Design in general, including participatory design, has been and is still closely entangled with an idea of progress molded by modernism, technological development, rationality and economic growth. Today, when trying to shift towards other motivations and meanings in designing, we as designers find ourselves being haunted by this legacy. In this workshop we invite participants to make present and carefully untie designs' entanglements with progress and to craft concrete imaginaries of a more socio-ecological just design after progress. Through this workshop we hope to start building a community around present-ing design histories and making a repertoire of narratives of how to be better haunted in participatory design. The workshop will take the form of a séance that is based on stories and images from the participants' ongoing work that speaks to where they have sensed a haunting by the ghosts of progress embedded in design. This could for example be in a design method that you are using, a learning objective in your design curricula, an evaluation criterion, a design outcome that you have been involved with as a professional design practitioner, design educator or design researcher. It is imperative that the participants are in agreement with the workshop organisers that the séance is in itself an experimental attempt to explore a non-linear way of searching for the barely present or not easily discernible ideals or mechanisms of progress in participatory design. It is not to be confused with calling for supernatural spirits or deceased kins.

In response to a modernist optimistic path that has typically colonised narratives of addressing climate change, this paper ex- plores and proposes a prototypical pedagogy that aims to unlearn privileges and restore a sense of commitment and involvement in the unfolding future among the public. In our articulations of this prototypical pedagogy, we trace and reappropriate pedagogies of collective learning within participatory design in combination with contemporary discourses around the affective dimensions of climate change. The prototypical pedagogy is explored through a design- erly study circle in future orienteering that was designed to situate the transition to post-carbon futures within specific locations, en- vironments, and lived experiences. To support reorientations and explorations of alternatives to the familiar modernist path, a guid- ing principle was to foreground objects, values, and imaginaries that are often overlooked in current accounts of climate change and to activate grief and hope as both practical and conceptual orienteering devices.

In the project Grief and Hope in Transition, our approach to transition has been one of reorientation, a departure from the belief in new technologies as the solution to all kinds of problems, an attempt at deviation from modernity’s familiar territories and road maps. Together with people living in different rural areas in Sweden’s southern most landscape Scania, we formed a study group in future orienteering.

This book is an outcome of the collaborative work done to explore how to transition into becoming fossil-free and how to let go of optimism that places agency elsewhere (such as in others' roadmaps and tech-fixes). It describes how we through designerly ways have addressed the challenge of how to restore a sense of attachments and commitment to the unfolding of the future.

How to imagine other kinds of world-making when there is a loss of species; livelihoods are threatened, and lives are on the line? Stoddard et al. (2021) note that there is a lack of social imaginaries. Critical, creative practices act in a tradition of responding to complex questions by turning them into embodied inquiries and opportunities to imagine how things could be otherwise (Mareis and Paim 2021; DiSalvo 2022). The project Un/Making Pollination is a designerly response to the twofolded lack of pollinators and imagination. It is an exploration on how to approach more liveable feminist futures by relationship building across species, with a focus on plant-pollinator-human relationships. The authors give a critical account of choices in the creation of a series of posters and hand pollination tools as feminist methods of opening ecosocial imaginaries. These feminist ways of knowing and worlding are also methods of inquiring, making, giving form, using senses, connecting temporalities, spaces and bodies, getting attracted, lured in and touched by the making and unmaking of biodiversity. We articulate and perform references of feminist methods for combining knowledge production with everyday life that can contribute to imagining otherworlds.

This article proposes un/making as a designerly response to urgent environmental issues. By focusing on the simultaneous constructive and destructive aspects of design, this effort attempts to challenge design's dominant focus on making new things. The implications and potentialities of un/making are explored through a designerly inquiry into ongoing and emerging attempts to ban the plastic straw. Based on this inquiry, the article proposes an approach to un/making that is driven by speculative, what if questions, informed by the history of the plastic straw: from coming into being to becoming preferable and now emerging as a matter of concern. Through a series of speculative design artifacts, the authors articulate matters at stake in the un/making of the plastic straw. They also show how these matters are a stake in the un/making of disposability as part of a preferable future. Rather than proposing one preferable future, the article highlights the frictions that emerge in un/making.

A designer is somebody who points, who designates, and gives directions. Design thereby has a direction into the future. What directions are designers pointing out if design is coupled with posthumanism? Posthumanism has come into being in a landscape of both ideas and design. That which has previously been designed and produced is coming back and it can help us point out harmful inequalities if we sharpen our observational tools and concepts.

“An Emerging Posthumanist Design Landscape” is an overflowing designated area for examples and thinking on compositions of design and critical posthumanism. It is a landscape in the making, yet scarred by previous design cultures and histories. As design researchers operating out of Scandinavian academia, we invite readers/travelers to meander through an emerging hybrid landscape and to make a few selected stops at the sites of our own recent design interventions. We articulate concepts, frictions, and opportunities sprouted in a sprawling and increasingly populated landscape of design and posthumanism. Posthumanist thinking questions and recharges fundamental design concepts and methods/approaches, e.g.: Who are the actors of posthumanist design? Where does it take place? What do we design? What materials do we use? How do we work? When does design take place? Why are compositions of design and critical posthumanism important undertakings? The responses to these questions sketch trajectories for further travels and the co-creation of an emerging posthumanist design landscape.

What makes the design of futures sufficiently transformative? Worldwide, people are aware of the need to change and keep changing to address eco-social challenges and their fall-out in an age of crises and transitions in climate, biodiversity, and health. Calls for climate justice and the development of eco-social sensibilities speak to the need for dynamic and provisional engagements. Such concerns raise age-old issues of inequality and colonialist destruction. Our designs carry the imprint of this current politics, wittingly or unwittingly, into worlds to come. This conversa- tion asked how might we respond fluidly to coming uncertainties, questioning our own practices to sow the seeds of more radical transformation, while recognizing the structural forces that can limit or temper opportunities for design activism. It was or- ganized in three quadrant exercises, which we also reflect upon.

The Swedish government has decided that Sweden will become carbon neutral by 2045. What are the implications for us as citizens in such a transition? What formats allow us to favour careful transformation over progress through radical innovation? In this paper, we attempt to understand grief and hope in the context of this transition. We describe a designerly format of re-production and translation aimed at collectively working through potential future changes, uncertainties and loss. Influenced by plaster moulding techniques used at a closed-down pottery, we invite participants to reproduce and translate original animal and plant motifs into present circumstances. These practical hands-on engagements allow us to notice and articulate change in relation to the past and orient ourselves towards uncertain futures. Hope can be found in the ruins of industries, in locally produced alternative energies and in small-scale attempts to undo biodiversity loss.