‘Networked Worlds’ focuses on worlding as a creative strategy in the early 21st century. As a response to the multiple crises of our time – a crisis of reality, agency and traditional sensemaking structures – worlding is an emergent creative practice of re-imagining and prototyping alternative futures.
Hyper aware of the rules and power structures of dominant narratives and infrastructures, worlding has become a vital strategy for artists and creatives to experiment with alternative futures and render the conditions of the present visible in order to change them. Worlding as such is different from worldbuilding. While the latter has been established by writers, directors, set designers in creating believable imaginary worlds (think Star Wars, Lord of the Rings or the Marvel Universe), worlding signifies the continuous, ever-evolving, collaborative effort of making worlds emerge rather than creating a closed universe by an individual master creator.
Networked Worlds is the third part of Networked Culture, a series of publications that explore the effects of networked technologies on the creative process. The previous two memos of the series are Networked Counterculture (2023) and Networked Reality (2023).
“Worldbuilding is a means to resist complacency and categorization; an affirmation that one can draw new borders (or ends) and declare new logics for life.”
