A forgotten tomorrow // Thesis for Situated Design Master

My thesis journey began with a sense of stupor as I stood in front of the ancient caves where people lived thousands of years ago in Grottaglie, my hometown in Italy. The power of the past and the ancient way of communal living in nature resonated with me, but I also felt a sense of emptiness and sorrow as I observed these "ruins" relegated to mere tourist attractions.

How many times have we been in front of ancient ruins of past empires and felt the hidden and buried power of these civilizations?

How many times have we imagined in front of these ruins the way of life of ancient civilizations? I have felt this same feeling in front of the Parthenon ruins in Athens: how did the ancient Greeks live, what did they feel, and what obstacles did they encounter in their daily lives?

Based on these considerations, I delved into speculation, pondering how an ancient civilization would exist in our contemporary society. I envisioned the artifacts they might craft to sustain themselves in this era, and how they would navigate complex modern issues such as technological advancements and capitalism.

In my quest to find a new perspective on design, I developed the Archaeological Design methodology. By digging through the ancient ruins of abandoned environments where once thriving future civilizations stood, I found objects that indicate the way of life of ancient civilizations that might have been buried, which can offer a clue and a critique regarding our present way of life.

Introduction

Through this introduction, I will begin by framing the history and current status of the caves surrounding my hometown borders. This historical introduction will help to understand the importance that such caves have had in past eras, and how their monolithic history has fascinated and impacted my artistic practice, becoming a key point of my whole research.

Grottaglie, the name of my hometown in southern Italy, derives from the Latin Kriptalys and the Greek Κρυπταλύς, a name that emphasizes the presence of caves (krypta, κρύπτα) in much of its territory. Evidence of civilization can be dated back to the Paleolithic period, in which blades and worked stone tools found under the ground testify to the stable use of caves and hollows as habitations.

Inhabited intermittently from the Paleolithic to the 13th century, it was at the turn of the Migration Period (4th century CE) and the fall of the Western Roman Empire (5th century CE) that proper rupestrian settlements arose in Grottaglie, evidenced by frescoes in the churches erected in that period. In these years, the villages were consolidated, encouraging the coexistence of shepherding and agricultural activities. However, the passing of centuries and advances in the field of technology led to a gradual depopulation of the ravines in favor of urban settlements, causing a considerable decline in the cave settlements of Grottaglie.

Currently, the caves in my hometown are in a state of prevalent neglect, awash with graffiti and trash, and only a few small sites are preserved for tourist excursions.

As I returned to these places after many years of absence (the last time I was there, I was a child), my heart flooded with joy and curiosity. Wandering among these caves full of frescoes and abandoned to themselves, I imagined actual communities living inside, picturing the difficulties and desires that these utopian communities might have nowadays.

My goal from that moment on became to tear these magical places out of oblivion, envisioning them inhabited again in the future: what could happen if the caves became the setting for a new civilization, a civilization that had never existed before?

Time as Possibility

Following this brief historical introduction, in this chapter Time as Possibility, I will engage in the exploration of the tangible facets of Time that we encounter in our reality (such as civilization, ruins, and legacy), investigate the role played by Concept-Time in our present society and how to theoretically play with our daily experience of Time to unveil endless and unexpected possibilities.

Ancient settlements of past ages, crumbling remains of once-great civilizations scattered and forgotten in the shadows of the surrounding countryside, museums: the legacy of the past lies silent and untouched in our modern times.

Sometimes, such legacy inhabits the Third Landscape - a concept coined by Giles Clement (2005, p. 13) referring to those undecided spaces located in the forgotten corners of the cities and neglected by politics and economy - along with the buildings forgotten and abandoned for centuries, while sometimes this legacy is hosted inside museums and cultural institutions, requiring a ticket at the entrance to be admired.

Often, when our eyes are placed in front of the past ruins, we experience what Shanks (2019) calls the “Anxiety of allure” (p.10), the same felt by the archaeologist during one of his walks through a World Heritage Site: immediately, we feel the hidden power of the contradictions, possibilities, and desires behind these ruins piled in a museum display case or numbered at an archaeological site.

*Detail of the Hadrian’s Wall near the Scottish Border in Northern England*

Here is how Shanks (2019), in his essay "Heritage, Performance, Design" defines his sensations as he looks at what is left of Hadrian's Wall: “But the attraction, the allure of this vista bothers me. It is just as the picturesque should be, but it is too right, too prepared, too easy to photograph. The framed view, with the wall leading off into the distance over the rolling craggy terrain, overpowers everything else and makes it generic, even clichéd”(p.8).

Ruins of former civilizations, untied from their past function, inertly inhabit the present landscape, unable to act in (and on) the present. A photo (for a future social media post or story) seems to be the only way to represent ruins and objects of the past, and the camera seems to be the only medium giving voice to the fascination with the past that lies before us.

Then, how can we transform this habitual and standard experience of Time into a new source of possibility? By disrupting the diachronic and linear use and experience of Time that we make daily, reaching a new notion of synchronic and multitemporal Time where the past actively engages in dialogue with the present and future.

In our daily lives, the notion of Time plays a fundamental role: it's the clock that tells us the hour, the alarm that awakens us from sleep, the date on the calendar that reminds us of the next business meeting.

As can be noticed, our everyday life occurs in a rigid and diachronic experience of Time, a pre-established linear experience in which the past lies behind the present and the future in front of us, in sealed-off compartments that do not interact with each other.

*Graph on synchronic and diachronic time*

For the purpose of my fiction, I decided to replace this linear and diachronic experience of Time with a synchronic/nonlinear experience of Time.

As can be seen from the chart, Synchronic Time is a more spiral and illogical experience of Time, that creates a simultaneous temporal experience bringing past and future into dialogue, creating fictional Time bubbles in which different timelines encounter and collide, unlike diachronic time where time is experienced linearly and the time spheres (past, present, future) are experienced separately from each other.

Thus, in the Synchronic Time, the past, present, and future lie together in the same place, creating endless and unexpected possibilities, allowing me to play joyfully and il-logically with the Concept-Time.

A Message from the Future

After analyzing in the previous chapter the endless possibilities lying behind the notion and experience of Time, in this chapter A Message from the Future, I will explore the concept of Hyperstition, and how this notion can help me bring up unexpected and hidden messages out of Time.

The core question that I will address in this chapter, and to which I will attempt to draft an answer, is: if the future is the random combination of our actions that - once enacted in the snapshot of the present - immediately become past, how can we operate on the past to twist the notion of the future that already resides within us?

The surgical operation on the immediate past lying behind us is a slow, meticulous, and archaeological effort. The discovery of past ruins implies an excavation that, by being rediscovered and dragged out of oblivion onto the mainland, are no longer ruins, returning to retroactively act on the present.

A fisherman finds among the nets of his wade, along with the usual fish he is accustomed to daily encounter, an ancient archaeological artifact, the ruin of a past world, and sets it in his living room. What's the function of that object belonging to thousands of earlier worlds that no longer exist?

How does this object from the past relate to the actuality of the present?

A magic sigil, a secular credo, a Hyperstition, an orphaned object of the future whose trauma of the past intervenes in the world of history as a catalyst, triggering positive feedback cycles that transmute fictions into truths: the concept of Hyperstition allowed me to interplay with the Concept-Time, theoretically twisting and bending it for my research topic.

What is a Hyperstition? Hyperstition is a neologism coined by accelerationist philosopher Nick Land that combines the words ‘hyper’ and ‘superstition’. By functioning as magical sigils, hyperstitions are ideas that, “Once ‘downloaded’ into the cultural mainframe, engender an apocalyptic positive feedback cycle, acting as catalysts and engendering further (and faster) change and subversion in the cultural mainframe” (Carstens, 2010). This subversive, unexpected, and chaotic action on the past triggers converging waves that change the idea of the future, giving us freedom in the present.

Once started, a Hyperstition spreads like a virus and with unpredictable effects. As a writer part of the CCRU (i.e., The Cybernetic Culture Research Unit, an experimental cultural theorist collective formed in late 1995 at Warwick University of which Nick Land was also part), Maria de Rosario (1998) argues, “Hype actually makes things happen and uses belief as a positive power. Just because it’s not ‘real’ now, doesn’t mean it won’t be real at some point in the future”.

Just as K-tactics for Nick Land (2011) "is not a matter of building the future, but dismantling the past" (p. 452), fictional and functional objects act as time-traveling devices. Engraved on them are logos and symbols that refer to pre-existing conditions of linear narratives in which the future is a logical continuation of a vanished and, therefore, forgetful past.

The Primitive and the Fisherman

By playing with the Concept-Time and its theoretical shift from a linear to a synchronic-multitemporal experience, I found myself noticing the hidden and contradictory power behind the ruins of the Past, which once rediscovered retroact in the Present, twisting the idea of the future that resides within us. By continuing to play on this multi-layered notion of temporal experience, in this chapter The Primitive and the Fisherman, I analyze the character of the "Primitive" and how this idea-archetype helps in the temporal fiction I am crafting.

Starting from a supposedly simple question - What is the Primitive? - I will explore the role of this archetype in the Past, its relation to the Future, and how its extra-temporal nature affects my artistic practice.

The Primitive, the pre-literate being, represents in the globally shared and introjected narrative the irrational moment of humanity, the symbol of the absence of reason and rationality that human beings will slowly achieve in the glories of the Age of Enlightenment. Analogous to medieval human beings, the Primitive is pictured in the grip of confusion and nightmares, capable of atrocities in his complete inability to express himself and communicate with Alterity.

But, it's the future that is atrocious, confused, and unable to express itself. Not the Primitive. Following a progressive linear line of development based on scientific progress, the future describes itself as intelligent, rational, perfect, and far from a confused and chaotic past. The Primitive archetype, on the other hand, plays the role of a non-civilized being, a primordial step in an evolutionary scale that led us to the current triumph of technology and rationality.

But what if the figure of the Primitive was the point that has to be reached, the apex and ultimate term of human evolution, and not simply the beginning of such evolution?

Indeed, as Giorgio Agamben (2009) argues in the chapter “What Is the Contemporary?” contained within his book “What is an Apparatus", “The key to the modern is hidden in the immemorial and the prehistoric” (p.51).

Building on this theoretical fiction concerning the Primitive archetype and its relation to the future of our civilization, in my artistic practice I integrated this archetype into an ongoing dialogue with the present and past of our society.

Such theoretical fiction led me to create objects engraved with Logo(s) from the capitalistic tradition (Nike, Balenciaga & Co.) as the medium to bridge past and future (Primitive and Civilized), capable of Speaking (Logos) through its whispers, and whose purpose is to engender further (and faster) change and subversion due to the overlapping of different temporalities on the page of the present.

A fisherman, in his net, finds an object from several eras ago.
Shocked and bewitched, he places the randomly found object in his living room.
How do the unfamiliar aura and symbols engraved on that object retroact in his new daily life: can they bring about a shift?

No Logo(s)

It is now time to explore the role of Logo(s) - a crucial bridge between my theoretical speculation and practical research - starting from their etymological definition and ending with eviscerating the meanings and hidden forces behind such symbols.

The idea of engraving Logo(s) on my objects started this way: during one of my many explorations of the Grottaglie ravines, I once came across a Rupestrian church in a state of evident abandonment and partially collapsed. There, I was immediately struck by the ensemble of symbolic stratifications present in the church: walking among rupestrian crosses and recent graffiti made with spray cans, I was impressed by the contradictory mix found in the church of symbols and inscriptions belonging to different eras.

In this atemporal and synchronic mix of symbols from different eras present in a place formerly devoted to spirituality, I immediately wondered: what did (and what will) primitive societies venerate? Immediately, I thought of our present, in which we silently (and sometimes unconsciously) venerate logos and brands.

*Detail of the rupestrian church located in the Grottaglie ravines*

I imagined, then, this future primitive society facing present-day Logo(s): will they understand the hidden power and hidden message behind these symbols? How will they interface when faced with these symbols? Will they also revere these symbols, or will they be meaningless to them?

But why Logo(s) and not other symbols? The word Logos in Ancient Greek has two meanings, “reason” and “word”. Reinterpreting the etymology of this word to our contemporary times and the use of brand Logos in our society, I chose the Logos as the only symbol in the present capable of speaking and giving voice to feelings silently hidden within us, the only symbol able to expose in my fictional world the chronological juxtaposition of eras and social stratifications.

Logo(s) thus embody these intimate and hidden feelings and questions within us, the ongoing search for otherness and elsewhere. What better place, then, than to place them inside a rupestrian church, hidden under layers of earth, ready to be discovered by future Primitives and become symbols among endless symbols, words among endless words?

Design Fiction is not Design

Following my theoretical speculation concerning the concept of Primitive Future, the Concept-Time, the Primitive archetype, and the role played by Logo(s) as a bridge between theory and practice, what is the optimal methodology to practically act on reality and bring up this forgotten tomorrow, hidden among layers and layers of ruins?

Among the endless possibilities offered by the Design theory sphere, I chose the Design Fiction practice as a starting point to ultimately come up with my own Design method.

Indeed, as part of the Speculative Design discipline and itself a relative of Critical Design, the Design Fiction practice is the method that most closely matches my research and practice as a designer.

DESIGN FICTION SCIENCE FICTION SPECULATIVE DESIGN

Here, I will introduce what Design Fiction is - according to its creators - and which are the pros and cons of this methodology. I will start by giving some historical hints regarding the Design Fiction discipline and then move into its theoretical facets.

The first time the term "Design Fiction" appeared was in 2005: the first person to float this term was the sci-fi writer Bruce Sterling (2005) in his nonfiction book "Shaping Things". Theorized later by Julian Bleecker (2009) in his short essay "Design Fiction", the entire discipline is based on so-called Diegetic Prototypes, speculative prototypes capable of producing effective provocations. By mixing utopian and dystopian aspects, such prototypes create new imaginative frameworks and ideas about living and experiencing our present.

So, here we are facing a totally different Design process from the traditional one: a Design that is not any more obsessed with short-term solutions but a Design that seeks to explore how present ideas, practices, and rituals can manifest themselves in the future, generating critical feedback back into the present. Through Design fiction, we can gain a better understanding of what hidden forces are shaping our present lives: "Design fiction is not design", argue the authors of "The Manual of Design Fiction" (Bleecker et al., 2022, p.50), because Design Fiction is not interested in problem-solving exercises and objects, but in creating problems that do not yet exist to reflect on our present lives.

One of the most interesting - and debated - examples of Design Fiction is the production by the Near Future Laboratory of an Ikea Catalog (Bleecker et al., 2022). In this catalog, a near future IoT world is integrated with the ordinary life represented by traditional Ikea objects (where IoT stands for Internet of Things, referring to the network of connected devices and the technology that facilitates communication between devices and the cloud). A prominent example we can find in the catalog is an Ikea kitchen where a SmartScreen interacts with people cooking, offering them the possibility of buying a knife that suits the way they cook or a journey to the country where the recipe they are cooking comes from.

*Near Future Laboratory Shop, 2015. An Ikea Catalog from the Near Future*

As claimed by the founders of The Near Future Laboratory (Bleecker et al., 2022), "Our Design Fiction Ikea catalog is a way to talk about a near future. It is not a specification, nor is it an aspiration or prediction. The work the catalog does - like all Design Fictions - is to encourage conversations about the kinds of near futures we'd prefer, even if that requires us to represent near futures we fear"(p.32).

In principle, these are the theoretical premises we can find at the core of Design Fiction theory. By approaching this theoretical discipline, I found many insights and assonances with my practical and theoretical research but, at the same time, I found some limits and dissonances for the sake of the temporal fiction I am creating.

The limits represented by Design Fiction for my practice and research lie in the fact that such an approach focuses on creating future frameworks that allow for reasoning about the present, placing itself at the crossroads between long-term and short-term design - "12 months to four years from the present" as is argued in the essay "The Manual of Design Fiction" (Bleecker et al., 2022, p.25) - while often forgetting the powerful and hidden function of the past.

Contrarily, my research methodology seeks the juxtaposition of different chronologies and epochs, placing the coordinates of past, present, and future on the same temporal plane, in an attempt to challenge what Gaston Berger (1964) in his paper "The Prospective Attitude" describes as "Our habit of seeing time as a continuum in which the past and the future correspond to the two possible directions" (p.7). By questioning the linear, diachronic interpretation of time underlying the Design Fiction approach and, at the same time, utilizing the power and critical input of that methodology, I will attempt to overcome that branch and go beyond it through the practical and theoretical use of Archaeological Design, a method I coined by using the intersection of Archaeology, Imagination and Design, that will lead us to a synchronic, multi-temporal view of reality.

Re-Designing the Past:
A Theory for Archaeological Design

While Design Fiction is a mix of Science Fiction and Design, and the practice of creating tangible and evocative prototypes from possible near futures, on the other hand, Archaeological Design is a mix of Archaeology Imagination and Design, and the practice of rediscovering haunting ruins from undetected pasts.

Starting from the etymology of Archeology in Ancient Greek (from arkhaîos, “primal, old, ancient” and lógos, “word, reason”), also Archeological Design connects to the vital function of the Logos, the ancient and primordial Logos intended in Archeological Design to assume a completely new and unexpected role, giving rise to anciently new Logo(s).

Resuming the fundamental stages on which Classical Archaeology is founded, the Archaeological Design methodology is built on 5 steps: Research, Reconnaissance, Full Excavation, Cataloguing, and Analysis/Lab work.

Within such methodology, my role as an Archaeologist/Designer is to bridge pasts and futures through the objects I craft, following the 5 steps of Archaeological Design to discover/create ruins from unexplored pasts that head toward hypothetical futures.

Building on this methodological grounding, my artistic research is based on this axis: the future was violent, but the past will be magnificent. Through traditional and new mediums, the aim of my artistic practice is to reimagine the past by enacting a link with the future, crafting objects that potential pasts will leave as a legacy, and conforming such objects to the expectations and desires that the future invariably brings.

But what kind of objects am I referring to? The objects that I create starting from the Primitive Future fiction are objects dug up from the ruins whose aura tells of a violent and confusing future. Vases and tables whose symbols and shapes recall a past that has yet to come true, but yet already before (and within) us, creating experiences that depict a distorted and incomprehensible future, but never apocalyptic or dystopian.

In fact, the power of these objects is to deny a predestined future, making it the result of the active and desecrating action on the past. Hence, Archeological Design stands as a meticulous and creative politics whose field of action lies in the past, not in a logically predetermined future.

The proper scenario of Archeological Design is thus to be found somewhere in a space-time setting between the ruins of temples and the vanishing of Atlantis rather than in a Holliwodian setting scenery depicting a dystopian future.

Therefore, via the discipline of Archaeological Design, possible primitive futures are being created through the intersection of Archaeology Imagination and Design, denying the current predominant narrative of a gloomy, uncertain future run by robots or cyborgs.

The results of such Archeological Design are objects and scenarios whose violence is not physical or mental but symbolic. In this scenario, Nike and Balenciaga become the only symbols with which the designer and artist of the present can act on the past, the only images that have the necessary force to violate the past and the invisible rules in charge of its preservation and transmission over time, as they are the symbols that are most easily recognized by the globalized citizen of the present, namely the symbols around which today's spectator has already created a set of underlying desires and affections instilled by the capitalist desire machine. Just as in the past the image of a God or deity immediately created that bond of desire and fear with the viewer, nowadays the image that first of all (and most of all) can recreate with the viewer this immediate bond is the image of the Logo(s).

Hyperstitional Objects

By playing with Concept-Time and Archaeology, my practice as a Designer revolves around the creation of Hyperstitional Objects, playing at the intersection between the Archaeologist and the Designer.

But, what exactly are these Hyperstitional Objects, and what is their inherent power/function?

Hyperstitional Objects represent in my practice the junction between theoretical concepts such as Hyperstition, Synchronic time, Logos and Archeological Design, becoming the physical embodiment of fictional and conceptual notions that guide my theoretical research.

Close akin to Diegetic Prototypes (the speculative prototypes invented by Fiction Designers) that are capable of producing effective provocations, Hyperstitional Objects are intrinsically linked to the Hyperstition notion and conceived as time-traveling devices capable of dismantling the past and acting on the present by invoking irrational forces. Starting from the conception of Synchronic time, Hyperstitional Objects embody within themselves different nonlinear timelines, becoming a meeting and collision point between present, past and future eras. Moreover, Logo(s) play a core role in Hyperstional Objects, representing the symbol without meaning, the logo without hidden powers behind it, hence imagining how a primitive future might react when faced with a logo that has lost all the hidden power it has for us.

Monstrous and irrational, the Hyperstitional Objects are the non-functional and semi-destroyed objects that, as an Archaeologist-Designer, I will leave to future primitive societies yet to come to face the challenges of their present and bring them into dialogue with the past.

The most important feature of the Hyperstitional Objects revolves around the concept of functionality: a key concept around which every design object is structured, the functionality in the Hyperstitional Objects is negated/reduced, leaving room for the object itself to explicate and actualize itself in the future reality without being supported by functionality.

What value does a Design object have when it loses its original intrinsic functionality? Starting from this question and working on the concept of functionality, I will bury objects for future communities whose functionality is lost or distorted, creating a future short-circuit triggered by the objects they found under the ground.

My Hyperstitional objects thus attempt to recover “forgotten tomorrows” by invading the primitive mind and reinventing a new future. In this interplay of timelines and spatial forces, I use ceramics as a medium/bridge between different magnetic attraction poles.

Indeed, clay, extracted directly from the ground and easily available resource material from the caves of my hometown, become in my artistic practice the medium through which to dialogue with this hypothetical future. As an easily shapeable material, clay thus represents in my practice the contact point between the present mind and the primitive one.

Always playing on this double layer of Archaeologist and Designer, my works appear unfinished and not fully functional. The missing handle of a broken vase, the broken stem of a table: the time they have spent below ground has left them non-functional and “weak”, not immediately fitting into the productivity system. It will be by adding the missing part with new materials and technologies (such as 3D printing) that my works will actually become functional for a hypothetical future: a practice learned from the archaeologists of the present, who number and file the ruins found in the archaeological excavation and reproduce the missing parts in their Lab work stage, hypothesizing past ruins never found.

Conclusion

What shall I do at the end of this project? What is the ultimate meaning of the fiction I have created, and what is the meaning of this parallel world created to (retro)act on the present? How can the inert objects I have discovered trigger an action, even if minimal, on reality and people beyond being displayed as lifeless and dead objects in a white cube? These dilemmas hanging over my research and practice triggered a memory some years distant, allowing me to understand such memory, rationalize it, and recontextualize it.

So here it is:

At the end of an exhibition I did a few years ago in Berlin in which I put on display the ceramics I had produced throughout the year, I decided to throw these ceramics into the Spree, the Berlin river surrounding the city. After this gesture, at first irrational, I felt liberated from the burden (physical and moral) of these artworks. Somehow, I was intrigued by the idea that, in the future, these ceramics might be discovered by a future civilization at the bottom of the Berlin River.

I envisioned an age when, due to climate change, the Berlin spree would dry up, leaving ruins of the past to emerge. Something like what recently happened in Brazil, when a historic drought in the Brazilian region brought water levels to unprecedented minima, and petroglyphs with human faces carved in stone dating back 2000 years were discovered on the shores of the Amazon.

Recalling this, I realized how deeply this past exhibition inspired my current artistic practice, especially the act of getting rid of the objects I created in the desire/hope that someone might find them again in the future. Thinking back on my artistic practice, I realized how much my past artistic experience has informed my present one, in a synchronic and non-diachronic temporal dimension that strongly reminded me of the fictional temporality I created for my Primitive Future concept, whereby the past invades the future creating endless layers of interpretation and understanding.

Building on this memory that suddenly jumped into my mind of this experience, I decided that at the end of the final exhibition I would bury the displayed objects where I discovered them, namely the caves of my hometown. This way, I let the works speak for themselves in a hypothetical future where they will be discovered and uncovered, putting hypothetical future archaeologists or troubadours in a state of uncertainty and confusion.

This operation may give my works a hidden and eternal value, letting their aura and message act from under the earth, miles away from the present that troubles us.

Spinoff

Starting from the Primitive Future concept, which has significantly shaped my research over the past years, I have co-created a project in Southern Italy whose motto is “What About a Primitive Future?”. Based on concepts of primitivism and primal art, this project (called Hotel de Ville) has found a place in an old commune inhabited by only 4/5 people, and starting this summer, it will become a place where we will host worldwide artists and creators in residency.

I love the idea that the concept of the Primitive Future can become in the real world - and no longer solely theoretical speculation - a concept umbrella that brings together different types of personalities, resulting in a community surrounded by nature.

Bibliography

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Shanks, M. (2012). The Archaeological Imagination. Routledge.

Sterling, B. (2005). Shaping Things. The MIT Press.

Primitive Future

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