Conference Agenda

Affective relations among humans and more-than-humans are full of shifts, subtleties, and complexities. Yet, design research often treats feelings as stable instruments to utilize for making sustainable climate futures. Through reflection-on-practice, we untangle impressions and gestures in the field during a design research project in the Sonoran Desert titled Gifts for Tempe. Our reflections focus on shifts in our attention and attachments with an ‘invasive’ plant commonly known as Stinknet. The impressions and gestures reveal designer-researchers’ thick tensions in designing for climate futures. By showing how affective relations with more-than-humans change over time, we identify that climate futuring involves learning to gesture from intermediary positions where plural feelings coexist. These accounts of our unfolding relationship with Stinknet in the desert ecosystem show how designers feel their way toward reciprocity with more-than-humans when striving for sustainable climate futures.

While the more-than-human is often made visible on the individual, contextual level, it is nevertheless vital to shape sustainable practices at policy and industry level to create sustained change. If it was a necessity to include non-human stakeholders in the creation of new buildings, in the manufacturing of new products and more, what could the needed design tools look like? This paper envisions design practices shaping a world where the more-than-human is already accepted and anchored in law through narration. Subsequently, an attempt is made to create tools that find practical application in this speculative scenario, creating a more-than-human practice that is self-evident and applicable in a larger context. Those speculative design practices are drawn into the present, resulting in a framework for persona creation & stakeholder mapping based on a Capability Approach, taking inspiration from service design and technology transition policy.

Art is increasingly mobilised in climate governance and policy, yet often instrumentalised for predefined human agendas of data visualisation, awareness raising, and science communication. This paper explores design research’s role as a mediator of more radical art-driven participation that cultivates more-than-human care ecologies: relational configurations that redistribute sensing, accountability, and decision-making across human and other-than-human actors. Drawing on theories of care and affective politics, we examine how design research can support art-driven participation through a critical literature review. Three illustrative case studies addressing sustainable transitions on an interregional level, urban air pollution, and disaster recovery demonstrate a move from anthropocentric frames in policy making towards situated more-than-human co-composition. We argue that by mediating between artistic practice and governance, design research can foster more open, relational spaces for change. The paper opens a debate and calls for sensitive, tentacular mechanisms to understand and articulate just and resilient more-than-human climate futures.

In the dryland of environmental governance, design can help cultivate what we call ‘wet’ policymaking: an approach that embraces affect, emotional engagement, and more-than-human (MTH) relations as integral to ecological decision-making. Drawing on fieldwork with open-water swimming collectives and policy initiatives in Flanders, Belgium, we explore swimming as an agonistic inquiry into wet policy futures, revealing the tensions between the prevailing dryness and the potential wetness of environmental—particularly water-related—governance. Theoretically, the paper weaves together affective agonistic democratic thought, political design, and MTH perspectives to articulate wetness as both a political and design orientation. We argue that open-water swimming in Flanders exemplifies a practice of political and ecological attunement that offers valuable insights into how to design wetly for ecological policymaking—immersing bodily in policy concerns and engaging affectively with MTH worlds.

This paper situates the 2024 Rio Grande do Sul climate disaster within the intertwined crises of the Anthropocene, arguing that those impacted developed situated practices to preserve identities and sustain life amidst collapse. Drawing on in-depth interviews with thirteen individuals directly affected by the floods, the research identifies Modes of Being that illuminate strategies of adaptation, care, and continuity rooted in Latin American ontologies. Through the interpretive lenses of Anna Tsing’s concepts of ghosts, monsters, and ruins, these modes reveal how to endure life in the Anthropocene and reconfigure identities and relations to persist. The study proposes a framework of four ethical values for situated design in the Anthropocene, rooted in considering the autonomy of local communities, perceiving more-than-human care, reorienting toward permanent instability, and resignifying the time of things. We argue that by embracing these values, design practices can shift from universal logics toward pluriversal and relational climate futures.

This paper explores the visualisation of wetlands and waterways as a more-than-human design practice that can generate situated and relational understandings of colonised urban wetlands and waterways in Australia. We analyse three design research projects that create online visualisations of wetlands in Australia: The Sound of Water, Environmental Flows in Nap Nap Swamp (2021); The Rippon Lea Water Story (2023); and Dyarubbin the real Secret River (2020). These projects are brought together in this paper to open discussion about the role of design research place-based ethnography and critical visualisation in communicating with and about water places. We make the argument that emergent aesthetics and affects of these projects can reconfigure practice towards more equitable, reparative, and care-full climate futures.