Speculative Research: The Lure of Possible Futures

Speculative Research: The Lure of Possible Futures book cover. Cover image: Photograph © 2002 Jorge Dragón & Carlos Canal from the ‘el viaje’ section (the trip) of the work ‘Presunciones y apariencias: El coleccionista de miradas’ (Presumptions and appearances: The collector of gazes) – an album of retrieved and redetermined exposures originally rejected from a photography lm processing laboratory in Andalusia, Spain.

My new book Speculative Research (edited with Martin Savransky and Marsha Rosengarten) is out next month, published as part of the Routledge CRESC series.

Here’s the blurb:

“Is another future possible? So called ‘late modernity’ is marked by the escalating rise in and proliferation of uncertainties and unforeseen events brought about by the interplay between and patterning of social–natural, techno–scientific and political-economic developments. The future has indeed become problematic. The question of how heterogeneous actors engage futures, what intellectual and practical strategies they put into play and what the implications of such strategies are, have become key concerns of recent social and cultural research addressing a diverse range of fields of practice and experience. Exploring questions of speculation, possibilities and futures in contemporary societies, Speculative Research responds to the pressing need to not only critically account for the role of calculative logics and rationalities in managing societal futures, but to develop alternative approaches and sensibilities that take futures seriously as possibilities and that demand new habits and practices of attention, invention, and experimentation.”

The book contains contributions from Lisa Adkins, Vikki Bell, Rebecca Coleman, Didier Debaise, Joe Deville, Rosalyn Diprose, Michael Guggenheim, Bernd Kräftner & Judith Kröll, Michael Halewood, Marsha Rosengarten,  Martin Savransky, Michael Schillmeier & Yvonne Lee Schultz, Michael L. Thomas as well as myself and Mike Michael followed by an afterword by Monica Greco.