Laura Forlano is Associate Professor of Design at the Institute of Design (ID) and Affiliated Faculty in the College of Architecture at Illinois Institute of Technology, where she is Director of the Critical Futures Lab (email@example.com)
We cannot rationalize our way out of a crisis – or, to be more exact, the multiple crises that we face. We cannot audit our way towards a better future. We cannot merely criticize the failures of the past or those of the moment. We must have an artist’s vision, we must cultivate an activist’s ability to reimagine and we must create a collective dream that allows us to enact and experience alternatives to the current conditions. In short, we must embrace a speculative praxis.
Kaya Barry is a Postdoctoral Research Fellow at the Griffith Centre for Social Cultural Research (firstname.lastname@example.org), Michelle Duffy is Associate Professor in the School of Environmental and Life Sciences, University of Newcastle (email@example.com), Michele Lobo is Lecturer in Human Geography, Deakin University (firstname.lastname@example.org)
Saltwater incursions, mangrove loss, species decline, ocean acidification and declining sea ice are expressions of global environmental change that are incredibly hard for the average person to fathom. Such slow emergencies are closely monitored by a complexity of scientific measures, yet the general public can often find this hard to digest and understand. Even as authoritative reports and global agreements – such as the 2019 IPBES Global Assessment or the Paris Agreement – emphasise the need for shared responsibility for planetary futures, these ‘big’ questions of how to act can lead to paralysis and paradoxically strengthen narratives of climate denialism and scepticism. When seeking to understand things that exceed our human grasp in the diverse planetary worlds we inhabit, the philosopher Bruno Latour urges us to learn ‘how to get our bearings, how to orient ourselves’. Speculative listening with the planet opens up possibilities for thinking and acting otherwise.
Shawn Bodden PhD Researcher at Edinburgh University (email@example.com) and Jen Ross is Senior Lecturer in Digital Education and Centre co-director (Digital Cultures) at Edinburgh University (firstname.lastname@example.org)
It’s been a year of glitches, large and small. The glitch has become inescapable in the wake of the worldwide disruptions, failures and uncertainties caused by the Covid-19 pandemic and the faltering, inadequate responses of too many world leaders to its challenge in their pre-emptive drive to return to a ‘new normal’. But what is a glitch, and should we understand it as more than an error (technical or otherwise)?
Glitches are a kind of encounter, where expectations, preferences and plans are disrupted, but which thereby provoke new, previously unthought possible futures. By responding to and using glitches, we engage in future-making practices that negotiate what feels possible here-and-now. Irksome glitchy moments can lead us—grudgingly at times—to improvise creative alternatives to our original plans. Rather than seeing the resolution of a glitch as a return to a pre-existing, smooth-functioning way of doing things, speculative decision-making and experimentation involves achieving something following the uncertain situation of a glitch. Repair thus becomes a situated and practical act of reflection on how to work with a glitch: a ‘new’ normal accompanied by lessons-learned, scars, corrosion, raised insurance rates and other unexpected changes. The glitch becomes a space for practical and critical speculative thought about here-and-now possible worlds.
Dr Maximilian Jablonowski (email@example.com) is a Lecturer in Cultural Studies at the University of Zurich; Dr Anna Jackman (Anna.Jackman@rhul.ac.uk) is a Lecturer in Political Geography at Royal Holloway, University of London.
On the evening of 1 December 2013, Amazon CEO Jeff Bezos presented on CBS a video advert for the company’s new project; named Prime Air, the venture promised the shipment of goods to customers via drones within thirty minutes. This announcement was likely the first discursive event of commercial drone use. While initially exposed to ridicule, Amazon’s plan went on to change how commercial drones, and in fact drones more widely, are publicly imagined. Since then, drones, or Unmanned Aerial Vehicles, have been increasingly re-imagined and re-spatialised from battlefield origins to their growing embrace as domestic actors transforming urban skies. If we are, as it is asserted, entering into a ‘drone age’ or ‘zeitgeist’, the aerial delivery drone is a key facet of this evolving drone imagination.