The Futures we IMAGINE
Denne utstillingen er et resultat av forskningsprosjektet IMAGINE, som utforsker hvordan vi forestiller oss bærekraftige fremtider. Prosjektet belyser hvordan kulturelle fortellinger former våre forestillinger om fremtidige bærekraftige samfunn. IMAGINE gir ny innsikt i nåtidens dominerende narrativer om bærekraft og utvikling og viser hvordan de påvirker måten vi planlegger for fremtiden.
Utstillingen tar besøkende med på en engasjerende reise gjennom ulike fremtidsforestillinger. Den utforsker temaer som teknologioptimisme, spenningen mellom politisk styring og frie markeder, og alternative tilnærminger til forbruk og produksjon. Den viser også hvordan fremtidsforestillinger varierer globalt. Det som i én del av verden oppfattes som en dystopisk fremtid, kan allerede være en realitet et annet sted. Dette belyser de store ulikhetene i hvordan bærekraft forstås og oppleves på tvers av verdensregioner. Ved å presentere mulige utfall av dominerende fremtidsforestillinger søker utstillingen å gjøre dem mer synlige for oss.
Fremtidsforestillingene blir levendegjort av designere og kunstnere fra OsloMet – Storbyuniversitetet og Eindhoven University of Technology. Gjennom design av produkter og tjenester, fortellinger og bilder av tapte fremtider og nyvunne muligheter oppfordrer de oss til å tenke kritisk over hva vi tror og håper på. Er de dominerende fremtidsforestillingene i vår tid forenlige med våre ønsker og drømmer?
This exhibition is a result of the IMAGINE research project, which explores how we envision sustainable futures. The project sheds light on how cultural narratives shape our imaginaries of future sustainable societies. IMAGINE provides new insights into today’s dominant narratives about sustainability and development, showing how they influence the ways we plan for the future.
The exhibition takes visitors on an engaging journey through various imaginaries of the future. It explores themes such as technological optimism, the tension between political governance and free markets, and alternative approaches to consumption and production. It also demonstrates how imaginaries vary globally. What is perceived as a dystopian future in one part of the world may already be a reality in another. This highlights the significant inequalities in how sustainability is understood and experienced across regions. By presenting possible outcomes of dominant imaginaries of the future, the exhibition seeks to make them more visible to us.
Imaginaries of the future are brought to life by designers and artists from OsloMet – Oslo Metropolitan University and Eindhoven University of Technology. Through the design of products and services, stories, and images of lost futures and newfound possibilities, they encourage us to think critically about what we believe in and hope for. Are the dominant imaginaries of the future in our time truly aligned with our wishes and dreams?
The exhibition is the result of a collaborative effort between the Department of Product Design and Consumption Research Norway at Oslo Metropolitan University, in partnership with Eindhoven University of Technology and Æra Strategic Innovation.
Oslo Metropolitan University (OsloMet) is a prominent institution in Norway, committed to applied research and education that directly addresses societal challenges. It offers a wide array of academic programs and research opportunities, with a strong focus on technology, social sciences, and health.
The Department of Product Design (PD) offers bachelor’s and master’s degree programs in product design, supported by research and development activities. These efforts focus on key areas such as design and education, culture, sustainability, and aesthetics. Located at Kjeller, the department is proud to be one of Norway’s leading institutions for design education.
Consumption Research Norway (SIFO) is a key research institute at OsloMet, specializing in the study of consumption practices and their societal and environmental impacts. SIFO explores how consumption is influenced by and influences economic, cultural, and environmental factors. The institute generates insights into sustainable practices, helping shape the understanding of consumption’s role in society and its implications for policy and business decisions. Through its research, SIFO contributes to a deeper understanding of consumption and its connection to broader societal and environmental issues.
Eindhoven University of Technology (TU/e), established in 1956 by a collaboration of industry, local government, and academia, is a forward-thinking institution that combines academic education with both fundamental and applied research. The Department of Industrial Design at TU/e is particularly recognized for its interdisciplinary approach, integrating engineering, business, and social sciences. This unique blend allows the department to lead in projects that focus on the integration of emerging technologies into daily life and their application in societal contexts. This interdisciplinary strength sets the department apart on the global stage, forming a robust foundation for collaboration in international consortia, industrial research projects, and within the university itself.
Æra Strategic Innovation is an independent strategic innovation consultancy that brings together business goals with the needs of people and the planet. Æra believes that organizations that will succeed in the future are those that are able to play a relevant role in solving the biggest societal challenges of our time. This is our starting point for all innovation, brand, and strategy development. Æra works with organizations seeking to build expertise, opportunities, and solutions grounded in this approach.
The exhibition has been curated by Marie Hebrok, with valuable support from Nina Heidenstrøm (SIFO), James Lowley (PD), and the dedicated team at Æra Strategic Innovation.
Marie Hebrok is a Research Professor at Consumption Research Norway (SIFO) at Oslo Metropolitan University (OsloMet). With a PhD in Industrial Design from the Norwegian University of Science and Technology (NTNU), her work bridges design, sustainability, and consumption practices. Marie is passionate about the intersections of design and sustainable consumption, and has been working in areas such as product longevity, food practices, plastics, digital services, and cultural imaginaries of sustainable futures. She applies diverse design methodologies such as speculative critical design, co-design, and systemic design to her research.
Om verkene
- VIDEO FORESTILLINGENE SOM FORMER FREMTIDEN
Hva ser du for deg når du tenker på fremtiden? Flyvende biler, mat i pilleform eller høyteknologiske klær? Vi tenker, drømmer og fantaserer alle om fremtiden. Men våre forestillinger er kanskje mer betydningsfulle enn mange tror. De påvirker nemlig hvordan vi lever livene våre i dag.
Noen fremtidsforestillinger blir så dominerende at de styrer retningen på samfunnsutviklingen, de legitimerer våre valg og handlinger, mens andre fremtidsforestillinger havner i bakgrunn og blir marginaliserte. På samme måte som de forestillingene folk hadde i fortiden har påvirket oss i dag, vil våre dominerende forestillinger påvirke fremtiden. For eksempel gjennom hvilke teknologier som blir utviklet, hvordan kulturen vår forandrer seg, og hvordan politikk utøves. Bare tenk på klimakrisen. Mange ser for seg at ny og innovativ teknologi, vitenskapelig kunnskap og global politikk kan kontrollere og løse problemene vi står overfor.
Men det finnes også mange andre mulige forestillinger om et bærekraftig fremtidssamfunn. Noen ser for seg å leve i små lokalsamfunn med selvdyrket mat, nøysomt forbruk og korte arbeidsdager. Andre ser for seg å leve i høyteknologiske og grønne byer der man dyrker mat på hustakene, har en infrastruktur av selvkjørende biler, og der bygårdene former egne sosiale fellesskap.
Men de mest dominerende forestillingene om et framtidig bærekraftig samfunn, skapes av de som utvikler varer og tjenester, de som utformer politikken vi lever under. Ved å støtte opp under politikk, ved å kjøpe bestemte produkter og tjenester, og ved å bidra inn i de kulturelle fortellingene rundt fremtiden, er vi forbrukere med på å skape og opprettholde forestillinger om fremtiden.
Det er derfor viktig å stille noen spørsmål til oss som lever i dag: Hvorfor er noen fremtidsforestillinger mer dominerende enn andre? Hvilke konsekvenser har eventuelt disse forestillingene for nåtiden? Og hvilke konsekvenser kan de komme til å ha for fremtiden? Og hvem er det egentlig som sitter på makten?
2. AUDIO: FORSVINNINGSPUNKTER – FORTELLINGER OM FREMTIDEN
Arbeidet “Forsvinningspunkter” er tre fortellinger skapt og framført av fortellerkunstneren og førstelektor i muntlig fortellerkunst – Mimesis Heidi Dahlsveen.
Fortellingene er inspirert av framtidsvisjoner samlet inn gjennom prosjektet “Imagine”. I den første fortellingen foregår handlingen 30 år fram i tid. Fortellingen handler om Amona, en kvinne som en gang var et flykningsbarn. Hun er nå en av de regulerte og arbeider i et lite samfunn kalt «Hagen». Beboerne i Hagen har i oppgave å skape jord og plante trær – et møysommelig arbeid, samt å gjøre digitaliserings arbeid for myndighetene.
Den andre fortellingen transporterer lytteren enda lenger fram til år 2151. Her er Elsa, eller Eldre5019 som er hennes offisielle navn, som er hovedperson. Elsa er en Dolly, eller en kloning skapt i et laboratorium. Denne verden bebos av etniske mennesker, kloninger, aiker, samlere og androider. Elsa er en omsorgsaktivist som er med på å bevare en gård med en liten åker.
Den tredje fortellingen tar form av en myte fortalt en gang i den fjerne fremtiden. Myten handler om hvordan den store TeknokratMor skapte verden.
For å komme fram til disse tre fortellingene, leste Dahlsveen gjennom hele forskningsmaterialet som inkluderte innsamlingen av framtidsvisjoner eller framtidsfortellinger. Hun noterte seg ord som gikk igjen, og tanker om hvordan framtiden ville bli. Videre gikk hun igjennom plott tilhørende ulike science fiction filmer. Basert på dette, skapte hun scener som hun så plottet inn i tre fortellinger.
Innspillingen av fortellingene ble gjort i samarbeid med Medieseksjonen på Oslomet.
2. VIDEO/AUDIO: BONE APPETIT
The BONE APPÉTIT project immerses viewers in a speculative, yet hauntingly plausible scenario set in 2050, where the global food system has been dramatically reshaped by the escalating climate crisis. With food production severely diminished, scarcity has become a grim global reality, compelling nations to take drastic action. In this imagined future, Norway has enacted a zero-waste food policy, presenting itself as a model of sustainability. However, the policy’s implications reveal uncomfortable truths about global inequities in food distribution and consumption.
The project confronts viewers with the ethical and moral complexities of this future. As the narrative unfolds, they discover that some of the “sustainable” food products now marketed in Norway originated as exports from nations like Brazil and Haiti—countries that already grapple with severe food insecurity. By drawing attention to this paradox, the video highlights the uneven burden of climate change, where those least responsible for the crisis suffer its harshest consequences.
BONE APPÉTIT amplifies the urgency of these issues by revealing that the dystopian reality depicted for wealthy nations is already the lived experience in many developing countries. While affluent nations may enact policies to protect their own food supplies, vulnerable regions have long faced food scarcity, often as a direct result of exploitative global systems.
The aesthetic and storytelling approach of the video is deliberately provocative. It uses polished, consumer-oriented advertising imagery to create a jarring juxtaposition between the future’s grim reality and the aspirational tone of its promotional materials. This contrast forces viewers to question the narratives of sustainability often used to mask exploitative practices.
Through its speculative lens, BONE APPÉTIT asks profound questions: What does a “sustainable” future truly mean, and for whom? Can policies rooted in zero-waste ideals address systemic injustices, or will they deepen existing divides? By situating these questions within a vivid and unsettling scenario, the project invites reflection on the intersection of climate change, ethics, and global justice, challenging us to envision solutions that prioritize equity alongside survival.
4. POST-UTOPIAS
Post-Utopias is a repository of dreams, hopes, and wishes for possible futures. Collected statements and drawings describe optimistic situations in which ´utopia´ is seen not as unattainable fantasy, but as a fertile ground from which to explore, consider, and ultimately materialise alternatives. As an interactive installation it affords an opportunity for gathering reflections; inviting participants to share and send current imaginaries to a future time and place.
A set of cards covering the three main themes of the exhibition are available on a central, circular table. By using coloured pens in response to the prompt ‘Dear future, I imagine everyday eating/ clothing/ transport…´ you are invited to document your imagination in a way that is perhaps rarely expressed on paper. There are no wrong answers; this is simply about engaging with the many different ways in which the future might unfold in relation or contrast to how we experience the world today. All input is welcome, however visionary, and cards anonymously delivered in the mailbox adjacent to the table will combine to reveal a range of intentions and concerns.
Post-Utopias is part of an ongoing Design Research project within Imagine: Contested Futures of Sustainability. It facilitates a generative space for exhibition guests to not only see, hear, and talk about design, but to think through and with the designed things of the installation. Implicitly or explicitly, the interpreted contents of each card will bear significance for discourses on the implications of design and technology. The notion of Utopia represents a theoretical foundation for questioning the dominant, solution-oriented role of design in everyday life, and supports an approach to thinking-differently in pursuit of sustainable products and practices. Collected contributions will be organised and developed as entry-points to a series of workshops that further imagine and conceptualise a variety of possible futures.
5. SHARED CARS UNRAVELLED
This design fiction project probes the future of shared electric cars, shifting the focus from environmental sustainability—a common talking point—to the pressing issue of social sustainability. While shared mobility is often celebrated for its eco-friendly promise, this speculative narrative challenges us to confront its broader societal implications.
The story draws inspiration from the rollout of shared electric scooters, initially heralded as a sustainable innovation but later revealing unexpected societal disruptions. It explores how a similar trajectory might unfold for shared electric cars, as weak signals already suggest challenges: poorly maintained vehicles, conflicts with other modes of transport, and overlooked equity issues. What happens when these services scale up? What social costs might emerge?
Through a near-dystopian lens, the project imagines a world where shared electric cars, initially embraced as modern and sustainable, spiral into unforeseen complications. By highlighting absurd scenarios in digital newspaper-style visuals—complete with attention-grabbing headlines and captions—it critiques the pitfalls of designing systems that prioritize convenience and marketability over long-term societal harmony.
The choice of medium—a digital newspaper—underscores the role of sensationalism in shaping public perception and decision-making. It mirrors how narratives around new technologies can shift from optimism to disillusionment, sparking necessary reflection on the ripple effects of innovation.
By portraying cars as modern yet slightly ridiculous, the design amplifies the absurdity of their eventual misuse. Associating them with a familiar brand like TIER, known for shared scooters, grounds the speculation in reality, making it relatable and provocative.
The project asks a critical question: How can we create transportation services that balance practicality for users with the needs of nonusers and broader societal interests? As the future of shared mobility approaches, it calls for thoughtful, inclusive design that avoids repeating past mistakes.
6. KEVIN – YOUR AI STORE ASSISTANT
‘Kevin’ is a speculative prototype designed to provoke and mediate discussion on sustainable futures. Produced for the module Technology and Design as part of a Master’s course at Oslo Met, Kevin is an interactive AI character coded with information involving a utopian-dystopian future. He was produced using InWorld AI, an AI engine designed for games and media, integrated with the games engine, Unreal Engine 5.
Based on existing research from the Klimautvalget 2050, to reach the Paris Agreement’s climate goals, changes to the food system involve: drastically switching to production of low-emission food sources, increased use of low-emission technology, and behavioural changes of the average Norwegian diet.
- How would those changes be met by 2050?
- Would Norwegian society willingly and rapidly shift its food culture, or would it need a ‘helping hand’ from the government?
- Would laws forcing consumer-focused sustainable change be thought through, or would there be loopholes that businesses may take advantage of?
These types of questions were involved in the design process of the AI store assistant prototype designed to be set in 2050, in a utopian future where Norway has reached the Paris Agreement climate goals. However, the project aims to focus on what dystopian experiences can come from a utopia when rushed in such a short amount of time.
Kevin has dark patterns, related to the ‘weak signal’ of unregulated emergent technology. It aims to examine how supermarkets and businesses may promote and greenwash products in a socio-technological future when unregulated. Kevin can and will attempt to promote alternative products by name when talking with him, as if those products had paid placements. He will fairly forcefully argue why you shouldn’t purchase red meat, and to live more sustainably. He can actively lie, whilst performing his store assistant duties to the best of his abilities.
What could supermarkets get away with when trying to regulate the consumption of red meat in the future?
7. EDENS HAGE
Oslo has the highest concentration/number of food stores per capita within a 10-minute–travel distance, but what happens when these stores are reduced to just two grocery centers? Built with a greenhouse underneath for protection against an ominous chain of climate change disasters that destroyed and rendered conventional farming useless and nonfunctional, Eden’s Hage boasts a safer and greener path toward how we eat and consume food. Utilizing an AI-generated suggestion, the technology additionally proposes that the utmost “effective” method of food waste reduction is through a membership tier scheme. But at what cost?
Each membership tier is based on income brackets, and the highest membership tier “platinum” provides rare and exotic fruits and vegetables. Not everyone needs pineapples, so we don’t want it to go to waste! But if you have the income, you can get it from Eden’s Hage straight from the greenhouse. Included in this membership are fresh baked goods, fresh meat, seafood, and more. To ensure that this selection is exclusive to platinum paid members, the top floor of the local Eden’s Hage shopping centre is locked and only accessible with a paid member’s QR code or chip.
If your income isn’t so high, there is a “bronze” membership where one still has access to the essential fruits and vegetables. Baked goods, meat, and seafood are still available to this membership tier in frozen form only. Succeeding the bronze membership is the silver and gold membership. Once your income increases to these membership tiers, the previous tier’s goods are still available to you. Gold and platinum members only have access to the higher floors.
This grocery centre is meant to imitate the American healthcare system. As an American-born citizen it was challenging to describe outside of the US how the system was unfair for someone raised in a low-income upbringing. Eden’s Hage is also a reflection of the class division in the nation visible through food deserts and accessible healthcare providers and specific medical treatment. So, this interactive application should afford one to understand how the benefits differ amongst income classes but through the most basic human necessity of all that is universally understood: food.
8. IMAGINING FUTURE EVERYDAYS – ‘WHAT IF?’
When we imagine “the future” we are not acting in isolation: we are doing our imagining in a broad sociological and cultural context which influences what we believe to be possible or desirable. Designers (and design students) are also often in a position to make “their” visions of futures come into being, in conjunction with technological innovation and the power structures of the infrastructures we operate in, but also against a backdrop of a world facing significant crises and transitions, in climate, health, inequality, social justice, and biodiversity loss. How can we negotiate these vast questions responsibly?
Here you can see some glimpses of ideas from students on the Master’s course Researching the Future Everyday, and other courses, at TU Eindhoven in the Netherlands. Researching the Future Everyday combines a speculative and critical design approach, drawing on work in experiential futures, with insights from other disciplines, in the arts, humanities, and social sciences (and in fiction) addressing aspects of how people imagine everyday life in different futures. This enables using design methods to explore alternative, transformative perspectives on futures, with a foundation of knowledge and insights beyond design itself.
We place a particular emphasis on doing research through design—students’ projects must be ‘deployed’ to learn more about the topic through people’s interactions with (or responses to) them, rather than proposals for ‘end products’. So, as you explore the ideas, bear in mind that these are intended as ‘what if?’ provocations, scenarios to probe and explore—and your reactions are part of that exploration.
Learn more about the course and projects at http://rtfe.imaginari.es
9. SUNSETS AND SUNRISES: LOST FUTURES AND EMERGING HOPES
“There is nothing new under the sun, but there are new suns.”
Octavia Butler
What is going away, in our transitions to more sustainable futures? And how does that feel? Sunsets and Sunrises: Lost Futures and Emerging Hopes gives us space to engage with our emotions around imagined futures that are disappearing (and appearing), as part of the phase-out and breakdown of systems, structures and practices.
Both a collaborative art piece and a participatory research probe into imaginaries of futures, Sunsets and Sunrises uses creative materials to prompt participants to share ideas and emotions of imagined futures that we have perhaps had to let go (‘sunsets’), or which we realise are disappearing, both personally and at a larger scale—whether as part of transitions to a more sustainable society or exactly because of the current state of the world. But we also explore (‘sunrises’) what futures might be on their way, already effective (and affective) in our presents, bringing hope for better worlds and ways to live.
Through workshops with participants in the Netherlands and in Norway—whose creations you see exhibited here—we have built on Coops’s work on designing spaces for letting go in sustainability transitions, and Lockton’s work on new metaphors, imaginaries, and speculative design, also taking inspiration from work including Mark Fisher’s writing on nostalgia for lost futures, Candy Chang’s After the End, and Vanessa Machado de Oliveira’s Hospicing Modernity.
Collectively, sharing our lost futures (via our sunsets) creates a collaborative memorial, but also (via our sunrises) a shared witnessing of the emergence of hope for new possibilities.
10. PRECIOUS PLASTIC
The fashion industry today is driven by the constant demand for new garments made from non-renewable resources. These garments are often discarded after brief use, contributing significantly to environmental damage and exacerbating the growing pollution crisis.
This exhibit imagines a future where fast fashion is obsolete, and the production of synthetic (plastic) fabrics is prohibited due to its harmful impact on human health and ecosystems. In this future, a global ban on virgin oil-based materials and chemical dyes has drastically transformed the textiles sector and undyed, natural, fibers predominate production.
Consequently, garments are now far more expensive as the fashion industry has necessarily adopted a minimalist, sustainable approach, focusing on the longevity and reuse of existing garments made from non-toxic materials. This shift reflects a broader societal commitment to “living with less” and a greater respect for nature. People engage in nature-centred practices, like beach clean-ups, to reconnect with the environment and reduce their impact on the planet.
As holistic approaches to fashion have evolved and plastic materials have become scarce, a new view of plastic waste also emerges. Once a problem, plastic waste is now a rare and precious resource to be scavenged and excavated from natural environments.
In this future, the fusion of fashion and environmental connection creates a new narrative where plastic waste is no longer a symbol of excess and destruction, but a material of special significance, symbolizing creative reuse and environmental restoration. Collected plastics are transformed into exquisite embellishments, adding colour and texture to otherwise plain fabrics, enhancing the beauty of these materials for a world that treasures what was once discarded.
This reimagined fashion future reflects a shift in how we approach materials and clothing, telling a story of resourcefulness, creativity and the rejection of the consumption-driven culture that once defined the industry. Fashion is now more connected to nature, where past mistakes are reimagined as symbols of cultural and ecological redemption.
The garment on display is adorned with plastic “gems” created from waste plastic collected along the coastline of Ålesund, Norway. The plastic has been cut, melted, formed and painted to create “jewels” that sparkle and shine like precious stones. Hand-sewn in abundance across almost the entire garment, this is a high-status dress of the future, not only because of the skill and time used in making it, but for the amount (and expense) of plastic waste used.
11. AHOZALEAN RICESKIN – EXPLORING SUSTAINABLE FASHION THROUGH EDIBLE CLOTHING
Ahozalean Riceskin envisions a transformative future where the fashion industry confronts the climate crisis head-on. Set in 2031, it imagines a bold global response: the United Nations elevates the 17 Sustainable Development Goals into binding laws, including a radical ban on the production of new clothing. This move, driven by the urgency of environmental collapse, forces the fashion industry to reimagine itself entirely, shifting from wasteful production models to innovative, zero-waste solutions.
In this reimagined world, Ahozalean introduces Riceskin, an edible clothing line crafted from rice paper and seaweed. This speculative collection merges sustainability and sensory experience, challenging not only how we produce and consume clothing but also the boundaries of aesthetics and functionality. By rethinking garments as consumable objects, the project provokes a re-examination of our relationship with fashion, materials, and waste.
At its core, the project interrogates the cultural and industrial assumptions underpinning fashion. It explores how degrowth principles—advocating for reduced consumption and creative reuse—might manifest in a world that values planetary well-being over economic growth. The concept of edible clothing becomes a radical symbol of this shift, offering both an unsettling and imaginative vision of how sustainability could reshape production practices and challenge traditional notions of beauty and utility.
Ahozalean’s Riceskin is deliberately provocative, inviting visceral reactions ranging from curiosity to discomfort. The website and accompanying materials mimic the familiar structure of consumer culture while presenting an unfamiliar, unsettling product. This intentional tension is created to foster critical reflection: What does it mean to consume our clothes? How do we value the materials we wear when they can also sustain us?
Rather than dictating a specific perspective, the project invites open-ended interpretation, using speculative design to spark dialogue about the future of fashion. It challenges viewers to confront deeper questions about sustainability, the processing of everyday items, and the blurred boundaries between what we wear, what we waste, and what we eat. In doing so, it reimagines fashion not just as an industry, but as a site for profound cultural transformation.
12. THE ECOLOGY OF IMAGINARIES
This glossary was developed as a companion to the report Imagining Future(s): Mining Literacies of Sustainable Consumption, compiled by Virginie Amilien, Mimesis Heidi Dahlsveen, Rick Dolphijn, Tamalone van den Eijnden, Justyna Jakubiec and Lisbeth Løvbak Berg. It is a repository of the concepts we were working with during our research when exploring the process of thinking about a sustainable future.
The glossary opens a place for dialogue by engaging with different concepts and creating new ones. Inspired by Paul Ricoeur’s writings on the notions of imagination and imaginary, it points to the importance of conceptualizing when we involve ourselves in contemplating what it means to imagine. In this sense, in our work, we were reminding ourselves that imagination should not be seen as only present in the human mind, as if isolated from the world. Instead, it is scattered, ecological, productive and creative.
The process of imagining is a “negotiation with our thoughts, written and spoken words, social relations, habits, practices, other human and more-than-human entities and material assemblages we are part of and dwell in” (Imagining Future(s) 2024, 7). Imagining happens not in isolation but in relation to the surrounding world. In this sense, imagination is ecological; it is an ecological enterprise.