of our amplifying connection to everyone else, and orient future-ward with a demand.

What if novelists and poets were to get a salary, the wage of a skilled worker?"

"This would only be an exaggeration of the national stipends already offered by some countries for some writers. For the great majority of people who write, it would mean an improvement in their situation, an ability to write full-time. For a few it would mean an income cut, but you know what? It was a good run. And surely it's easily worth it to undermine the marketisation of literature for some kind of collectivity.

But who decides who qualifies as a writer? Does it take one sonnet? Of what quality? Ten novels? 50,000 readers? Ten, but the right readers? God knows we shouldn't trust the state to make that kind of decision. So we should democratise that boisterous debate, as widely and vigorously as possible. It needn't be the mere caprice of taste. Which changes. And people are perfectly capable of judging as relevant and important literature for which they don't personally care. Mistakes will be made, sure, but will they really be worse than the philistine thuggery of the market?

We couldn't bypass the state with this plan, though. So for the sake of literature, apart from any- and everything else, we'll have to take control of it, invert its priorities, democratise its structures, replace it with a system worth having.

So an unresentful sense of writers as people among people, and a fidelity to literature, require political and economic transformation. For futures for novels – and everything else. In the context of which futures, who knows what politics, what styles and which contents, what relationships to what reconceived communities, which struggles to express what inexpressibles, what stories and anti-stories we will all strive and honourably fail to write, and maybe even one day succeed?"]]></description>
<dc:subject>writers writing publishers democratization democracy futures politics selfpublishing self-publishing neoliberalism copyright hypertextnovels fiction literature weirdfictionreview ubuweb lyricalrealism zadiesmith jamesjoyce poulocoelho oulipo modernism brunoschulz lawrencedurrell borges ebooks hypertext hypertextfiction text cv economics publishing leisurearts bookfuturism futureofbooks 2012 chinamieville collectivity money artleisure chinamiéville</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:98f64e538089/</dc:identifier>
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<item rdf:about="http://syntheticaesthetics.org/">
    <title>Synthetic Aesthetics</title>
    <dc:date>2012-06-04T04:20:45+00:00</dc:date>
    <link>http://syntheticaesthetics.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How would you design nature?

Synthetic Biology is a new approach to engineering biology, generally defined as the application of engineering principles – such as standardization and modularity - to the complexity of biology. The aim is to 'make biology easier to engineer', through the design and construction of new biological parts, devices, and systems, and the re-design of existing biological systems for useful purposes, from biofuels to new medical applications. Biology is becoming a new material for engineering - a new technology for design and construction."

[Vimeo channel: https://vimeo.com/channels/synthaes ]
[Flickr group: http://www.flickr.com/groups/synthaes/ ]]]></description>
<dc:subject>syntheticaesthetics industrialdesign tangibles futurism futures communication modularity environment plants nature architecture criticaldesign self-replication protocells bioart cyanobacteria oscillation structure smell symbiosis sisseltolaas christinaagapakis marianaleguia chrischafe hideoiwasaki oroncatts saschapohflepp sherefmansy davidbenjamin fernanfederici willcarey wendelllim interdisciplinarity interdisciplinary research aesthetics bioengineering syntheticbiology collaboration science art design biology daisyginsberg alexandradaisyginsberg</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e672f91a7b36/</dc:identifier>
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<item rdf:about="http://www.daisyginsberg.com/">
    <title>Alexandra DAISY Ginsberg</title>
    <dc:date>2012-06-04T04:20:20+00:00</dc:date>
    <link>http://www.daisyginsberg.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alexandra Daisy Ginsberg is an artist, designer and writer, interrogating science, technology and new roles for design in a biotech future.

As Design Fellow on Synthetic Aesthetics, an NSF/EPSRC-funded project at Stanford University and the University of Edinburgh, she is curating an international programme researching synthetic biology, art and design, investigating how we might ‘design nature’.

Other works include The Synthetic Kingdom, a proposal for a new branch of the Tree of Life; E. chromi, a collaboration with James King and Cambridge University’s grand-prize-winning team at the 2009 International Genetically Engineered Machine competition (iGEM) and a science fiction short story - The Well-Oiled Machine, co-written with Oron Catts while resident at SymbioticA, the art and science laboratory at the University of Western Australia in 2009.…"]]></description>
<dc:subject>oroncatts treeoflife ethics futures biotechnology syntheticaesthetics nature syntheticbiology art designer biotech architecture interaction biology research science technology design daisyginsberg alexandradaisyginsberg thetreeoflife</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04889dbad2b9/</dc:identifier>
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</item>
<item rdf:about="http://news.noahraford.com/?p=1313">
    <title>Noah Raford » On Glass &amp; Mud: A Critique of (Bad) Corporate Design Fiction</title>
    <dc:date>2012-03-03T22:59:22+00:00</dc:date>
    <link>http://news.noahraford.com/?p=1313</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sophisticated clients such as Corning and others who commission this work should take note: despite the widespread attention given to videos like this, consumers see right through the special effects and glitzy production to the substance beneath. If there is no real substance beneath, it will come back to haunt you…

That said, we still need more video in futures work and more futures work in product design.  So instead of discouraging the use of video to engage and communicate, designers and futurists working on these projects should consider the follow criteria for making high-quality futures videos that are also profound and thoughtfully reflective of future change.

1. Don’t stare at your navel: …

2. Don’t extrapolate to infinity: …

3. Don't fetishize technology: …

4. Don't ignore what people care about: …

5. Don't dumb it down: …"]]></description>
<dc:subject>komusa futures susanvogel africa 2012 reality grittiness futurism aspergers video corning galss mud brucesterling noahradford design timbuktu mali designfiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:33700b485d18/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/33532853">
    <title>Bruce Sterling - Symposium Playful Post Digital Culture (STRP 2011). on Vimeo</title>
    <dc:date>2012-02-20T08:51:27+00:00</dc:date>
    <link>https://vimeo.com/33532853</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>music renaissance science culture post-digital appleboutiqueworld cyberwarworld piracy softpower pepperspray drones robots china brasil india bollywoodcarnavalworld painting slumdogmillionaire dictatorchic streetart carart favelachic narco sweatshopworld hightech lowtech highart lowart speculative futurism futures technology art techart 2011 brucesterling brazil low-tech</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:370a3dafd547/</dc:identifier>
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</item>
<item rdf:about="http://www.pohflepp.com/?q=foreverfuture">
    <title>Forever Future | Sascha Pohflepp</title>
    <dc:date>2011-02-05T19:06:52+00:00</dc:date>
    <link>http://www.pohflepp.com/?q=foreverfuture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every technology is embedded within society and the factors which contribute to a certain vision of the future are complex while its promises may be simple and alluring. … We do not know what happens when technological dreams don’t come true, both on a cultural and on an individual basis. The assumption is that ideas, once they have been part of the public imagination, do not go away. They might go to another place we do not have an expression for, a cultural limbo from where they might be materialized at another point in time. This place might be shared with ideas from science fiction, a pool of possible futures which engineers and entrepreneurs are tapping into. There might, however, be futures that for various reasons may never materialize, which appear to be speeding away and thus stay at a certain distance from us. Phantom futures that some even feel a certain nostalgia for, because they may have been part of the dreams and wishes of their life."]]></description>
<dc:subject>technology future futures designfiction saschapohflepp jackparsons jpl rocketry society ideas memory expression time culture limbo culturallimbo engineering phantomfutures via:preoccupations</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e82da7e06d69/</dc:identifier>
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</item>
<item rdf:about="http://www.antipope.org/charlie/blog-static/2010/12/utopia.html">
    <title>Utopia - Charlie's Diary</title>
    <dc:date>2011-01-02T04:50:41+00:00</dc:date>
    <link>http://www.antipope.org/charlie/blog-static/2010/12/utopia.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“…we badly need more utopian speculation. The consensus future we read about in the media and that we’re driving towards is a roiling, turbulent fogbank beset by half-glimpsed demons: climate change, resource depletion, peak oil, mass extinction, collapse of the oceanic food chain, overpopulation, terrorism, foreigners who want to come here and steal our <strike>women</strike> jobs. It’s not a nice place to be; if the past is another country, the consensus view of the future currently looks like a favela with raw sewage running in the streets. Conservativism — standing on the brake pedal — is a natural reaction to this vision; but it’s a maladaptive one, because it makes it harder to respond effectively to new and unprecedented problems. We can’t stop, we can only go forward; so it is up to us to choose a direction.”

[via: http://magicalnihilism.com/2010/12/05/work-as-if-you-lived-in-the-early-days-of-a-better-nation/ ]]]></description>
<dc:subject>future utopia scifi politics design sciencefiction conservatism optimism speculativedesign speculation futures peakoil collapse climatechange overpopulation terrorism economics doomandgloom pessimism progress designfiction</dc:subject>
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<item rdf:about="http://www.youmightfindyourself.com/post/2453239458/this-is-what-we-do-humans-we-tinker-and-change">
    <title>YMFY - [A quote from] Ira Glass, This American Life Television Series: Season One, Episode: Pandora’s Box</title>
    <dc:date>2010-12-25T18:15:40+00:00</dc:date>
    <link>http://www.youmightfindyourself.com/post/2453239458/this-is-what-we-do-humans-we-tinker-and-change</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is what we do, humans. We tinker and change and endlessly imagine a more perfect future. And, at the same time, we idealize the past. So, we’re trapped. Progress’ constant companion is nostalgia for the way things used to be.<br />
<br />
The thing we forget about progress: there is no master plan. It lurches forward, in the dark, accidentally, and you’re never sure where it’s taking you. There’s no going back, whether it wants to or not."]]></description>
<dc:subject>via:lukeneff iraglass past future nostalgia progress planning change futures thisamericanlife</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed320fe00b4d/</dc:identifier>
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<item rdf:about="http://www.prospectmagazine.co.uk/2010/11/brian-eno-next-big-thing/">
    <title>What happens next? « Prospect Magazine</title>
    <dc:date>2010-12-13T07:01:59+00:00</dc:date>
    <link>http://www.prospectmagazine.co.uk/2010/11/brian-eno-next-big-thing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The revolutions of the future will appear in forms we don’t even recognise—in a language we can’t read. We will be looking out for twists on the old themes but not noticing that there are whole new conversations taking place. Just imagine if all the things about which we now get so heated meant nothing to those who follow us—as mysteriously irrelevant as the nuanced distinctions between anarcho-syndicalism and communist anarchism. At least we can hope for that. As the cybernetician Stafford Beer once said to me: “If we can understand our children, we’re all screwed.” So revel in your mystification and read it as a sign of a healthy future. Whatever happens next, it won’t be what you expected. If it is what you expected, it isn’t what’s happening next."]]></description>
<dc:subject>technology culture future facebook music brianeno generations predictions futures staffordbeer</dc:subject>
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<item rdf:about="http://www.theatlantic.com/science/archive/2010/08/a-bookfuturist-manifesto/61231/">
    <title>A Bookfuturist Manifesto - Science and Tech - The Atlantic</title>
    <dc:date>2010-08-12T22:55:42+00:00</dc:date>
    <link>http://www.theatlantic.com/science/archive/2010/08/a-bookfuturist-manifesto/61231/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bookfuturists refuse to endorse either fantasy of "the end of the book" [bookservativism and technofuturism] --  "the end as destruction" or "the end as telos or achievement" as Jacques Derrida would have it. We are trying to map an alternative position that is both more self-critical and more engaged with how technological change is actively affecting our culture.

We're usually more interested in figuring out a piece of technology than either denouncing or promoting it. And we want to make every piece of tech work better. We're tinkerers. We look to history for analogies and counter-analogies, but we know that analogies aren't destiny. We try to look for the technological sophistication of traditional humanism and the humanist possibilities of new tech."]]></description>
<dc:subject>bookfuturism timcarmody future futures ebooks fiction books publishing manifesto futurism bookservatives technofuturism clayshirky nicholascarr reading technology tinkering thinking humanism complexity manifestos</dc:subject>
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