No description available.

Our interactions with objects build cultural codes, reflecting lifestyles, values, and identities beyond functional expectations. With open connectivity in the contemporary consumer environments, we have access to homogenized material cultures not only for daily activities but also for ceremonies and rituals to mark important events, such as birth, marriage, and death. What will happen to our cultural codes and diverse traditions when various cultural norms meet, exchange, clash, hybridize, and evolve? In this research, globalized material cultures were investigated to discover metaphoric comparisons, to formulate conceptual frameworks, and to develop informed design, which can address evolving cultural conditions appropriately, in comparison with commercialized goods. Considering we often ritualize sequential stages of life course or challenging events, but rarely divorce, I explored the socio-cultural norms of marriage and divorce in the current social construct to anticipate globally evolving divorce phenomena. My thesis focused on relatively unknown material cultures in ritualizing divorce by combining speculative design with semiotic, hybrid, idiosyncratic approaches to communicate desirable future scenarios for the emerging multi-cultural context. This research aims to explore how artifacts and rituals can help people cope with transitional events and how design practices can provide meaningful and reflective material cultures.

“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’ My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.

The fact-value distinction has structured and still structures ongoing debates in metaethics, and all of the major positions in the field (expressivism, cognitivist realism, and moral error theory) subscribe to it. In contrast, I claim that the fact-value distinction is a contingent product of our intellectual history and a prime object for questioning. The most forceful reason for rejecting the distinction is that it presupposes a problematic understanding of the subject-object divide whereby one tends to view humans as the sole source of normativity in the world. My dissertation aims to disclose the background against which human ethical praxis is widely seen as a unique and special phenomenon among other phenomena. I show that ethical norms, as delimited by utilitarianism, deontology, virtue ethics, etc., derive from an originary proto-ethical normativity at the heart of the real itself. Every object, human and nonhuman, presents itself as a bottomless series of cues or conditions of appropriateness that determine adequate and inadequate ways of relating to it. That is, objects demand something from other objects if they are to be related to; they condition other objects by soliciting a change in disposition, perception, or sense, and for this reason are sources of normativity in and unto themselves. Ethical norms, or values, are the human expression of the adequacy conditions with which all objects show themselves. In the post-Kantian landscape it is widely thought that human finitude constitutes the origin of ethical norms. Consequently, the world is divided up into morally relevant agents (humans) on one side, and everything else on the other. Adopting a deflationary view of agency, I argue that human-human and human-world relations differ from other relations in degree rather than kind. Thus, instead of a fact-value distinction, value is inextricably bound up with the factual itself. The critical upshot of my project is that traditional subject-oriented ethical theories have served to conceal the real demands of non-human objects (such as animals, plants, microorganisms, and artificially intelligent machines) in favor of specifically human interests. Such theories have also been leveraged frequently in exclusionary practices with respect to different groups within the human community (e.g. women and those of non-European descent) based on arbitrary criteria or principles.

When the body is observed through a certain combination of technologies, there can be subversive politics to doing anything at all. The nature of media and biopolitics has permitted for a set of systems aimed at total control of the human body; a power which can permeate all facets of life. This thesis is a collection of essays which argues that speculative fiction contains multitudes of approaches to biopolitical discourse, permitting the reader of the text to approach politics from their own set of experiences, but not allowing the political to be ignored. These chapters contain three separate but interrelated arguments regarding the nature of power: “Law, Technology, and the Body,” “Weaponized Media,” and “The Subversive Politics of Doing Anything at All.” This thesis creates working definitions of critical or political concepts which the chapters engage, defining terms such as speculative fiction, formalism, and biopolitics. The texts which these chapters primarily rely upon to convey examples of the visibility of these concepts—the work of Margaret Atwood and David Foster Wallace—will also be explored in these pages, prescribing specific interpretations of their plots and suggesting possible readings of the way the narratives describe technologies. The first chapter, “Law, Technology, and the Body,” posits that computational metaphors for humans are used to enforce power, particularly through the construction of law, which is prominent in works of speculative fiction. This chapter will use biopolitical theory as well as formalist readings to approach the texts: it begins by explaining the biopolitical approach to the texts which permits for such readings, then elaborates upon law, power structures, and technology which affect the body within Margaret Atwood’s MaddAddam trilogy. It ultimately concludes by suggesting that these structures will be visible within all narratives, but particularly prominent in speculative fiction due to the way speculative fiction engages with and responds to the technologies of the real world. The second chapter, “Weaponized Media,” shows that the trope of weaponized media is a compelling lens through which to approach text and an apt metaphor for the relationship between art and power, elucidating its prominence within speculative fiction. This argument relies primarily upon structuralism, linguistic theory, Russian formalism, and conflict theory to explain the highly-politicized use of weapons in these texts. Beginning with a survey of examples of this trope in speculative fiction, particularly within David Foster Wallace’s Infinite Jest, the chapter concludes by reflecting upon the biopolitical structures which contribute to and are reflected by this trope. The final chapter, “The Subversive Politics of Doing Anything at All,” is a cumulation of the prior arguments. Supporting the chapter’s titular thesis, Russian formalism, media theory, and the surveillance and race theory of Simone Browne are used as central tenets to support this argument’s progression. This chapter argues that media propagates norms, that all things are now media. The consequences that follow from the nature of media entail that due to a hyper-connected world and the conflation of fear and terrorism, almost all things can be considered outside the norm—that doing almost anything at all is viewed as subversive by some, particularly by normative structures and governments. Speculative fiction questions these structures, specifically asking the reader to consider the political structures inherent in every action that they might commit to.

The following collection of short stories explores the notion of being caught between two worlds, of straddling physical, emotional, linguistic and metaphorical borders. I have chosen these characters in order to give voice to those who are often voiceless. The collection has been divided in two parts in order to challenge ideas of what is "real." I argue that the emotional truth of a story is paramount, and this reality can sometimes be best achieved through unconventional means.

Cormac McCarthy's The Road and Dante's the Inferno contain textual and thematic comparisons. While the Inferno creates a world that exhibits the worst fears of the medieval Catholic subconscious of Dante's time, The Road paints a world of the darkest fears of the current American subconscious. Both texts reflect a critical dystopia that speculates on human spirituality and offers a critique of society through a tour of sin and suffering in a desolate setting.

Planet Earth is moving rapidly towards a point of no return in the climate crisis currently experienced, and while the debate is still raging on wether it is naturally occurring or not the temperature steadily increases - causing melting icecaps, expanding seas and rising oceans. It is the author's view however, that wether the change is man-made or not is irrelevant; as there is no other planet to conduct an experiment on. Therefor it needs to be treated as a problem generated by our species to best ward for the future generations. With rising seas come new problems, many problems that have accidentally been solved by developments in other fields. Take the development of artificial islands on the coast of Norway leading to the creation of entire floating civilisations in South East Asia. It easy to believe the coast lines among the nations of Earth will expand to take advantage of the additional space and comforts of newly created islands - and from this a new lifestyle will be born. A type of life where water plays a bigger role than ever before, and the need for mobility is greater than ever calls for urgent development in the nautical vehicle department. For what kind of vehicle would best be utilised for a life between the land and the sea in the future year of 2050? Throughout the often messy creative process many twists and turns have led the project forwards and backwards. Artistic exploration through sketching has been coupled with critical analysis of brand aesthetics and target markets. Conceptual evaluation and finalisation in 3D software and many, many loops back and forth generated visual material in both 2D and 3D to effectively communicate proposed solutions and artistic expression. The support from Scania and working out of the studio provided valuable insight for the brands future targets, but also the possibilities to collaborate and evaluate concepts along the process with engineers and modellers to ensure a believable final result. The feedback from the design team has strengthened the visual appeal of the vehicle, while the project in turn has helped the brand push its marque into the future in a visual sense. The final result is the Scania SNEKKJA, an amphibious vehicle capable of both land and aquatic travel in one single package adapted for most weather conditions. Pushing Scania further into the field of public transport, this vehicle retains the quality touch of the trucks currently delivered by the brand. It presents a new form language that stays true to the core values and roots of the manufacturer with a modern touch and offers a service provided by the brand as a personal mobility solution for people that want a more premium on demand service. A system that is always available and where convenience is the name of the game.

“The Self: Towards A Method for Queering death” is an identity testament, a speculative method for designing the space of your own funeral before you die. It is a format to create a fair memorial of a person’s identity that does not feel welcome or fits in the current formats of burial ceremonies we have in Sweden today, usually connected to Christianity or other religious traditions. Even the secular burial traditions of Sweden today have a very clear traditional format and aesthetic that can be intimidating to a lot of members of society. “The Self” is also a method to relegate the power of narrative to whom it belongs.  “The Self “is executed through this thesis, a sacred document, a spatial installation and a film, showing a possible scenario of a burial ceremony as a result of the method of the identity testament. This thesis demonstrates and problematizes the secular burial traditions in Sweden and how the common rituals are still based on the norms of Christianity, heteronormativity and traditional values, and why this is oppressing a lot of individuals in society. It does so by using a speculative method of an identity testament, which gives every human the right to own the narrative about their persona and who they were to the afterlife. It also problematizes the hierarchies and norms in society of what “family” means, and how consanguinity is valued by state and law. The term “queer” or “queering” is used in multiple ways, both as an adjective (being queer, a queer community, a queer sexual identity) but also as a verb or an adverb, as in the method used by the Queer Death Studies Network. The content of this thesis consists of texts, pictures, research in form of written sources and interviews, queer theory, descriptive design methods and descriptions of a sculptural exploration and spatial installation as well as a motion picture. The thesis asks and answers questions such as: How could a new type of burial ceremony - based on our secular beliefs in contemporary Sweden – look, feel and be arranged to be more connected to what we can relate as religion today? Is it possible to create an organized system to collect information about a person´s identity to be used as a formal ground to create a fair burial ceremony after the person’s death? The analysis focuses upon speculative ideas about what could happen if every person had a right to state a will for their intangible possessions and assets as well as their physical ones. The thesis also goes through multiple examples of cases of queer deaths where there have been strong needs to arrange an alternative funeral to feel safe and comfortable. Finally, the thesis reflects upon how this method could be used and if it really could be applied to society, and if so, who would be able to use it?

This thesis studies the feasibility and methodology of applying state-of-the-art computer technology in scientific workflow modelling, within a collaborative environment. The collaborative environment also indicates that the people involved include non-computer scientists or engineers from other disciplines. The objective of this research is to provide a systematic methodology based on a web environment for the purpose of lowering the barriers brought by the heterogeneous features of multi-institutions, multi-platforms and geographically distributed resources which are implied in the collaborative environment of scientific workflow.