“Leap, and the net will appear”: Interview with Chana Porter, Part 2

Playwright, novelist, and education activist Chana Porter joined me to talk about her new novel The Seep

In the book, Porter imagines an alien invasion of an unusual kind. The Seep find their way into the Earth’s ecosystem and cause every living being on the planet to become connected. “Capitalism falls, hierarchies and barriers are broken down; if something can be imagined, it is possible.”

You can read the first part of our interview here, or check out the complete text now as a PDF download. In this instalment, Chana talks about her practice as a writer and its connection to her experience as a person who stutters, and reflects on questions of point-of-view, identity, and appropriation raised by The Seep.

M: I was reading about your play Leap and the Net Will Appear. You talk about the play coming to you after a silent retreat. I wondered about what the balance between writing-as-inspiration and writing-as-carpentry was for you?

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“A wonderful way to tell yourself a story” – Interview with Chana Porter, Part 1

Playwright, novelist, and education activist Chana Porter joined me to talk about her new novel The Seep

In the book, Porter imagines an alien invasion of an unusual kind. The Seep find their way into the Earth’s ecosystem and cause every living being on the planet to become connected. “Capitalism falls, hierarchies and barriers are broken down; if something can be imagined, it is possible.”

Trina Goldberg-Oneka, a middle-aged trans woman, is the book’s protagonist. An artist who retrains as a doctor after the invasion, she cherishes “the casual overthrow of everything that had felt codified but broken for so long“ — until her partner Deeba decides to use the Seep’s power to be reborn as a baby, moving on to a new life. The book follows Trina along her spiral of grief as she begins a strange quest in a transformed world.

Our conversation touched not just on the novel, but also Porter’s plays and her work as an education activist. She is a founder of the Octavia Project which brings together young women and trans, gender non-conforming, or non-binary teens to create speculative fictions offering “new futures and greater possibilities for our world”, blending creative writing, art, science, and technology.

Part 1 of the interview is below, or you can read the whole thing right now as a PDF transcript.

I began by asking Chana about her first glimpse of the idea that became The Seep.

C: There’s a secret book that probably no-one will ever see, written from the point of view of a teenager in my hometown. 

I was really intrigued by this concept of an Invasion of the Body Snatchers style alien takeover, without it being a cut-and-dried thing of “This is good, this is bad.” This is also the feeling I have when I watch the 1978 Body Snatchers movie; it feels so brutal because we don’t really understand what these beings are feeling or what they care about, but the more that we understand as a scientific community about how trees communicate with each other, and protist communications, the more we question: what is alive? What is a life? What is social? What is a community?

When you use the lens of a horror film to reflect on these issues, when you consider the destruction we have wrought on the planet, it prompts you to ask: what if it’s not bad? 

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Angels on the beach

Walter Benjamin wrote a few famous lines about Paul Klee’s artwork Angelus Novus. You may know them:

A Klee painting named ‘Angelus Novus’ shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.

-Walter Benjamin, “On The Concept of History”

Imagine the plight of Benjamin’s angel today. The winds are more turbulent than ever. The ground on which the angel walks has become, perhaps, more unstable. Each step, however small, is taken in extreme uncertainty.

Perhaps the angel has come to realise that they are no longer alone. Other angels, with other perspectives and other understandings of what has gone before or where they are headed, also stagger against the storm. However much they wish to stay with the past that has gone before them, they are constantly driven onwards.

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“Whose futures matter?” Gender, identity, and strategic foresight

I was privileged to be Dr. Pani Farvid‘s guest at The New School’s SexTech Lab this week, talking about how researchers of gender, sexuality, and identity can work with the imagined future to understand the present and challenge its assumptions.

The discussion built on some previous tentative explorations of foresight and identity, which you can read on this site: “Foresight and Cruising Utopia” and “Dots that I haven’t joined yet“.

Another valuable reading is last year’s article “Whose futures matter?“, from a group of foresight practitioners including Joshua Polchar, Özge Aydogan, Pupul Bisht, Kwamou Eva Feukeu, Sandile Hlatshwayo, Alanna Markle, and Prateeksha Singh. I also recommend the OECD’s Alex Roberts‘ piece on “otherness and innovation” from 2017.

Taboo Futures, Fate, and Destiny – Conversation with Steffen Krueger

In 2019-2020, I worked with researchers from the University of Oslo on a set of scenarios for the future of Norwegian schools. You can see the full scenario set, “Schools and/or Screens”, here.

Niamh ni Broin and Steffen Kruger of the University of Oslo convened the project and recruited me to help a group of key stakeholders develop the scenarios. Today Steffen, a psychoanalytic researcher and senior lecturer in the university’s Department of Media and Communication, joins me to talk about the project, taboo futures, pop culture, and questions of fate and destiny in foresight work.

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2266 and All That: Chris Beckett, Two Tribes

As the British House of Commons is recalled to debate the new agreement with the European Union, it’s time to look at one last book in 2020: Chris Beckett’s Two Tribes, published just five months ago, during the summer of COVID lockdown.

In this novel, historians from far-future London find two archived diaries which chronicle a romance blossoming across the Brexit divide of 2016-17. Harry, a Remainer architect, is stranded in a rural Norfolk town when his car breaks down. He finds himself renting a spare room for the night from Michelle, a local hairdresser who voted to leave the EU. They forge a deep and unexpected connection which troubles and compels Harry, leaving him torn between Michelle and Letty, an arts administrator from his own North London milieu.

Harry and Michelle’s private journals are being examined in the year 2266 by Zoe, a researcher affiliated to the elite Guiding Body which now governs an impoverished, climate-ravaged, postdemocratic England, slowly emerging from a spell as a Chinese protectorate. Running water, motor cars, and twenty-four hour electricity are things of the past for Zoe’s world, as is the EU itself, and a vast shanty town has developed within the ruins left by a brutal civil war.

Two Tribes is a swift, compelling read. Efficiently drawn characters map out the polarisations of the Brexit debate, and Beckett deftly charts the unsteady progress of Harry and Michelle’s romance. The passages set in 2016-17, presented as fragments of a historical novel being written from the primary sources by Zoe, skirt and skewer Pygmalion fantasies of love across a class divide.

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“2050 was last year”: Times of COVID-19

Together with the University of Oslo’s Dr. Steffen Krüger, I’ve written a short piece on the Norwegian education scenarios, set thirty years hence, which we published at the start of this year – plus how the COVID-19 pandemic both confirmed some of our insights and challenged our perceptions.

Seeking an imagined future that would threaten a data-driven, corporatised health and care system, we created a world with distinct similarities to Norway’s coronavirus experience in 2020. In the essay, we talk about our scenarios, the cabin fever of homeschooled lockdown days, and how to bring the stuff of dystopian sci-fi into the realm of plausible policy discussion.

You can read “2050 was last year”, at the Times of COVID-19 blog.

An empathy for the future: Interview with Sara Gry Striegler and Oskar Stokholm Østergaard, Danish Design Centre

Today I’m joined by Sara Gry Striegler and Oskar Stokholm Østergaard of the Danish Design Centre to talk about their work developing design approaches which allow people, communities, companies, and organisations to better understand the futures which may await them.

Sara is Programme Director at the Centre, leading their Future Welfare work, and Oskar is Project Manager for a range of ventures including the new Living Futures scenario toolkit.

Matt: The Design Centre has had an evolving role and remit since it was founded in 1978. What’s it been like, coming to the point where the Centre is using design as a futures-oriented tool?

Oskar: We’re currently in the process of finalising our own new strategy, with a focus on being mission-oriented and finding ways to not only create growth through design practices, methods, and mindsets, but also help in solving systemic issues at a wider level. We are becoming more systems-oriented in that sense, and the futures work helps us to tackle those big issues, pulling back from a narrow focus on using design to solve particular issues in isolation, one at a time. 

Futures thinking flips that focus on its head; we try to take in the broader lines first, and then consider where we want to go – or where we want to avoid going! – in the future.

Image courtesy of Danish Design Centre
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The Only Winning Move: Interview with Peter Scoblic, Part 1

Dr. Peter Scoblic is a co-founder and principal of the strategic foresight consultancy Event Horizon Strategies. A former executive editor at The New Republic and Foreign Policy who has written on foresight for publications including the New York Times, The Washington Post, Science, and Harvard Business Review, Peter is also a senior fellow with the International Security Program at New America, and an instructor for the Professional Development Program at Harvard University. Previously, he was deputy staff director of the Senate Committee on Foreign Relations, where he worked on approval of the New START agreement and was the chief foreign policy speechwriter for Chairman John Kerry.

On the eve of a particularly fraught election and a turbulent moment in US political history, Peter joined me for a discussion about his career, ranging from post-Cold War nuclear arms policy to the relationship between policymaking and pop culture, plus the practical question of how and to what extent we can usefully predict the future. The interview will appear on this blog in three parts, but you can read it in its entirety as a PDF download here.

I began by asking Peter if he’d always been ambitious to work in foreign policy.

Foreign policy is something I’ve always been interested in, especially national security work, and particularly nuclear weapons work. There’s been a wonky streak running through me over the years, often focussed on these dark existential issues.

It goes back to being a child of the 80s; I believe the second movie I ever saw was War Games, starring Matthew Broderick, in which a teen hacks into the computers of NORAD, the aerospace defence command. I was probably too young to see it and the experience, combined with the actual headlines of that decade, planted a seed which I was able to explore as a student at Brown. 

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