What we are attempting is not the fashioning of another utopia—the scenarios we generate are multiple, overlapping, partial, and also at times contradictory. They aim at the very act of imagining rather than achieving consensus about what is to be done. It is nevertheless a challenge.
The demand for “realism” (the term hovering somewhere between its social use and its use in drama) masks our embeddedness in neoliberal myths, which take, as a given, that the only possible economic structure is that of the “free” market and that self-interest is the main driving force behind all human behavior. Much has been written about this theoretically, but this project has forced us to recognize how we are living it, to notice our own internal barriers to believing a more collaborative, less self-interested social structure is possible. Still, despite now understanding the economic myths we are caught up in and their impact on our everyday decisions, we as a group of artists have had to train ourselves not to find it so implausible that global structural change could ever actually occur. The project, however, invites us to imagine otherwise, to immerse ourselves in the potentialities of such change.
We, in high-carbon culture, are fossil-fuelled and environmentally damaging regardless of our motivation or capacity for change.
We have even come up with a term for our current situation, “high-carbon culture,” which explains the contradictions we currently live in—that we, in high-carbon culture, are fossil-fuelled and environmentally damaging regardless of our motivation or capacity for change.
It is also, however, a myth that change cannot occur quickly or decisively, as the Rapid Transition Alliance demonstrates: humans are adept at large-scale, rapid, lasting, transformational change. By imagining our way beyond such “implausibility,” we’ve started to take a deep pleasure in willfully and doggedly ignoring those despairing whispers, enjoying instead our forays into a culture of repair, recuperation, and mutual value.
The act of storytelling embedded in alternative scenarios takes on a political dimension. Unlike traditional conceptions of political art, it does not directly argue for revolution—there is already so much brilliant and necessary directly activist work being done on this front globally. Rather, it creates a space for imagining what might be gained once transformative change does become possible. In this sense it doesn’t matter too much what particular detail of this alternative culture we exercise our storytelling muscles on. It just matters that we keep doing it, that we keep on fleshing out other realities in defiance of the current obvious systemic barriers.
I am excited by the discovery that the more I stay in this space, the more I start to see this other reality emerging all over the place. The very act of imagining transforms my perception of possibility, suggesting that, as Monbiot implies, reality really might be shaped by the stories that hold the most sway in our imaginations.