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    <title>SURVIVA: A Future Ancestral Field Guide – Ayin Press</title>
    <dc:date>2026-06-02T05:17:07+00:00</dc:date>
    <link>https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Winner of the 2026 PEN/Jean Stein Award

An ambitious, world-envisioning work of Indigenous futurism.

Since 2015—through a proliferation of forms including sculpture, regalia, film, photography, poetry, painting, and installation—acclaimed multimedia artist Cannupa Hanska Luger has been weaving together strands of a new myth. Collectively referred to as Future Ancestral Technologies, this sprawling series of interrelated works seeks to reimagine Indigenous life and culture in a postcolonial world where space exploration has reduced and reconfigured the earth’s population.

Part graphic novel, part art book, SURVIVA: A Future Ancestral Field Guide offers readers a view beneath, beyond, and between the lines of Luger’s ever-expanding artistic universe. In this ecstatically hybrid work, Luger transforms a 1970s military survival guide through poetic redaction, speculative fiction, and iterative line drawing—deftly surfacing and disrupting the colonial subconscious that haunts this vexed source text. An epic and timely meditation on planetary life in the midst of transformation, SURVIVA boldly presents an earth-based, demilitarized futuredream that foregrounds Indigenous knowledge as critical to humanity’s survival.

SURVIVA is the first title from Aora Books, a publishing imprint dedicated to exploring transformational thought and culture that transcends borders, disciplines, and traditions. Rooted in an ethos of polyvocality and planetary consciousness, Aora publishes works that forge bold connections across time, place, ideas, and beings often seen as separate.

About the Author

Cannupa Hanska Luger is a multidisciplinary artist who creates monumental installations, sculpture, and performance to communicate urgent stories of twenty-first-century Indigeneity. Born on the Standing Rock Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara, and Lakota. Luger’s bold visual storytelling presents new ways of seeing our collective humanity while foregrounding an Indigenous worldview. His work is in numerous permanent museum collections and has been exhibited around the world, including at the Sharjah Biennial 16, United Arab Emirates; the 81st Whitney Biennial, New York; the 14th Shanghai Biennale; and at the National Gallery of Art in Washington, DC; the Metropolitan Museum of Art in New York; the Gardiner Museum in Toronto; and the National Center for Civil and Human Rights in Georgia. Luger has been awarded fellowships from the Guggenheim Memorial Foundation, United States Artists, Creative Capital, the Smithsonian Institution, the Open Society Foundation, and the Joan Mitchell Foundation, among others. Luger currently lives and works in Glorieta, NM.

Praise for SURVIVA

“Cannupa Hanska Luger has created a wondrous book of survivance, a story to carry in pocket and study at every opportunity. At once a dystopia (earth is near destroyed) and a postcolonial fantasy (the colonizers abandon the planet for good), SURVIVA is a work of artistic brilliance that draws our attention to the simultaneity of ruins and futures. Rich with dreampower and evocation, these pages illustrate the mysteries of space-time, the dissolution of boundaries, and the relational universe described by Indigenous quantum mechanics. Read carefully, SURVIVA has the power to bend time itself, lifting us from past and present into futures innumerable.”
—Philip J. Deloria, Leverett Saltonstall Professor of History at Harvard University and author of Playing Indian

“SURVIVA offers Indigenous wisdom for a shared future built on ancestral knowledge in radical relation. This is a survival guide like none other.”
—Candice Hopkins, curator of the Forge Project

“SURVIVA is not just another riff on a sci-fi depiction of some imagined future. Luger’s poetic and visual interventions are clear directives for all of us to ready our minds, bodies, and spirits as we continue to move through the future together.”
—Jeffrey Gibson, artist and editor of An Indigenous Present

“Cannupa Hanska Luger’s SURVIVA: A Future Ancestral Field Guide boldly reimagines our conceptions of time and history as it interweaves past, present, and future. This inventive work challenges our collective narratives, pushing us to rethink the art of survival through a lens of transformation.”
—Hank Willis Thomas, artist and cofounder of For Freedoms

“Cannupa Hanska Luger is a mad genius able to weave parables from tomorrow with lessons from yesterday into a stunningly prescient and wise field guide you should read right now. This is not a book. This is a time machine.”
—Jordan Klepper, The Daily Show, Comedy Central

“SURVIVA feels everlasting and also like it will self-destruct after you read it.”
—Sterlin Harjo, filmmaker, Reservation Dogs (Hulu/FX)

“A hybrid work from a plain 1970s field guide found in an army surplus store, Luger transforms the book through unexpected redacting, speculative fiction, and informative and artistic line drawing.”
—Sandra Hale Schulman, ICT News

“Interdisciplinary Native American artist Luger delivers a daring work of speculative fiction set in a future in which the wealthy and non-Indigenous have fled the Earth they ravaged.”
—Publishers Weekly

“*SURVIVA *****provides text with new and old Indigenous lessons intermingled, while time is wonky and permeable, and the world must be rebirthed, or re-membered in a postcolonial way. This is a message from both our future and past ancestors. The thread is one and the same.”
—Soph Myers-Kelley, Graphic Medicine

Book Details
160 pages | Paperback | 8.3 x 5.4 in. | ISBN: 9781961814264 | e-ISBN: 9781961814271
Publication date: September 2nd, 2025

Product Photography by Jackson Krule"

[via: 

"Red Power Hour - Learning what we already know - YouTube"
https://www.youtube.com/watch?v=K9LiED_5Rj8

"RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025), a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork." ]]]></description>
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[book link:
https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide ]]]></description>
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<item rdf:about="https://cswr.hds.harvard.edu/publications/plants-fungi-2025/symbiotic-koeva">
    <title>Symbiotic Resonances: Sounding More-than-human Worlds | Center for the Study of World Religions</title>
    <dc:date>2026-03-09T19:00:17+00:00</dc:date>
    <link>https://cswr.hds.harvard.edu/publications/plants-fungi-2025/symbiotic-koeva</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elitza Koeva, Postdoctoral Fellow with the Thinking with Plants and Fungi Initiative, Harvard CSWR

The Anthropocene, a contested term to describe our species’ footprints on the earth, is both a crisis and an opportunity, an epoch whose defining challenge is the necessity of becoming-with a pluriverse of others—plant, fungal, animal, mineral, machinic—in cooperative and sympoietic ways. Amidst mass extinction and the collapse of planetary boundaries, can we learn to listen and reattune to the environment, learning from cultures and species that have long known how to world otherwise?

This chapter argues for the generative potential of attuning to the vibratory, the interstitial, the entangled. From birdsong to forest symphonies indexed by bioelectric sensors, and planktonic chimeras at the root of all life, sound mediates relations that challenge the fixity of boundaries, the conceits of mastery, and the fiction of the autonomous self."]]></description>
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</item>
<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>
<dc:subject>sarahpink anthropology everyday slow 2025 tamirasnell senses sensory multisensory futurism climatechange climate globalwarming ethnography ai artificialintelligence robotics humanism slowcity slowcities design uncertainty possibility speculation speculative socialscience cities mobility energy foresight creativity trust care caring anxiety futures future embodiment bodies sustainability reality technology society diversity human humans</dc:subject>
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<item rdf:about="https://jywarren.github.io/seeing-lost-enclaves/">
    <title>Seeing Lost Enclaves</title>
    <dc:date>2025-10-02T16:44:28+00:00</dc:date>
    <link>https://jywarren.github.io/seeing-lost-enclaves/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Seeing Lost Enclaves: Relational reconstructions of erased historic neighborhoods of color is a project by Jeffrey Yoo Warren external link as part of the 2023 Innovator in Residence Program at the Library of Congress. You can read more on the Seeing Lost Enclaves experiment page, including blog posts and other materials.

Hidden Portals

In May 2024, Yoo Warren invited the public to visit a series of virtual installations on the Library's Washington, DC campus and five historic Asian American sites around the country. Accessible by mobile device, the experimental Hidden Portals event provides an immersive 3D reconstruction of these neighborhoods developed with archival photographs and records from local and Library of Congress collections.

Toolkit

This website is a guide to relational reconstruction, a set of practices for creating an immersive (virtual, 3D) reconstruction of an erased neighborhood, such as the one I have begun to craft in the Seeing Providence Chinatown project external link (see below), about the neighborhood which existed on Empire Street in Providence, RI until December 1914. Guides and documentation of subsequent phases of this work will be posted over the course of 2023, and will include topics such as reconstruction, modeling, soundscapes, ambience.

Here I share the techniques I've learned and developed, both in this guide and through public workshops over the residency period. I especially sought to work together with fellow Asian Americans who share my interest in unearthing early histories and stories of erased communities across the country -- and with descendants of these communities. Though Chinatowns are for me a starting point, due to my work in Providence's Chinatown, I am also interested in the histories of other erased communities of color, and hope to learn more about these histories over the course of the project. Please reach out if you are interested in sharing or contributing.

Contents

1. Research
2. Modeling
3. Atmosphere with Alicia Renee Ball
4. Soundscapes with Ann Chen"]]></description>
<dc:subject>jeffreyyoowarren via:javierarbona loc libraryofcongress landscape landscapes speculative sound soundscapes archives archival photography residencies place modeling audio atmosphere</dc:subject>
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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>
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<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>
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<item rdf:about="https://thedigradio.com/podcast/the-manifesto-w-china-mieville/">
    <title>The Manifesto w/ China Miéville · The Dig</title>
    <dc:date>2023-07-09T22:26:52+00:00</dc:date>
    <link>https://thedigradio.com/podcast/the-manifesto-w-china-mieville/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Featuring China Miéville on The Communist Manifesto. Miéville is the author of A Spectre, Haunting: On the Communist Manifesto."]]></description>
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<item rdf:about="https://www.designacademy.nl/p/study-at-dae/masters/critical-inquiry-lab">
    <title>THE CRITICAL INQUIRY LAB - Design Academy Eindhoven - dae.wiki</title>
    <dc:date>2022-12-04T17:50:18+00:00</dc:date>
    <link>https://www.designacademy.nl/p/study-at-dae/masters/critical-inquiry-lab</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The department of The Critical Inquiry Lab is a two-year Master’s program that provides students with an environment to develop a self-directed design practice, driven by transdisciplinary research. We approach design as a mode of inquiry, where exploring research methodology is part of design. The aim of this program is to find new ways to assemble a more considerate, equitable and caring world.
This course description has been (re)written together with us, the current first year students.

The department is rooted in cultural analysis and design theory, questioning the role of design in relation to the structures, systems and relations that undergird our societies. It aims to navigate these waters critically and speculatively, while also striving towards a culture of care, both within the department and beyond.

“Lab” in the (current) department name does not refer to an actual laboratory, but rather seems to pay tribute to a trend in Eindhoven. The “Lab” stands for the spirit of experimentation, and pushing boundaries is encouraged by the department, even (and especially) if they challenge the overall approach of the Design Academy.

Entry points
We welcome diverse inquiries and we’re carefully looking for answers, without jumping to conclusions. While committed to critical reflection, we aim to suspend judgement, in order to search for ways to uncover the unexpected. As a student, you are encouraged to reflect, analyse, and respond to your surroundings, using different tools and methods that stem from art, design and curatorial practices, as well as more theoretical and socio-political fields of knowledge. We explore ways to sense and understand how complex systems and ideologies manifest in everyday life; in our social and material surroundings. The program encourages students to research the past, present and the future of a topic or theme and how their research resonates within communities of various backgrounds, helping the student situate their practice within a wider discourse.

Is this design? Perhaps. Does it have to be design? Being located in a Design Academy does not make it design. According to our creative director Joseph Grima we approach design here as a form of cultural critique. What that means is something we’re finding out. Your design is not my design.

Practices
The development of research methodologies is key to the program. Finding one’s individual voice, skill and tone of research within a collaborative collective, and how to communicate this to an audience, are at the core of the program. The Critical Inquiry Lab aims to continually broaden the understanding of how doing research through an artistic lens can unfold into different (design) interventions, cultural practices, strategic actions, performances, curatorial methods, publications and editorial positions.

We find it important to be aware of the role of the public in both the process and outcome of the learning practice. For instance, by working with an institute and publishing outcomes with an event or podcast. This attitude enables us to understand ourselves and our field of interests, and how this fits into a larger conversation on cultural production.

Curriculum
This is a two-year study program that results in a Master of Arts in Fine Arts and Design. Each year is divided into three trimesters. The first year enables you to get familiar with the academy environment and your working process with open-ended assignments. You will engage in various learning activities such as workshops, museum visits, theory classes as well as individual and group projects to put thoughts into practice. Each trimester has a set of tutors around a specific theme, giving the space to students with a multidisciplinary background to develop their projects according to their desired trajectories. The practice-oriented workshops focus on skills like radio-making, video-making, coding and other research methods.

Not all tutors “teach” in the classical understanding of a class. There will be lots of talking and debating in the beginning, possibly some sessions where the content feels irrelevant at first. The trimester ends with an evaluation, where we present either in a conventional format, or sometimes collectively put together a show. This is followed by a feedback session between tutors and students.

The main focus of the second year is to develop an extensive personal research project, resulting in a written thesis, alongside a work for an exhibition context.

In the second year, we can still enjoy the workshops, lectures and go on “field trips” with the first year students. There will be tutorial sessions on essential topics such as thesis writing and research archiving. It is also likely that we will visit the school less frequently, as we may decide to work on the thesis wherever else the research takes us. Our journey as a student ends at the Graduation Show during the annual Dutch Design Week.

The students
We welcome students from any professional background, what is important is that you want to question yourself and unpack the world around you. This course enables the student to develop a way of making sense of the world, rather than training for a specific job or field. Alumni land in diverse positions, from independent researcher, curator, editor, to roles at institutions or studios. The programme looks for a balance among many approaches, positioning between the general and specific, the abstract and concrete, thinking and doing. We encourage direct feedback and provide open channels of communication between the students and the tutors.

Although the structure of the programme is predetermined, the content is flexible and always open to accommodate our constructive suggestions. During the course, we are invited to reflect on and direct the kind of education we wish to receive.

The tutors
The Critical Inquiry Lab is a transdisciplinary study, which aims to foster in-depth research related to critical studies of race, gender, ecology, and others through artistic and design practices. This aim is reflected by the teaching team’s diverse professional background, knowledge and guidance. This is how we explore alternative roles and responsibilities for society in relation to material and immaterial ecologies that improve our coexistence with each other.

That is the ideal situation, but the reality is a work in progress. Tutors may not always be fully equipped to respond to the cultural backgrounds of all the students. We push the tutors to learn together with us, regardless of the present cultural biases. In the end, the selection of tutors is still bound by the fact that the programme takes place at the Design Academy in Eindhoven, in the Netherlands.

Conditions at DAE
DAE is a small academy that occupies six floors of an old factory building in downtown Eindhoven, a provincial post-industrial city branded as the Brainport of the Netherlands. The layout of the school is inspired by the pedagogy of the Bauhaus. There are no classrooms; all departments of the master programme share an entire floor as one open space, divided by shelves and partition walls. The school was the cradle of the Dutch Design tradition. With this heritage in mind, this department tries to push topics that are on the periphery of the discourse and open up questions relating to knowledge production.

It may get noisy and distracting, but from a more positive perspective, it can help us inspire each other and encourage interdepartmental exchange. The academy’s small size is reflected in its administrative capacities. It’s possible that you’ll get frustrated with late responses. However, you’ll learn that the receptionist is DAE’s generous FAQ page.

Acknowledgements
This collaborative course description was initiated by coordinator Gijs de Boer, written as a collaboration between the head of department Saskia van Stein and first year students (2021-2022) of the Critical Inquiry Lab department. Special thanks to students Anas Chao and Eva Mahhov for their contribution.

The department builds on the curriculum and legacy of the heads of its predecessor, Design Curating and Writing (2015-2019), headed by Agata Jaworska and Tamar Shafrir (2018–19), Alice Twemlow (2017–18) and Justin McGuirk (2015–17)"]]></description>
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<item rdf:about="https://www.commonnotions.org/everything-for-everyone">
    <title>Everything For Everyone: An Oral History of the New York Commune, 2052-2072, by M. E. O'Brien and Eman Abdelhadi — Common Notions</title>
    <dc:date>2022-09-06T05:45:12+00:00</dc:date>
    <link>https://www.commonnotions.org/everything-for-everyone</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Every socialist needs to read this book. Every abolitionist, every Marxist, every anarchist, every revolutionary needs to read this book. Every person who has ever wondered how the world will function after the final retirement of the market, the commodity form, money, wages, rent, coercive gender roles, prisons, police, class, nation states, borders, profit, and in general the dominating power of any humans over any others.”—Spectre Journal

By the middle of the twenty-first century, war, famine, economic collapse, and climate catastrophe had toppled the world's governments. In the 2050s, the insurrections reached the nerve center of global capitalism—New York City. This book, a collection of interviews with the people who made the revolution, was published to mark the twentieth anniversary of the New York Commune, a radically new social order forged in the ashes of capitalist collapse.

Here is the insurrection in the words of the people who made it, a cast as diverse as the city itself. Nurses, sex workers, antifascist militants, and survivors of all stripes recall the collapse of life as they knew it and the emergence of a collective alternative. Their stories, delivered in deeply human fashion, together outline how ordinary people's efforts to survive in the face of crisis contain the seeds of a new world.

PRODUCT DETAILS
Author: M. E. O’Brien and Eman Abdelhadi 
Publisher: Common Notions
ISBN: 9781942173588
Published: August 2022
Format: Paperback
Size: 5 x 8
Page count: 256
Subjects: Speculative Fiction/Revolution/Communism

ABOUT THE AUTHORS
M. E. O'Brien writes on gender freedom and communist theory. She co-edits two magazines: Pinko, on gay communism, and Parapraxis, on psychoanalytic theory and politics. Her work on family abolition has been translated into Chinese, German, Greek, French, Spanish, and Turkish. Previously, she coordinated the New York City Trans Oral History Project, and worked in HIV and AIDS activism and services. She completed a PhD at New York University, where she wrote on how capitalism shaped New York City LGBTQ social movements. She is currently in training to be a psychoanalyst, and works as a therapist.

Eman Abdelhadi is an academic, activist, and artist based in Chicago, IL. Her research as faculty at the University of Chicago focuses on gender differences in the community trajectories of Muslim Americans. Abdelhadi has also spent many years organizing. She has been involved in the movement for Palestinian liberation, Black Lives Matter, counter-surveillance and abolitionism, marxist feminist mobilization as well as workplace struggles. She is currently co-coordinating the Muslim Alliance for Gender and Sexual Diversity, a national organization that provides support and builds community by and for Queer Muslims. Abdelhadi maintains an active creative practice that includes performance art and essay and poetry writing. Her writing has appeared in Jacobin, Muftah, and other publications. 

ADVANCE PRAISE
"Every socialist needs to read this book. Every abolitionist, every Marxist, every anarchist, every revolutionary needs to read this book. Every person who has ever wondered how the world will function after the final retirement of the market, the commodity form, money, wages, rent, coercive gender roles, prisons, police, class, nation states, borders, profit, and in general the dominating power of any humans over any others…It’s a book that will engage seasoned organizers, well-read academics, and street-level agitators. It also could serve quite well as a dazzling introduction for newly politicizing folks who would benefit from a clear end-goal and would want to know what could be accomplished by the movements for human liberation.”—Spectre Journal

“[Everything for Everyone] challenges us to not just write fiction about revolution but to make books that practice the kinds of collaboration necessary to make revolution…This book is an uncompromising, anticolonial, profoundly queer and trans, buoying, addictive, and wholly original creation…Everything for Everyone has no patience with docile truisms about how we are supposed to write. Instead, it’s a shot across the bow for contemporary fiction, raising the bar on how to crystallize utopian longings in literary form.“—BOMB Magazine

“But if you come to Everything for Everyone for the politics, stay for the writing. Barring Vladimir Nabokov in Pale Fire, I can’t think of another author who uses an academic form to achieve a literary result so successfully. Each of the interviewees and interviewers has an entirely unique and authentic voice. The book is utterly plausible as the archival project it claims to be, while also telling gripping stories and slipping in details to delight sci-fi fans (a space elevator in Quito! Sentient algae-based AI! Augmented reality implants for dance parties!).“—TruthOut

“Everything for Everyone is the book we all need right now. It lets us imagine what can feel unimaginable in this moment—a total reorganization of social relations toward our mutual survival and the dismantling of the ruling death cult. This is a book we will all be obsessing over, arguing with, and talking about in the coming years as we try to conceive how collective action can get us through these harrowing times. I am grateful to Abdelhadi and O'Brien for making something we need so bad so compelling and readable.” —Dean Spade, author of Mutual Aid

“Charts dizzying, delightful new futures for science fiction, urban planning, and engaged social practice. I spent 15 years as a community organizer and never dreamed of seeing something that so bravely, brilliantly combines liberational nonfiction and radical documentary with the exuberance of the best speculative storytelling.“ —Sam J. Miller, Nebula-Award-winning author of Blackfish City and The Art of Starving

“Eman Abdelhadi and M. E. O’Brien’s tall tales of the future draw on real experiences of the past and present. The book’s multiple narratives, equal parts hope and pain, merge into a prayer for collective survival and for the eventual flourishing of our powers of love and invention. Voices from as-yet-unlived lives instill faith that our becoming is not yet done. Abdelhadi and O’Brien have created a vivid image of the possibility that we will one day make a home of the world.” —Hannah Black 

“The special magic of Everything for Everyone is that it combines the genres of the oral history interview with speculative utopian fiction. Oral histories can show how in their everyday lives ordinary people can make the world. Utopian fiction can show the worlds we might want to be making. Every cook, or sex worker, can govern. And this is the life they might build from the ruins of this civilization, such as it is. Such a pleasure to feel one could be making the world over with them.” —McKenzie Wark, author of The Beach Beneath the Street 

“Eman Abdelhadi and M. E. O’Brien are changing the game of what the novel is and what the novel can be. Much as James Baldwin, Ta-Nehisi Coates and Imani Perry did with the epistolary form in non-fiction, Everything for Everyone uses speculative oral history to expand and explode the limits of what fiction can do. Their imagined oral histories from many parties help us understand the present from many possible points of view in the future looking back, like Rashômon meets House of Leaves. In Everything for Everyone, binaries (of male-versus-female, fiction-versus-non-fiction, past-versus-future) are irrelevant compared to something much more interesting and important that Abdelhadi and O’Brien seek to illustrate: truth, and the way we might find liberation in it.” —Steven W. Thrasher, author of The Viral Underclass 

“I had no idea I was a post-revolution speculative fiction fangirl till I started reading Everything for Everyone, which kicks off with a food riot at the Hunts Point Market led by a sex worker. I’m really bummed out by the fact that I’ll be 82—hopefully!—when their fictional revolution kicks off and dead by the time the dust settles. Exciting to read something hopeful, intersectional and an antidote to our dystopian doldrums.” —Sherry Wolf, author of Sexuality and Socialism: History, Politics and Theory of LGBT Liberation 

“In this genre-bending work of utopian fiction, O'Brien and Abdelhadi imagine a world that might emerge from the ashes of our own.  Part speculative social science, part abolitionist manifesto, it explores the social forms and political possibilities of life after capitalism—the novel ways of organizing life, doing gender, and coping with the psychic costs of transformation that may follow the inevitable crises of capital and climate that lie in our future. Like the best utopian fiction, Everything for Everyone is also a startling work of political theory: it gives us the opportunity, as all utopias do, to learn about our own desires and hopes for a way out of our current conjuncture.”—Katrina Forrester, author of In the Shadow of Justice 

“Leftists are often accused of being against everything, but not having a vision of what we're fighting for. Everything for Everyone is a corrective, a sweeping vision of the type of world and society we imagine can and will provide for us all, abundantly. Not all beautiful novels are invested in social restructuring, and not all social restructuring is envisaged in novels, but here we have exactly their meeting point: a beautiful novel bristling with the necessary changes we must make to survive on this planet. The future has sex in it, and community; it has food and labor and joy. It has trauma and memories of the harm, the nightmare, of capitalist precarity. The future is sure to exist; will it have us in it? Everything for Everyone imagines that it will, and, given this remarkable vision, this perpetual possibility, it's now our work to live up to it.”—Joseph Osmundson, author of Virology

“Everything for Everyone is a window into a possible future and a powerful antidote to our present moment’s ubiquitous moods of anti-utopianism, despair, nostalgia, and capitalist-realism. In this must-read speculative fiction, M. E. O’Brien and Eman Abdelhadi have skillfully deployed their joint political, sociological, and psychoanalytic intelligence—capacities they have honed through decades of experience of organizing for trans, working class and Palestinian liberation. Together, O’Brien and Abdelhadi have imagined the messy, imperfect, richly fulfilling, and slowly healing collective life that will be post-capitalism. Convincingly, they present us with an ethnography, not of an ideal society, but of a revolutionary one in flux. Never do they lapse into simplistic or deterministic “solutions” to the crises of the present. The twelve denizens of the world whence Abdelhadi and O’Brien are reporting back are survivors and veterans of exhausting, traumatizing, bloody, unforgettable, complicated, and beautiful transformations.

The interviews collected in these pages chronicle the first stages of the abolition of the family; the history of the ecological restoration projects and interplanetary technologies that might render our planet livable and leisurely; the invention of real democracy; and the armed conflagrations that were necessary along the way. So, if you have ever wondered to yourself, What will the triumph of indigenous land struggles, the overthrow of colonial occupations, and the fall of capitalism look like? Which parts of New York would be at the forefront of a communist revolution, and which would double down into religious, hyper-patriarchal fascism? Whose knowledges of facilitation, healing, conflict resolution and partying will help the population heal from its collective trauma?—then this superb novel is the book for you. Upon reaching the end, I had tears in my eyes. I took to heart the injunction of the nineteenth century utopian feminist Charles Fourier, quoted herein: ‘Your behavior should be governed from now on by the ease and proximity of this immense revolution.’”—Sophie Lewis, author of Abolish the Family: A Manifesto of Care and Liberation"]]></description>
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<item rdf:about="https://newbooksnetwork.com/climate-lyricism">
    <title>New Books Network | Min Hyoung Song, &quot;Climate Lyricism&quot; (Duke UP,…</title>
    <dc:date>2022-06-28T21:12:47+00:00</dc:date>
    <link>https://newbooksnetwork.com/climate-lyricism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Climate Lyricism (Duke University Press, 2022), Min Hyoung Song models a climate change-centered reading practice that helps us better understand and respond to climate change by moving from forms of everyday denial to everyday attention and shared agency.

Tune in to this episode of New Books in Asian American Studies to hear Min talk about how this project of reading for climate lyricism emerged out of his work as an Asian Americanist; the importance of the humanities in cultivating practices of everyday attention that are critical to understanding and acting on climate change; staying with bad feelings in order to move from practices of everyday denial to everyday attention; how reading with everyday attention to climate can model a way of living with everyday attention to climate, as well; the properties of climate change that make it so difficult to write about using plot or narrative; what writers might do to bring attention to and illuminate ways of living in and through climate crisis; how climate change is connected to other contemporary forms of violent dispossession and social inequities; and, in the midst of all this, how you and I might live during these difficult times.

Min Hyoung Song is Professor of English at Boston College.

Jennifer Gayoung Lee is a writer and data analyst based in New York City."

[See also:
https://www.dukeupress.edu/climate-lyricism ]]]></description>
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<item rdf:about="https://journals.uvic.ca/index.php/jcs/article/view/19969">
    <title>Speculating the Symbio: Possibilities for Multispecies and Multi-Entity World Making in Childhood | Journal of Childhood Studies</title>
    <dc:date>2022-04-23T23:28:51+00:00</dc:date>
    <link>https://journals.uvic.ca/index.php/jcs/article/view/19969</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this paper, I attempt to interrupt conventional analyses of childhood and instead illustrate the importance of diverse stories around child-nature relations. Vital materialist perspectives dismantle and disrupt binaries, so by exploring these perspectives, I am decentering the (adult) human and thinking-with the possibilities for multispecies relations in precarious times. This paper finishes with a speculative story that proposes lively experiments in multispecies and multi-entity possibilities, in a near-future contaminated Toronto. Enabled by microbes that have flourished on a shipwreck of e-waste, children, birds, and a dog codiscover the Symbio."]]></description>
<dc:subject>shelleyo'brien 2022 speculativefiction speculative children childhood multispecies morethanhuman</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:8ba05465c864/</dc:identifier>
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<item rdf:about="https://journals.uvic.ca/index.php/jcs/article/view/19949">
    <title>(Re)Envisioning Childhoods With Mi’kmaw Literatures | Journal of Childhood Studies</title>
    <dc:date>2022-04-23T23:27:57+00:00</dc:date>
    <link>https://journals.uvic.ca/index.php/jcs/article/view/19949</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A generative reading of four recent children’s books by Mi’kmaw authors through Indigenous and posthumanist lenses, this article suggests that Indigenous children’s literature works at envisioning a “very old” future and highlights the counter-hegemonic potential of that future in the current moment. First, a reading of the Mi’kmaw mythopoetic tradition as speculative fiction is presented. Second, becoming-with Land is discussed as a radical pedagogical future. Third, the tensions between Indigenous and posthumanist theories are discussed, along with the generative potential of those tensions. The article concludes by highlighting the power of the very old futures (re)emergent from very old stories."]]></description>
<dc:subject>childhood children posthumanism 2022 adriandowney speculative indigeneity indigenous childrensbooks childrensliterature</dc:subject>
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<item rdf:about="http://culturesofenergy.com/133-maria-puig-de-la-bellacasa/">
    <title>CENHS @ Rice! » 133 – María Puig de la Bellacasa</title>
    <dc:date>2019-08-18T20:43:12+00:00</dc:date>
    <link>http://culturesofenergy.com/133-maria-puig-de-la-bellacasa/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Dominic and Cymene indulge a little post-Pruitt glee on this week’s podcast and speculate about the possibility of six foot tall low carbon lava lamps in the future. Then (16:46) we are thrilled to be joined by star STS scholar and emergent anthropologist María Puig de la Bellacasa to talk about her celebrated new book, Matters of Care: Speculative Ethics in More Than Human Worlds (U Minnesota Press, 2017). We start with the importance of care in feminist philosophy and how this work, alongside her own activist background, inspired this project. She asks us to consider how we can make knowledge that takes seriously a politics of care without giving ourselves over to the neoliberal commodification of care. And she asks how a commitment to speculative ethics can lead us to imagine and enact worlds different than the one we inhabit now. Later on, María tells us about what led her to quit philosophy and why appropriation might not actually be such a bad thing. Then we turn to her work with permaculturalists and soil scientists, what it was like to study with Starhawk, changing paradigms of soil ontology and ecology, what are alterbiopolitics, speculative ethics in a time of political crisis, and so much more.”

[See also:

“Matters of Care by María Puig de la Bellacasa, reviewed by Farhan Samanani”
https://societyandspace.org/2019/01/08/matters-of-care-by-maria-puig-de-la-bellacasa/

“Reframing Care – Reading María Puig de la Bellacasa ‘Matters of Care Speculative Ethics in More Than Human Worlds’”
https://ethicsofcare.org/reframing-care-reading-maria-puig-de-la-bellacasa-matters-of-care-speculative-ethics-in-more-than-human-worlds/ ]]]></description>
<dc:subject>maríapuigdelabellacasa care maintenance 2018 morethanhuman humanism posthumanism multispecies anthropology ecology alterbiopolitics permaculture caring ethics politics soil philosophy brunolatour work labor activism neoliberalism feminism donnaharaway academia knowledge knowledgeproduction thoughtfulness environment climatechange individualism concern speculation speculativeethics speculativefiction identitypolitics everyday pocketsofutopia thinking mattersofconcern highered highereducation intervention speculative speculativethinking greenconsumerism consumerism capitalism greenwashing moralizing economics society matter mattering karenbarad appropriation hope optimism ucsc historyofconsciousness</dc:subject>
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<item rdf:about="https://culanth.org/fieldsights/1616-solarpunking-speculative-futures">
    <title>Solarpunking Speculative Futures — Cultural Anthropology</title>
    <dc:date>2018-12-20T06:08:34+00:00</dc:date>
    <link>https://culanth.org/fieldsights/1616-solarpunking-speculative-futures</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here is a map of Eneropa, a vision of the continent of Europe in 2050. Reorganized by renewable energy production, the new states—Hydropia, Solaria, Biomassburg, Geothermalia, Vrania, Tidal States, and the Isles of Wind—are connected by a centralized European energy grid. The grid serves to redistribute renewable energy across the continent by season, with the predominant energy supply from strong winterly winds in the north replaced by solar summers in the south. Europe’s carbon emissions have dropped by (at least) 80 percent from 1990s levels, and the continent is almost entirely energy-independent. The new, post-transition Europe is a safer, happier, and more politically stable place to live.

[image]

This is not an exercise in speculative fiction, but an example of backcasting: a policy technique of detailing a desirable future and then reverse-engineering solutions to achieve it. This map was featured in a 2010 vision document entitled “Roadmap 2050: A Practical Guide to a Prosperous, Low-Carbon Europe,” which was funded by the European Climate Foundation. It is only one in a series of eye-catching visuals that present a case for a European energy grid that would have made the inventor and scientist Buckminster Fuller proud. Others include snapshots of what each of these regions will look like; often, renewable energy production is integrated with holiday-like leisure activity, from surfing to sunbathing and general frolicking in the sea.

If the imagery seems fantastical, it is nonetheless informed by a mass of technical data: grid engineering and design, plausible costs, investment plans, in-depth modeling of system balancing requirements, and analyses of the macroeconomic impacts of large-scale decarbonization. The Office for Metropolitan Architecture gave the project visual form. Head architects Rem Koolhaas and Rainer de Graaf, among others, worked in conjunction with experts at the Energy Futures Lab at the Imperial College London, the technical grid consultancy Kema, management consultants McKinsey and Company, the climate change think tank E3G, and Oxford Economics. The aesthetic might be fantasy, but the genre is very much policy.

Many have written about the synergistic, mutually constitutive relationship between speculative fiction and technological innovation. Less attention has been paid to the more mundane work of policy, which serves to bridge speculative imagination and mass adoption of a new way of life. One way to address this might be to extend the aforementioned analyses, comparing themes across a sampling of publications to determine the influence of speculative fiction on the genre of the vision document, or vice versa. Another would be to eschew the reading of one genre alongside another in favor of reading such policy documents as speculative literature in themselves. This is what “Roadmap 2050” challenges us to do. Far from being facetious, its purpose in employing codes of fantasy is to engage us in an act of genre generosity. The fantastical elements empower us to approach the document with a willingness to suspend disbelief and to go beyond our usual attunement to limits and conservative assumptions.1

But what does reading policy as a speculative genre achieve? To begin with, it forces us to acknowledge that fiction as conventionally defined no longer has a monopoly over speculative narratives. As an act of world-making, speculation is present in several contemporary professional contexts, with climate change–related policymaking as only one of them. Design fiction, for instance, is a speculative world-building methodology that employs so-called diegetic prototypes to explore how new inventions hold up both socially and technically in multiple future scenarios (see Sterling 2005). However, while design fiction accounts for a variety of futures, both desirable and dystopian, policy backcasting must always project an optimistic future. This makes it somewhat unique, read against the pantheon of speculative subgenres.

Within academia, optimism is often adopted self-consciously as an ethics, or is tied back into an overarching analytics from within which it is rendered either “cruel” (Berlant 2011), naive, or a symptom of selling out. Reading policy not only for its proffered content but speculatively for its form might prompt anthropologists to take optimism seriously—not (just) as an ethics, but as a form of labor that we encounter in the field. We know the plight of climate scientists all too well (see Clayton 2018), but how can we make sense of the obligatory optimism of policymakers as they work to promote so-called global solutions?

To diagnose optimism as an object, we might take inspiration from an analytic device in the environmental humanities: close reading for narrative aesthetics grounded in contemporary petrocultural forms (e.g., Szeman 2017). While we are far from disembedding ourselves from the petrocultural, a new subgenre coalescing around the term solarpunk might serve as a starting point to engage with the labor of optimistic speculation. Described by Elvia Wilk as wishing to “wrench science fiction from both steampunk’s magical tech fantasies and cyberpunk’s tech-gone-wrong,” solarpunk locates itself in a near future of feasible tech that often already exists in some form. Its worlds are fueled not by coal or oil (as were steam- and cyberpunk respectively), but solar energy, as a way to access a postpetro social. In its best moments the genre is not engaged in utopianism, but acts of dislocation.

If the point of speculative anthropology is not simply to recognize the speculative in contexts we encounter but also to adopt the speculative in the manner by which we engage them, then reading policy documents (with some indulgence) as solarpunk might constitute one such act of dislocation. It may even allow us to punk the relationship between our modes of critique and the dominant energy form. Perhaps Bruno Latour (2004) was more prescient than he knew when he declared that critique had run out of steam. Perhaps it is in need of some solar instead."]]></description>
<dc:subject>solarpunk speculativefiction speculation speculative designfiction anthropology nanditabadami 2018 speculativeanthropology</dc:subject>
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<item rdf:about="https://culanth.org/fieldsights/1627-speculative-anthropologies">
    <title>Speculative Anthropologies — Cultural Anthropology</title>
    <dc:date>2018-12-20T06:07:08+00:00</dc:date>
    <link>https://culanth.org/fieldsights/1627-speculative-anthropologies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At the intersection of speculative fiction and anthropology, we find a sense of epistemological humility about the kind of worlds we could or should inhabit. Yet epistemological humility should not be confused with futility: possibilities and potentialities still matter. We do not know what we are capable of, and yet that need not keep us from the pursuit of what ifs. Through the imaginative interpellations of speculative fiction (SF), the contributors to this Theorizing the Contemporary series gravitate toward new localities and means of presence: ecological, technological, Afro-futuristic. Facing the imminent prospect of both disaster and discovery, they call us to resist despair and to craft tangible ways of shaping and repairing the worlds we still hope for.

Posts in This Series

Introduction: Speculative Anthropologies
by Ryan Anderson, Emma Louise Backe, Taylor Nelms, Elizabeth Reddy and Jeremy Trombley

The Unstable Edge: Anthropology, Speculative Fiction, and the Incremental Threat of Sea Level Rise
by Ryan Anderson

Our Present as the Past’s Fictitious Future
by Sally A. Applin

Solarpunking Speculative Futures
by Nandita Badami

Thinking Parabolically: Time Matters in Octavia Butler’s Parables
by Priya Chandrasekaran

Looking for Humanity in Science Fiction through Afrofuturism
by David Colón-Cabrera

Planeterra Nullius: Science Fiction Writing and the Ethnographic Imagination
by William Lempert (Open author orcid page in new window)

Fieldnotes from the Twilight Zone
by Patricia Markert and Jeremy Trombley

Invisible City: A Speculative Guide
by Taylor Nelms

First Contact with Possible Futures
by Michael Oman-Reagan (Open author orcid page in new window)

Speculative Fiction and Speculating about the Social
by Elizabeth Reddy

Evidently SF
by David Valentine

Anthropology’s Latent Futures
by Samuel Gerald Collins

Unbounding the Field/Note
by Valerie Olson

The Necessary Tension between Science Fiction and Anthropology
by Matthew Wolf-Meyer"]]></description>
<dc:subject>speculative anthropology speculativefiction designfiction speculation afrofuturism ecology technology immigration climatechange ryananderson emmalouisebacke taylornelms elizabethreddy jeremytrombley sallyapplin nanditabadami priyachandrasekaran davidcolón-cabrera williamlempert patriciamarkert michaeloman-reagan samuelgeraldcollins davidvalentine valerieolson matthewwolf-meyer speculativeanthropology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1b71c95445d1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ryananderson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emmalouisebacke"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:priyachandrasekaran"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidcolón-cabrera"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamlempert"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patriciamarkert"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michaeloman-reagan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:samuelgeraldcollins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidvalentine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:valerieolson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewwolf-meyer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculativeanthropology"/>
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<item rdf:about="https://openspace.sfmoma.org/issue/west-coast/">
    <title>West coast is something nobody with sense would understand. : Open Space</title>
    <dc:date>2017-11-26T03:28:52+00:00</dc:date>
    <link>https://openspace.sfmoma.org/issue/west-coast/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""West coast is something nobody with sense would understand."

That’s a line from Jack Spicer’s “Ten Poems for Downbeat,” written in 1965, just before the Los Angeles-born poet died, age forty, in San Francisco. Was it true then, is it true now? What are some ways to make sense of this place (which isn’t one place), in this time (when it seems like there’s so little time)? Speculative, subversive, meditative: here are a few attempts."]]></description>
<dc:subject>westcoast sanfrancisco losangeles jackspicer 1965 2017 place speculative subversion speculation meditation pendarvisharsha art guadaluperosales elisabethnicula sophiawang jennyodell suzannestein sandiego cedarsigo leorafridman trees fog annahalprin dance eastla</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:466429389371/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sophiawang"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annahalprin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eastla"/>
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</item>
<item rdf:about="http://www.thehighbar.tv/2012/07/17/william-gibson-on-atemporality/">
    <title>William Gibson: on Atemporality — The High Bar</title>
    <dc:date>2012-07-17T22:32:15+00:00</dc:date>
    <link>http://www.thehighbar.tv/2012/07/17/william-gibson-on-atemporality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["William Gibson‘s writing is timeless. For mortals, conquering time is a Quixotic endeavor, only imaginable with the aid of good religion, better hallucinogens or great science fiction.

Today(?), Mr. Gibson walks into The High Bar and joins me to raise a toast to and raise the bar for… atemporality. Will time stand still and if so, what impact will it have on our memories, intimate or communal?

The legendary author (Neuromancer; Pattern Recognition) discusses his childhood, his craft and his hope for a future he has never truly predicted, even within the pages of his recent collection of articles and essays, Distrust That Particular Flavor."]]></description>
<dc:subject>self-projection love siri technology culture prostheticmemory fascism patternrecognition speculative history time memory nostalgia distrustthatparticularflavor monoculture childhood warrenetheredge scifi sciencefiction williamgibson 2012 atemporality conservatism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:825a4e64579e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:love"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:siri"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prostheticmemory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fascism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patternrecognition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculative"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nostalgia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:distrustthatparticularflavor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:monoculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:warrenetheredge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conservatism"/>
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</item>
<item rdf:about="http://www.iconeye.com/read-previous-issues/icon-078-%7C-december-2009/design-fiction">
    <title>ICON MAGAZINE ONLINE | Design Fiction | the most comprehensive archives of architecture and design content on the web</title>
    <dc:date>2012-04-08T21:32:30+00:00</dc:date>
    <link>http://www.iconeye.com/read-previous-issues/icon-078-%7C-december-2009/design-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["process in which they’re working is a bit like a scientific process where you have a hypothesis & you try to experiment not knowing what the outcome is going to be."

"…how can I say anything which someone will be able to see in 20 years in the form in which it was created…serious…new contemporary problem, how do we make something work in a situation where the means of production are in a maelstrom or things are politically or financially falling apart? I don’t expect bookstores…libraries…Google, Facebook, Yahoo or Twitter…Microsoft to survive 20 years, I don’t expect NATO to survive. I don’t know about the EU. This is not like a gospel of despair or anything I just really think we could do something magnificent by just rising to the scale of the actual problem."

"Experience design is the first school of design that can actually encompass literature as a wing of itself."

"[I]t would be a shame if everything was virtual or written in a way that precludes the tangibility of things."]]></description>
<dc:subject>sciencefiction speculative research future culture speculativedesign ephemerality uncertainty process imagination creativity literature tangibility permanence futurism fionaraby anthonydunne interviews 2012 experiencedesign designfiction design brucesterling ephemeral dunne&amp;raby</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:caba8d2049af/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:future"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uncertainty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonydunne"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemeral"/>
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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>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:renaissance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:post-digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:appleboutiqueworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cyberwarworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:piracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:softpower"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:futures"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:techart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brazil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-tech"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://placekraft.blogspot.com/">
    <title>placekraft</title>
    <dc:date>2011-05-01T04:04:37+00:00</dc:date>
    <link>http://placekraft.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["placekraft is an interdisciplinary research module devoted to generating and studying: tactical urbanism, speculative cartography, ephemeral/vernacular architecture, and itinerant practices."]]></description>
<dc:subject>design art architecture maps mapping randallszott interdisciplinary cartography vernacular speculativecartography speculative tacticalurbanism situationist incubate radicalcartography museumofjurassictechnology glowlab socialfiction centerforlanduseinterpretation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e3c4b356a50/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:randallszott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartography"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculativecartography"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tacticalurbanism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glowlab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialfiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:centerforlanduseinterpretation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://roryhyde.com/blog/?p=569">
    <title>RORY HYDE PROJECTS / BLOG » Blog Archive » ‘Know No Boundaries’: an interview with Matt Webb of BERG London</title>
    <dc:date>2011-01-01T22:17:37+00:00</dc:date>
    <link>http://roryhyde.com/blog/?p=569</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["we attempt to invent things and create culture. It’s not just enough to invent something and see it once, you have to change the world around you, get underneath it, interfere with it somehow, because otherwise you’re just problem solving. And I wont say that design has an exclusive hold over this – you can invent things and change culture with art, music, business practices, ethnography, market research; all of these are valid too – design just happens to be the way we do it…our things should be hopeful, and not just functional…beautiful, inventive and mainstream…you could see our work as experimental, or science-fiction, or futuristic…our design is essentially a political act. We design ‘normative’ products, normative being that you design for the world as it should be. Invention is always for the world as it should be, and not for the world you are in…Design these products and you’ll move the world just slightly in that direction."]]></description>
<dc:subject>mattwebb berg berglondon design invention hope culture change purpose innovation scifi sciencefiction designfiction beauty future inventingthefuture speculative speculativedesign fractionalai ai brucesterling evolutionarysoup storytelling isaacasimov arthurcclarke argoscatalog schooloscope behavior evocativeobjects collaboration functionalism technology architecture people structure groups experience interdisciplinary tinkering multidisciplinary play playfulness crossdisciplinary flip gamechanging artificialintelligence</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5dfb906cff66/</dc:identifier>
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<item rdf:about="http://blog.wired.com/sterling/2009/02/welcome-to-the.html">
    <title>Welcome to the Imaginary Gadgets Project | Beyond the Beyond from Wired.com</title>
    <dc:date>2009-03-07T00:56:11+00:00</dc:date>
    <link>http://blog.wired.com/sterling/2009/02/welcome-to-the.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You are likely getting useful, provocative insights from people who were never your colleagues in the past. These are people with thought-processes somewhat orthogonal to your own, who nevertheless show up repeatedly on your search engines as you perform your own work. ... I think this situation is a fact-on-the-ground for a densely-networked, digitized society. I also think the pace of this phenomenon is accelerating. I don't believe we will get a choice about it. If it's inevitable, then we should exploit the inevitability. Now, my larger suspicion here -- let's call it a hypothesis -- is that there is some grand unified theory for speculative cultural activity. In other worlds, "speculative culture" is not a crazy-quilt, it is a nexus. Every creative discipline has methods to shake up its preconceptions and think inventively. I want to catalog, compare and contrast those methods. I surmise that they have some inner unity, a consilience."
]]></description>
<dc:subject>via:preoccupations interdisciplinary multidisciplinary crossdisciplinary crosspollination technology culture future creativity consilience networks writing imagination speculative futurism retrofuture inventions scifi sciencefiction design brucesterling</dc:subject>
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</item>
<item rdf:about="http://bldgblog.blogspot.com/2009/02/hotelier-of-sea.html">
    <title>BLDGBLOG: Hotelier at Sea</title>
    <dc:date>2009-02-18T05:21:04+00:00</dc:date>
    <link>http://bldgblog.blogspot.com/2009/02/hotelier-of-sea.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four or five decades of inconsistent contact, the Library of Congress sends out a new, 21st century Alan Lomax to visit those thriving offshore subcultures and record their folk songs and oral histories."
]]></description>
<dc:subject>design architecture environment offshore reuse bldgblog structure us gulfofmexico speculative alanlomax</dc:subject>
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