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9781948765961

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"""Geoengineering too needs its promissory and geopolitical intent creatively explored if we are to move from exceptionalism to more participative forms of governance. The arts and humanities may well offer particular critical investigations into these technologies. Artists, designers, writers, and theorists in the Cold War period, working between the specter of nuclear catastrophe and utopian architectures for planetary survival, offered both playful and critical geopolitical accounts of imaginaries of atmospheric control (such as Buckminister Fullers's 1960s ""Dome over New York""). Such design begs a model of knowledge making that is both critical and creative in its exploration of the norms and structures of knowledge-making practices in geoengineering research. By engaging publics with the processes, technics, and imaginaries of geoengineering, the arts open up questions about the making of models and worlds. In this sense, cultural experiments in narrating geoengineering involves a form of geontologising: that is, the reconstitution of the earth as a dynamic world object. --Kathryn Yusoff, The Geoengine"

Geoengineering too needs its promissory and geopolitical intent creatively explored if we are to move from exceptionalism to more participative forms of governance. The arts and humanities may well offer particular critical investigations into these technologies. Artists, designers, writers, and theorists in the Cold War period, working between the specter of nuclear catastrophe and utopian architectures for planetary survival, offered both playful and critical geopolitical accounts of imaginaries of atmospheric control (such as Buckminister Fullers's 1960s Dome over New York ). Such design begs a model of knowledge making that is both critical and creative in its exploration of the norms and structures of knowledge-making practices in geoengineering research. By engaging publics with the processes, technics, and imaginaries of geoengineering, the arts open up questions about the making of models and worlds. In this sense, cultural experiments in narrating geoengineering involves a form of geontologising: that is, the reconstitution of the earth as a dynamic world object. --Kathryn Yusoff, The Geoengine

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DESIGN EARTH is an architectural research practice founded by Rania Ghosn and El Hadi Jazairy. Their work engages architectural representation as a speculative medium for making visible and public the geographies of the climate crisis. Their work is exhibited internationally, including at Venice Biennale, Milano Triennale, San Francisco Museum of Modern Art; Matadero Madrid; Sursock Museum, Beirut; and Times Museum, Guangzhou; and was collected by New York Museum of Modern Art. Ghosn and Jazairy are educators; she is Associate Professor of Architecture and Urbanism at the Massachusetts Institute of Technology; he is Associate Professor of Architecture at the University of Michigan. They are winners of the Architectural League Prize, ACSA Faculty Design Awards, and other architectural press honors. They both hold Doctor of Design degrees from Harvard Graduate School of Design, where they were founding editors of the journal New Geographies. Ghosn and Jazairy are authors of Geographies of Trash and Geostories: Another Architecture of the Environment.

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