utilizing design methods to respond
to climate crisis-evoked affects
by Giulia de Oliveira Borba

Mente Ambiente:
dialogues within, dialogues with us

Mente Ambiente: dialogues within, dialogues with us
utilizing design methods to respond to
climate crisis-evoked affects

by Giulia de Oliveira Borba
BA, Loyola University Chicago, 2021

Supervisor: Dr. Sophie Gaur

A critical and process documentation thesis paper submitted
in partial fulfillment of the requirements for the degree of
MASTER OF DESIGN

EMILY CARR UNIVERSITY OF ART + DESIGN
2023

©Giulia Borba, 2023

“Only once we understand can we care, only if we
care can we act, only if we act shall all be saved.”
(Jane Goodall, 2022)

“Temos de parar de vender o amanhã [...] o futuro
é aqui e agora, pode não haver o ano que vem.”
"We need to stop selling tomorrow [...] the future
is here and now, there may not be a next year."
(Ailton Krenak, 2020)

I wish I could capture the winds’ grace,
caring for our souls through its embrace
Leading my path
Taking away any kind of wrath
How can I even a difference make
If I don’t know how much I can take
How can I deal with this sorrow,
I don’t know what will be tomorrow
Now I remember,
since I was young
we have been together
we’ll continue on, until all the birds have sung
I give myself actions,
Go back to memories
I discover my passions,
Move forward centuries.
I see the world,
a growing force,
I see the world,
Mine and yours

Abstract
This research addresses the affects experienced
by most people in response to the current climate
crisis. Research in the fields of psychology and
human behaviour have termed the negative-value
emotion “climate-anxiety.” My research inquires
into both the positive and negative-value affects
of this experience. To explore the nuances of this
condition, the research is grounded in a
practice-based methodology, using methods
of speculative and participatory design. The
personal explorations of narrative and futurebuilding scenarios that express this condition
are evidenced mainly through printmaking,
embroidery, and writing.
The learnings from these activities validate
responses to climate destruction and validate
the use of a creative practice to transition
from value-negative to value-positive affects,
allowing the self to reconcile with, and mediate
these emotional responses.
This research reveals a better understanding
of the components of this condition and offers
ways to moderate its experience in everyday
life. It culminates in the rationalization of a
model, Mente Ambiente, to better understand and
navigate this condition. This is evidenced through
a final project that engages with the model to
guide a creative practice and reveal points of
entry for others to explore the elements of their
own condition.

i

figure 1: Relief modular prints representing care, and relationality

Keywords
Climate crisis
Climate-crisis evoked emotions
Emotional Responses
Artifacting relations (creation of artifacts
to expand and explain relations)
Relationality
Futuring
Creative practice
Natural Environment
Notions of care
More-than-human beings

iii

Thank you, truly

figure 2: Relief print representing relationality

Acknowledgements
As you will see, reader, while reading my thesis,
we are constantly in relationship to others. I
could not go forward without recognizing here
the amazing people that have supported me along
this journey.
Thank you to my sister, Clara de Oliveira Borba,
who has always been my number one supporter.
But most importantly, thank you for inspiring me
constantly, especially to pursue work that matters
to the world, and to focus on this topic.
To my parents, Ana Claudia Tonelli de Oliveira
and Gustavo Severo de Borba, both of whom I
could not have been here without and who are
always there when I need, thank you both for
everything you have done for me.
I am incredibly grateful for my amazing
supervisor, Dr. Sophie Gaur. Without her support
my practice and research would not have gotten
to where they did. Thank you for your teachings,
your support, and your poetic quotes.
Thank you to Dr. Louise St. Pierre, my internal
reviewer, who always encouraged my making
practice and continuously shared key insights
and opportunities.
To my external reviewer, Dr. Lisa Grocott,
thank you for your great feedback, questions
and encouragement.

v

Thank you to my cohort for being an incredible
support system and making Vancouver
more welcoming.
To Leea and Aamir, thank you for your constant
support and motivation, for helping me stay on
the path but also helping me expand it.
Thank you to all my faculty at ECU for always
bringing new ideas for discussion and dedicating
themselves to helping our research.
And lastly, thank you to the staff at ECU for
creating an environment for the pursuit of
diverse research and projects.
Thank you, truly, to all of you!

vi

I am thankful for
being in these lands

figure 3: Relief print of Lake Michigan in Illinois

Land acknowledgement
This research has been conducted on the stolen
and unceded traditional territories of the Coast
Salish people, the xʷməθkʷəy̓əm (Musqueam),
Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (TsleilWaututh) Nations.
I would also like to acknowledge the unceded
territory of the Tekohá (Guarani)—where I have
spent most of my life—and where, in addition
to the territories of Peoria, Bodwéwadmi
(Potawatomi), Myaamia, Hoocąk (Ho-Chunk),
and Kiikaapoi (Kickapoo), many of the memories
1

https://native-land.ca/

explored through my projects took place.1
I am thankful for being in these lands and
for being able to conduct my practice and
research here.
I would also like to acknowledge the land itself.
With a project that deals with the climate crisis
I would be remiss if I did not acknowledge and
thank the natural more-than-human world
for all it has given me and all that it is going
through. By reading this thesis you will see that I
am still working on my connection to the natural

2

Natural world/environment:
Made up of nature, that
which is not human-made.

world2 and this acknowledgement is one of the
steps toward this connection. I have, however,
grown in my relationship with it and would
like to acknowledge the importance of all beings
that have been part of this project and that allow
for our lives to continue. From the trees and
the air we breathe to the waters that calm me.

viii

This is also an opportunity for you, the reader,
to acknowledge the world around you, to recall
memories of happiness with the natural world, to
enter into the reading of this thesis remembering
that although the climate is in crisis, we can look
to the natural world and our relationships not
as a resource but as a space of care, partnership,
and growth.

ix

Table of contents
Abstract

i

Keywords

iii

Acknowledgements

v

Land acknowledgement

viii

Table of contents

x

List of figures

xi

A note on languages

1

A note on terminology

2

1. Understanding why this is important to me

4

2. Introduction

7

3. Context and framing

11

3.1. Theoretical framework

12

3.2. Rationale

14

3.3. Intentions & goals of research

15

3.4. Unpacking and explaining the area of investigation

16

4. Pillars of hindrance

23

5. Practice

27

5.1. Self to Universal approach

27

5.2. Preparation of the self

28

5.3. What the practice looks like

29

5.4. Modelling a response to the practice: Mente Ambiente

36

5.5. Explicating Mente Ambiente through the work done

42

5.5.1. Eco-lacking ~ Hope

42

5.5.2. Disconnection ~ Connection

53

5.5.3. Powerlessness ~ Agency

64

5.6. Final Project

70

5.6.1. The toolkit

70

5.6.2. The return to the self

79

6. Conclusion

87

7. Future research direction

92

8. Reflection

95

9. References

97

10. Appendices

101

x

List of figures
figure 1: Relief modular prints representing care, and relationality

ii

figure 2: Relief print representing relationality

iv

figure 3: Relief print of Lake Michigan in Illinois

vii

figure 4: Photo slide with plastic bag sketch over flower drawings photograph

3

figure 5: Relief print based on Vancouver's air quality (Sept. 10–11, 2022)
and the Amazon's fate at play during Brazilian elections (Oct. 2022)

6

figure 6: Relief print representing care

10

figure 7: Contextual localization of research

11

figure 8: Relief print representing obstacles of interaction with Vancouver’s waterscape

22

figure 9: Pillars of hindrance explored

23

figure 10: Relief modular print representing care and relationality

26

figure 11: Preparation of the self journey

28

figure 12: Postcards with overlayed sketches (Seeing Through Time project)

32

figure 13: Postcards with overlayed sketches (Seeing Through Time project)

32

figure 14: Embroidery close up (Self-Axiology project)

33

figure 15: Embroidery close up (Self-Axiology project)

33

figure 16: Prints and prompts for Open Studio event

34

figure 17: Stamps and prompts for Open Studio event

34

figure 18: Pressed clay with ink for printing of flowers

35

figure 19: Clay carving with ink for relief printing of tree trunk

35

figure 20: Affects based on projects part 1

37

figure 21: Affects based on projects part 2

37

figure 22: Affects list

37

figure 23: Affects word cloud

37

figure 24: Affect selection

37

figure 25: Affects selection held as opposites

37

figure 26: Mente Ambiente

39

figure 27: Collective-focused projects referred to in the Explicating
Mente Ambiente through the projects done section

40

figure 28: Self-focused projects referred to in the Explicating
Mente Ambiente through the projects done section

41

figure 29: Projects used in explicating the Eco-lacking ~ Hope spectrum

42

figure 30: Air purifier in the shape of a tree (CD)

44

figure 31: Jacket for keeping the extreme heat out (CD)

44

xi

figure 32: Work Screen (CD)

44

figure 33: Flyer advertisements of rental system of emergency shelters and kits (CD)

44

figure 34: Organic compound chemical composition to represent meals (CD)

44

figure 35: Ipad with manual for communication device inserted on the arm (CD)

44

figure 36: Books representing subjects of interest and values of the time (U)

45

figure 37: Sketches and prototype of lightning energy gatherer and water filter (U)

45

figure 38: Tomato plant representing indoor garden (U)

45

figure 39: Posters for community events and community services offered (U)

45

figure 40: Sketch of flying transportation (U)

45

figure 41: Plants representing stronger presence of nature (U)

45

figure 42: Watch sketch on fruits and watch photos

47

figure 43: Future cities sketch on cityscape photo

47

figure 44: Fashion evolution on landscape photo

47

figure 45: Waterwheel sketch on river photo

47

figure 46: Old ship sketch on ship photo

47

figure 47: Building structure sketch on hotel side photo

47

figure 48: 14 Bis sketch on airplane photo

47

figure 49: Oil platform sketch on sea photo

47

figure 50: Rocket sketch on airplane photo

47

figure 51: Expansion of water sketch on aquarium pool photo

47

figure 52: Cage sketch on animal photo

47

figure 53: Cruise ship sketch on sea photo

47

figure 54: Presentation of Seeing Through Time project with slide projector
(Image by Leea Contractor)

48

figure 55: Workshop creation by participants

50

figure 56: Close up of workshop creation by participants

50

figure 57: Close up of workshop creation by participants

50

figure 58: Workshop creation by participants

51

figure 59: Close up of workshop creation by participants

51

figure 60: Close up of workshop creation by participants

51

figure 61: Workshop creation by participants

52

figure 62: Workshop creation by participants

52

figure 63: Projects used in explicating the Disconnection ~ Connection spectrum

53

figure 64: Items collected for Pieces of Walking project

55

figure 65: Imprint for Pieces of Walking project

56

xii

figure 66: Imprint for Pieces of Walking project

56

figure 67: Imprint for Pieces of Walking project

57

figure 68: Creation by participant

58

figure 69: My creation

59

figure 70: My creation after time had passed

59

figure 71: Creation by participant

60

figure 72: Embroideries of percentage of green spaces (Connecting project)

61

figure 73: Embroideries (Connecting project)

62

figure 74: Projects used in explicating the Powerlessness ~ Agency spectrum

64

figure 75: Embroidery value map (Self-Axiology project)

66

figure 76: Slides with overlayed sketches (Seeing Through Time Project)

67

figure 77: Postcard with overlayed sketches (Seeing Through Time project)

68

figure 78: Persona and user journey for analog and individual use of toolkit

71

figure 79: Persona and user journey for digital and individual use of toolkit

72

figure 80: Persona and user journey for collective use of toolkit

73

figure 81: The toolkit and its components

74

figure 82: Dice explanation

75

figure 83: Online toolkit webpage

76

figure 84: Online toolkit webpage

77

figure 85: Online toolkit webpage

78

figure 86: Embroidery of interaction with tress (past-focused)

80

figure 87: Embroidery of Lake Michigan (past-focused)

81

figure 88: Embroidery of Lynn Canyon Creek (present-focused)

82

figure 89: Embroidery of West Lafayette Celery Bog (present-focused)

83

figure 90: Embroidery of winter (future-focused)

84

figure 91: Embroidery of picnic landscape (future-focused)

85

figure 92: Relief print representing hope

86

figure 93: Relief print representing care

91

figure 94: Relief clay print of gypsophila impression

94

figure A1: Ethics board approval document

101

figure A2: Ethics board closure email

102

figure A3: Reflection on connection of selves

104

figure A4: Enter into dialogue with the future

104

figure A5: Reflection on connection of selves

105

figure A6: Enter into dialogue with the past

106

xiii

figure A7: Reflection on connection of selves

106

figure A8: Reflection on overall workshop

106

figure A9: Graph of change in connection rate by participant

107

figure A10: Graph of connection rates by participant

107

figure A11: Table of comparison of connection rates

107

figure B1: Ethics board approval document

110

figure B2: Ethics board closure email

111

figure B3: Blue mussels made of clay

113

figure B4: False Creek's shoreline made of biomaterial

113

figure B5: Blueberries representing flora

113

figure B6: Industry made of clay

113

figure B7: House representing the residential area

113

figure B8: Rails toy representing the Pacific Railway Company

113

figure C1: Ethics board approval document

114

figure C2: Ethics board closure email

115

figure C3: Flowers and river stones; materials for making.

117

figure C4: Table set up for making session.

117

figure C5: How Connected do you feel to the natural environment graph

118

figure C6: How worried are you about climate change graph

118

figure D1: Clay

119

figure D2: Rolled slab of clay

119

figure D3: Carved clay

120

figure D4: Soy milk preparation

120

figure D5: Soaking fabric

120

figure D6: Drying fabric

120

figure D7: Ink with earth pigment from Maiwa

121

figure D8: Printing process

121

figure D9: Printed fabric

121

figure D10: Drying prints

121

figure E1: Ethics board approval document

122

xiv

A note on languages: This research was
conducted both in Portuguese and in English.
In an attempt to show the nuances of its bilingual
nature, this document includes quotes in the
languages they were read in. Recognizing that
English is the primary language of this university,
Brazilian citations are accompanied by their
translations. These interpretations were done
by me.

1

A note on terminology: In this thesis document,
the two terms used to reference the work done
are practice and research.
My practice can be seen as two interlaced
streams, the making practice—my tactile
experiments (mainly printmaking, embroidery)—
and the conversational practice—the participatory
workshops and conversations. When I mention
the practice in the text, I refer to both streams.
I also use the terms my research and this research.
By these terms I mean the conjunction of literary
research, the practice, and the subsequent
reflection and meaning-making.

2

there came times when I
felt disempowered, when I
believed any actions would
be in vain, and when I
questioned myself

figure 4: Photo slide with plastic bag sketch over flower drawings photograph

Understanding why
this is important to me
Despite continuously learning about the climate,
I have not always recognized its significant role
in my life. Then came the pandemic, environmental attacks by the government in my country,
and a move to a country—and university—
where topics of sustainability and the more3

More-than-human: refers
to nature that inhabits
the world with us, David
Abram defines it saying,
“The nature which holds
us, also exceeds us”
(2021).

than-human3 are constantly in conversation.
Consequently, I paid increasing attention to the
climate crisis and became more concerned about
it. I refer to the climate crisis as the contemporary state of the environment, with climate
disasters becoming more common and extreme,
species going extinct, extreme temperatures,
but also to the way we as humans exploit the
environment and allow our interference to
destroy ecosystems. Simply put, I refer to it as
the current habitat capacity (for humans and
more-than-humans) of the planet
being destroyed.
Despite knowing the importance of the subject,
there came times when I felt disempowered,
when I believed any actions would be in vain,
and when I questioned myself. So, I continuously
came back to why questions, why do I care? Why
should anyone? Why am I pursuing this research?
These questions became part of my practice and
research—in addition to questions such as how do
we care? And how do we respond? To answer them, I
took on a creative practice—guided by memory,

4

care, and the nurturing of futures. This approach
allowed me to explore responses one can have
regarding the climate crisis, and the different
relationships one can build with the natural
world, allowing for reflection on one’s own
values and behaviours.
I situated my practice on the bridge between not
changing and changing behaviours. I wanted to
find a sense of responsibility, to help us understand the importance of it, to help us understand
and want to change, and to get us ready to
change and act.
Although I consistently seek to answer the why
questions, one thing is clear: We exist with
others, and there exists a sense of responsibility
to and care for ourselves, each other, and the
world. And, even if I occasionally feel disem­
powered, this responsibility of care cannot
be ignored.
This research is not the solution to problems
of the environmental crisis, but it is a way
to understand how we respond to it. It is my
attempt to find care and a sense of responsibility
in ourselves; to allow us to accept and move
forward. It is a way to place the self as important
in making, reflecting, and action-taking. This
practice acknowledges that we can create futures
and reminds us that we are not living isolated
but have connections and relationships to
other beings.

5

It is key to understand our
responses and role in the
climate crisis, and why we
act or cannot act.

figure 5: Relief print based on Vancouver's air quality (Sept. 10–11, 2022) and the Amazon's fate at play during Brazilian elections (Oct. 2022)

Introduction
Mente Ambiente: dialogues within, dialogues with us
inquiries into various responses to the current
climate crisis. Through a phenomenological
approach, which considers the condition and
the meanings made through the experience of a
phenomenon, understanding the world as it is
felt (Abram, 1996), this research uses the practice
of design and making as a source of learning.
This practice-based methodology is used to better
understand our relations to the natural world
and to the climate crisis.
We are currently in the process of defuturing
(Fry, 2020). Through our actions of today, we are
taking away from possible futures. The path we
are following as part of the “industrial Modern
paradigm” (Fletcher, et. al, 2019) leads to a
continua­tion of the climate crisis; however, there
have been some shifts in values and perspectives
that challenge this said path. This research
attempts to embrace and create those shifts.
With that in mind and because an “ecological
civilization is not something to be arrived at, but
something ever to be created” (Escobar, 2018), it
is key to understand our responses and role in
the climate crisis, and why we act or cannot act.
To expand this understanding, this research has
as its core, a making practice, flowing between
individual auto-ethnographic exploration,

7

learning and interacting with participants,
and going back into the critical self. Through
a range of projects, I explore the diverse ways
one responds to the climate crisis, especially as
visual designers. My research has progressed
from trying to understand what prevents us from
making ecologically aware decisions, exploring
these hindrances, synthesizing a visual language
to communicate the emotions behind this
planetary destruction, to making sense of parts
of this condition.
I propose that these explorations through the
self, although seemingly individual, tackle a
global issue and, oftentimes, deal with universal
concepts and emotions that surround the climate
crisis. This practice allows us to establish the
validity of projects that are not necessarily
commercial, but that allow one to reconcile with
their context and shift their perspectives while
embracing the subjectivity of emotion.
It is important to note that this practice grounds
4

We are constantly in
connection and relating
to others, relationality
refers to the idea of holding
these relationships and
recognizing they have effects
on our lives.

itself in the concept of relationality,4 notions of
care, and narratives. Although, as mentioned,
the work often focuses on the self, it is about the
self in relation to the climate crisis and to other
beings. This practice meditates on care to expand
the relationships we have to each other and other
beings. To stop destroying the future and start
creating it, we need to recognize our relations,
expanding our notions of who we interact with
to include the more-than-human (hereafter
referred to as MtH) world. Additionally, care
needs to be added to those relations; care is
essential for life to continue (Puig de la Bellacasa,

8

5

6

7

“Concomitant to the
continuation of life for
many living beings.”
(de la Bellacasa, 2017
Pluriversal: considers,
supports, creates, and
dignifies a plurality
of ontologies.

2017),5 and care is crucial to the creation of
pluriversal6 futures (Escobar, 2018). Lastly, this
practice utilizes narratives to provoke discourse
on everyday life hindrances to futuring7 as well
as to create points of connection and instigate the
imagination of different possibilities.

Futuring: creation of
futures through actions
in the present.

9

Remembering that we are
constantly connected to
others and that caring needs
to be revealed in our lives
to strengthen our relations
and actions

figure 6: Relief print representing care

Context and framing
This thesis references personal and collective
responses to the climate crisis. As a starting
point, I consider aspects of the everyday world
that may prevent actions for creating futures. I
expand this research by exploring emotions that
arise from living amid an environmental crisis.
Situated within the intersection of environmental
and philosophical contexts (figure 7), this
research inquires into the meanings we make
and relations we encounter as we live during
this crisis.

figure 7: Contextual localization of research

11

Theoretical framework
As its foundation, this research utilizes theories
of knowledge creation (Nonaka, 1994), futuring,
pluriversality, and caring. The externalization of
tacit knowledge to understand the lived experi8

I used a making practice to
communicate feelings and
explore those we cannot
communicate. Externalizing
tacit knowings makes more
explicit the relationships
that we already hold tacitly
but that we don’t necessarily
express or think about.
Some of my projects that
have aided in this are a
series of sketches made
thinking about the climate
crisis—despite feeling
overwhelmed, I would often
try to express connection,
bringing my attention more
to relationality. Another
example of externalization
is the revealing based on the
practice outputs of climateevoked affects that we may
not know how to or that
we are communicating—
this is described more
extensively in the Modelling
a response section.

ence is crucial for this practice.8 While reading
this thesis it is important to keep in mind the
difference between tacit and explicit knowledge.
The latter is easily expressed through words
and numbers (Nonaka, 1994), the first, more
embodied, we cannot describe it (Schön, 1994).
Additionally, since part of this research is to
enter into dialogue with the self and communicate tacit understandings of climate-led emotions,
it needs to be recognized that there exists a
movement between tacit and explicit knowledge.
The movement from tacit to explicit knowledge
is called externalization (Nonaka, 1994).
Moreover, it is important to address naturalization
and the Shifting Baseline Syndrome (referred
to as SBS from now on), which are interrelated.
Naturalization is the process of accepting
something to be the way it is without it being
questioned. Although the world constantly
changes, people are not habitually reminded of it.
Bowker and Leigh-Star (2000) call the action of
remembering “an effort of anthropological imagination.” The ability to accept some changes to the
world and our lives is, of course, an important
mechanism to the continuation of life. However,
it may become a problem when people naturalize
the systems that are harmful, especially those
that reinforce the climate crisis. The SBS was
described by Tsing et al. (2017) as “[Forgetting]

12

what was there before […] our newly shaped
and ruined landscapes become the new reality.”
This leads people to forget about the environmental losses that we experience; the baseline of
comparison shifts and the drastic changes and
increases in weather events, for example, are seen
as small or minimal changes.
Another crucial underpinning of this research
is futuring, a term used by Tony Fry, set in
opposition to defuturing. It is the idea of creating
futures instead of acting in the ways that we
have deemed naturalized and allowing the consequences of our actions to prevent the future from
coming to fruition (Fry, 2009).
Because this body of work regards the creation
of possible futures, theories of pluriversality,
expressed by both Arturo Escobar in Design for
the Pluriverse and Ailton Krenak in Ideas to Postpone
the End of the World are underpinnings for the
designed projects. This theory calls for visions
of the future that allows for diverse ontologies
(Escobar, 2018). Pluriversality does not need to
be only centred on human cultures but can call
9

“os humanos não são os
únicos seres interessantes
e que têm uma perspectiva
sobre a existência."
“Humans are not the only
beings that are interesting
and that have a perspective
about existence.”
(Krenak, 2019)
Considered the current
“Epoch,” the Anthropocene
is characterized by the
geological force human
activity and inf luence has
had on the world and its
ecosystems. The term was
introduced by Paul Crutzen
and Eugene Stoermer in
2000. More information
can be found on “The
Anthropocene” by Paul
J. Crutzen.

10

into play the more-than-human.9 By utilizing
this theory as a foundational idea, a diverse
perspective is sought to connect to the morethan-human world, and it allows for the start
of a shift in values, especially regarding the
Anthropocene.10 Without pluriversality, futuring
cannot be achieved (Fry, 2009).
Lastly, notions of caring, found especially in
Maria Puig de la Bellacasa’s Matters of Care, are
present in this research. As stated before, a

13

foundational inquiry in this research is why we
care and how to involve care in our relations.
Caring becomes indispensable when talking about
futuring, it is one of the reasons that we have
emotional responses to the climate crisis, that we
want to act, and that we continue to hold on to
small or big actions. It is intrinsic and embodied,
explainable or not. Care is not a determined way
of acting, but comes with diverse possibilities
(Puig de la Bellacasa, 2017), it is critical to
maintaining relations with other beings, human
or not. The practice that informed this thesis has
been guided by notions of care and thinking with
(Puig de la Bellacasa), remembering that we are
constantly connected to others and that caring
needs to be revealed in our lives to strengthen
our relations and actions.

Rationale
Although the climate crisis has been researched
and addressed in diverse ways, it continues to
be part of our lives. This thesis addresses a space
of response to it. Our responses may inform not
only why and how we act, but they can also give
us insight into how to prepare ourselves to act
for futuring and how to create a value shift for
a more ecologically aware and pluriversal world.
Through these considerations, this research
contributes to the practice of design by serving
as a way to validate a practice of design that is
concerned with the MtH and projects that
are non-commercial. It also reveals points of
entrance into a practice of dialogue with the self
and the collective that regards the climate crisis.

14

Furthermore, it recognizes creative practice
as a means to rationalize and externalize tacit
knowledge, allowing the practitioner to
understand and reconcile with their own
emotions. A practice as such can grow to become
empowering and encouraging for those who take
it on. This research further contributes to the
theory of design by calling attention to a practice
that flows between the personal and the collective
to address universal challenges and supports
theories that defend the creative practice as a way
to become more informed of and understand
one’s own condition.

Intentions & goals of research
This research summarizes the conditions that
surround us regarding the climate crisis and
identifies elements of climate crisis-evoked
emotions. It is not part of the research to look
for a finite solution to the climate crisis or to
completely eradicate climate-evoked negative
affects, but to find ways to understand and
mediate them. My goal is to establish a practice
of dialogue with the self through a creative
practice that is concerned with the climate crisis
but takes into consideration the possibility of
creating futures, allowing the practitioner to
maintain a vector of hope and futuring. I also
hope to provoke readers to explore their own
condition and relationships to MtHs. I propose
that a value shift is needed for futuring and that
there exists a step before acting—the preparation
of the self—which comes through a better understanding of our responses to the climate crisis.

15

To achieve these intentions, I show how to create
moments and spaces for questioning everyday—
but often invisible—challenges to futuring, such
as a disconnection from the natural world. My
practice also takes shape as it creates artifacts
to explore relations and emotions, creating the
possibility of increased connection to other
beings. Additionally, I search for a poetic tone
to welcome practitioners and audiences into a
journey of relating and inquiring into an often
difficult and intense topic. Through this body of
work, I present this practice as non-intimidating
and invite the reader to take on a dialogue with
the self and with all beings.

Unpacking and explaining the area
of investigation
Our world is being ecologically destroyed; the
air we breathe is being compromised, people
are being displaced due to climate disasters,
and landscapes are shifting beyond recognition.
“Human influence on the climate system is clear,
and recent anthropogenic emissions of greenhouse gases are the highest in history. Recent
climate changes have had widespread impacts on
human and natural systems” (IPCC 2014). The
habit of naturalizing industrial Modern systems—
such as the romanticization of industrialization
which can undermine valuable connections
to the MtH, and seeing nature as a resource to
exploit with the intention of increasing productivity and monetary gain—is not working.
As a time-bound challenge of the contemporary
condition, it is not surprising that the climate

16

crisis has been represented in diverse ways by
different practitioners. Works of design and
art that reflect this thematic include Nathalie
Miebach’s data visualization works (Mothes,
2022), Diane Burko’s Seeing Climate Change book
(2022), and Saskia Kahn’s I can smell water project
(n.d.). My research differs from these projects
by utilizing making—in this context the act of
intentionally creating tactile artifacts—not as
a method to represent it but as a method for
inquiring into our responses to it and creating
the possibility of looking at ways to shift our
behaviours and create futures.
As a response to this crisis in the design field,
researchers and practitioners have tried to
reshape the practices of design, through design
for behavioural change (Niedderer et. al, 2018),
design for sustainability (Egenhoefer, 2017)
(Walker et. al, 2013), design for transitions (Irwin
et al., 2013) which acknowledges that transition
is needed due to—not exclusively—the environmental crisis, discursive design (Tharp, 2018),
or a call for a re-directive practice (Fry, 2009).
Although this research acknowledges this design
context and uses some of their methods, it
focuses more on the self and looks at practices
that call for changes in design practices by
shifting our relationship with nature (Fletcher et.
al, 2019). This shift creates a deeper relationship
between us and nature and begins to erase the
distinction between both. This distinction leads
to a perception of “power over,” (Abdala and
Siqueira, 2019) and erasing it will lead designers
to a practice that creates futures instead of one
that continues to prevent them.

17

I focus on the self and these practices because,
although people—including designers—take
actions in their everyday lives to help manage
climate distress or to change the course of
the world from a defuturing path to a more
ecologically aware future, it is difficult to take
on actions that are situated on the boundaries
of the infrastructures of the systems we
subscribe to, such as intense productivity and
mass consumption. In addition to the systematic
hindrances, there exist our responses to these
systems and to the climate crisis. Recognizing
the current disconnection between ourselves and
what/who we affect, and the context in which
we are inserted is important to understanding
the environmental crisis (Worthy, 2013), and
the need to understand one’s own emotional
responses is crucial to allowing one to reconcile
with them and leverage them into action. To do
so, the research that follows has been guided
by questions that address different facets of the
climate crisis. Through a journey between the
self and the universality of the climate crisis,
these questions range from personal and individual inquiries to global and collective ones:
• In what ways are we hindered from acting
towards an ecologically aware future?
• How may we challenge everyday but
invisible constraints?
• How may we visually respond to the
climate crisis?
• Why do we care about the environment
and planetary destruction?

18

• What are some conditions that influence
individual and personal emotional states
of response to the climate crisis?
• And finally, how can a creative practice
support people in exploring their own
relationship to this crisis?
At its core, this research inquiries into climate
crisis-evoked emotions, whether these are
value-positive or value-negative. The most
known of these value-negative emotions is
climate anxiety and it is also a core part of
this research.
Established research on climate anxiety has
shown that addressing such an emotion can take
on a problem-focused or an emotion-focused
route (Clayton, 2020), both of which have
benefits and detriments. There is, additionally,
a third possible response: meaning-focused, a
response to evoke positive affects using one’s
own values (Clayton, 2020). The meaning-focused
response allows for reconciliation of emotions
while still allowing one act to counteract the
climate crisis (Clayton, 2020). Utilizing a creative
practice is understanding-focused as well as
meaning-focused, guiding the exploration of
one’s own relatings and responses. This practice
focuses on the different emotional responses
with the intention of enhancing understanding—
without denial or diminishing the problem—and
leads the practitioner to learn more about what
is happening inside themselves, while taking on
small actions for futuring. It does not propose
a solution to the problem, but it does not allow

19

not having a finite solution to inhibit action.
Additionally, it does not shift values to ignore
or belittle the problem of ecological destruction,
but grounds itself in the emotions that can be
moderated and bring care and connection to the
natural environment.
This research also addresses eco-paralysis—the
inability to act towards an ecological future—
as identified by Glen Albretch (2011)—not an
apathetic response, but a result of caring. By
employing a creative practice, the projects
conducted find ways to encourage responses
that are rid of apathy and create an accessible
practice that may offset such paralysis.
As climate distress and nostalgia played an
important role in this research, I would like to
address Glenn Albretch’s concept of Solastalgia
(2011). This longing and upsetting emotion arises
due to climate change effects on a physical
environment and its direct experience, such as
inhabiting a place that is perceived to have been
negatively impacted (Albretch, 2011); it is a placebased emotion. Its importance to my research
is given by its etymology encompassing the
environment and nostalgia but also as it shows
there are multiple layers of affects that need to
be inquired into regarding the climate.
Although of importance, the research that
focuses on climate anxiety triggered by direct
experience of climate change consequences is
not the crux of this thesis. This research examines the emotional responses that arise even
without the direct experience of climate change
or climate disasters. The indirect experience is

20

important to address due to the reach of these
emotions, affecting not just a specific group, but
emerging from simply having knowledge of the
“This anxiety response is
important to understand
in part because of the
range of potential sufferers:
anyone who knows about
climate change […] could be
affected by climate anxiety
regardless of their own
personal vulnerability or
relative safety.”
(Clayton, 2020)

11

climate crisis and its consequences.11
Lastly, I would like to introduce climate-evoked
emotions from a less scientific perspective. It is
common to reference the end of the world when
discussing the climate crisis’ physical consequences, but it can also be referenced from an
emotional perspective: to think the world is
ending and giving up can be one of the responses
to this crisis. It can be said that the world ends
because we have ceased to recognize the meaning
of life itself (Krenak, 2019). To resist the end,
then, we care, we appreciate, we live, we tell

12

“E a minha provocação sobre
adiar o fim do mundo é
exatamente sempre poder
contar mais uma história.
Se pudermos fazer isso,
estaremos adiando o fim.”

“And my provocation about
postponing the end of the
world is exactly to always
be able to tell one more
story. If we can do this, we
will be postponing the end.”
(Krenak, 2019)

stories (Krenak, 2019),12 we dream, we connect to
the true meaning of being alive—not for a corporation or to consume, but for the connection we
have to other people and other beings. And that
is where this research sits, it is in the creation of
projects that allow us to continue telling stories,
connecting, and remembering our many relations.

21

Despite often wanting to
act to create a world that
is more ecologically
aware and considers its
pluriversality, it is, at times,
quite difficult to either
start or maintain action.

figure 8: Relief print representing obstacles of interaction with Vancouver’s waterscape

Pillars of hindrance
Despite often wanting to act to create a world
that is more ecologically aware and considers
its pluriversality, it is, at times, quite difficult to
either start or maintain action. This is not only
due to the emotional aspects of the climate crisis
but also because of contemporary constraints
from systemic structures.
Throughout this practice, a number of these
constraints—here called pillars of hindrance (figure
9)—have been explored. These explorations are
by no means exhaustive, but they are helpful to
start drawing a map of what impacts our ability
to act. Additionally, these constraints can impact
the emotional condition associated with the
climate crisis, discussed more in-depth in the
next chapter.

figure 9: Pillars of hindrance explored

23

The following are the pillars of hindrance this
practice has touched on:
Loss of touch: This obstacle is the disconnection
from the natural world; it will be explored in the
Practice chapter.
Lack of community and belonging: The importance of belonging to a community to discuss
topics of futuring became important when
critiquing my projects. Based on the cohort and
faculty around me, I was inspired to take on
more action and continue to conduct my practice
in the area of design and nature.
Time/Productivity & Monetary Values: These are
values deeply embedded in our society today,
and, although my work does not focus on them
too much, they play a significant role in our
consumption and employment decisions.
Inability to see process and change: This suggests
a naturalization of the world and several aspects
compose it:
• Firstly, the Shifting Baseline Syndrome
mentioned in the previous chapter leads people
to scarcely notice any changes to the climate,
accepting them as normal and natural despite
occurrence of more extreme weather events or
loss of landscapes.
• Secondly, our inability to connect to our own
selves through time, meaning that we do not
recognize a connection between our past-,
present-, and future-self, confining them to
moments in time that are never overlapping

24

and loosely influence each other. This causes
us to postpone problems to the future,
especially to future generations, forgetting
that our actions in the present are connected
to both the past and the future. This, however,
posed a challenge as, after reflection on my
Our Time Capsule workshop (see Appendix A),
it seemed that connecting to a future-self could
lead to both wanting to take actions in the
present and to stress and anxiety about what
might happen.
• Lastly, this inability to see change can lead
to a belief that things cannot change or are
too difficult to change. Without believing the
world does not need to stay the way that it is
today—because it is constantly changing—we
cannot work to change our behaviours and
systems so that we can build different futures.
It is based on this that speculative design
became an important part of my practice,
allowing discussion of different possible futures
and inviting exploration into their creation.

25

Through the making,
I have gained a
better understanding

figure 10: Relief modular print representing care and relationality

Practice
Self to Universal approach
The practice that supports this research takes a
self to universal approach. Although this practice
constantly allowed for a personal conversation
with the self and there is a sense of individuality
that comes through the making, this practice
expands into a universal understanding of the
conjuncture we find ourselves in as it revealed
certain conditions that were universally experienced as they related to the global issue of the
climate crisis. These conditions and hindrances
were also explored through a series of workshops
that involved participants, allowing for a more
collective exploration. A dialogue between people
was created; whether that was participant to
self, participant to participant, or participant
to researcher. This created the opportunity for
a sharing of experience and knowledge. These
collective explorations take shape as participatory
workshops that showcase the universality of
these feelings and through understanding the
relationality of our lives. These explorations of
the self and the collective are valuable because
we are constantly in relationship to others—
people, more-than-human beings, and
the climate.

27

Preparation of the self
The diagram that follows (figure 11) represents
a journey of the preparation of the self. Firstly,
there exists an interest in the subject, in this
case, the climate crisis and actions relating to
it. Then through this research I have found that
exploration and an understanding is needed
before learning what to do and acting; we need
to prepare the self to act. The exploration into
the condition and its understanding is what I
call here the preparation of the self. Without it, the
actions we take can be superficial; if one has not
understood one’s own relationship to the climate
crisis and the natural world, the actions taken
will come out of a need to act—which may be
unstable—instead of an intrinsic want, or a motivation, to act. Therefore, the practice is itself a
preparation of the self, allowing the practitioner
to reconcile with their own emotional condition

this research
evoke
interest
& curiosity

provoke
exploration

acting

understanding
& internalizing

learning
what to do
figure 11: Preparation of the self journey

28

through their practice. It is important to note
that a creative practice that aims for this reconciliation and preparation needs to be actively
reflected upon. This does not mean that the
practice needs to be solely focused on the condition—here the emotions evoked by the climate
crisis—but it needs to have a reflective element
and needs to be habitually focused on that which
the practitioner is trying to understand.

What the practice looks like
Being a graphic designer, my practice has long
consisted of digital pieces and outputs. Most
recently—specifically for this program—I
decided to take on a more tactile making practice.
This is not because I have anything against the
digital aspect of graphic design, but because the
tactility was missing for me from my practice. It
also allowed me to not rely on the rules of the
softwares I had already used and allowed me
to conduct research through making and about
the making practice. This making practice has
undoubtedly steered my research path and aided
me in discovering the strength a creative practice
can have while navigating the emotions that arise
because of the climate crisis. Today, my visual
practice consists of digital graphic design as well
as embroidery and printmaking (including explorations with printing with clay; see Appendix D).
Strengthening itself on the interdisciplinarity of
different mediums, my practice allowed me to
learn and reflect on new methods of making. The
practice also used these mediums to speak to the
thematic of projects and to use their tactility to
aid in the externalization of knowledge.

29

Moreover, making allows for intentionality. Our
thoughts and the things we make are intertwined
(Malafouris, 2013). Making is the process of
13

“It is to move and think
with things, rather than
about them, and to allow
our knowledge to grow
and f lourish amidst the
movements of the worlding
world.” (Ingold, 2013)

understanding,13 sensing the world (Ingold, 2013),
and exploring being in the world (Serpa and
Costard, 2018). Making makes the act of reflection
active and focused and allows us to communicate
in diverse ways.
The practice of this research was guided by
notions of care, relationality, and experiments
of time. It acknowledges we are not alone in the
world and that our very being is dependent on
others. Whether those are more-than-human
or human we are constantly in relationships
with others; we do not exist separate from our
relations (Haraway, 2003). This practice, then,
searches for those moments of interaction, and
amplifies them and the ways in which these
connections happen. This happened through
projects that allowed me to connect to the
natural world, that asked participants to think
about their own selves in the future and past,
and that made artifacts of the emotions caused
by the current state of the climate.
Additionally, the practice intends to maintain
a poetic tone and the idea of care. In the first
chapter, I explain how the question about the
reason behind pursuing this work has constantly
reappeared in my mind. I have throughout
this time, searched for ways to transform our
thinking from not only needing to act but
intrinsically wanting to act. A practice guided by
notions of care amplifies our relating and brings
forth a want to act. Although it comes from

30

within the self, this notion of care is not
individualistic. Caring involves knowing the
cared for is important and its own needs are
not to be trivialized by one’s want to care (Puig
de la Bellacasa, 2017).
It is through experiments of time—transiting
through past, present, and future,—that this
practice also takes shape. It inquires into the
past, bringing forth memories and allowing for
a deeper search within the self. Focusing on the
present as the moment in which we currently are
and that can be contrasted with the past, showing
the possibility of change in the world. Lastly, it
looks at the future with the intention of building
a world in which pluriversality is cherished and
pursued. It looks to build hope for a world that
deals with the climate crisis and that is more
connected with the natural world. Transiting
through the future allows for a connection
between time and opens opportunities for
imagining the creation of different possibilities.
It was through the practice that the idea of
permission came about. Through reflection
on the present and the past, I found in myself
permission to continue to explore this topic,
understanding that despite the years of disconnection and, maybe, even a lack of interest, I
could become part of this world again, because I
was already part of it and my relating continued
to be there. It was also because of this practice
that I was able to rationalize a model that makes
sense of climate crisis-evoked emotions.

31

figure 12: Postcards with overlayed sketches (Seeing Through Time project)

figure 13: Postcards with overlayed sketches (Seeing Through Time project)

32

figure 14: Embroidery close up (Self-Axiology project)

figure 15: Embroidery close up (Self-Axiology project)

33

figure 16: Prints and prompts for Open Studio event

figure 17: Stamps and prompts for Open Studio event

34

figure 18: Pressed clay with ink for printing of flowers

figure 19: Clay carving with ink for relief printing of tree trunk

35

Modelling a response to the practice:
Mente Ambiente
As shown in the next section, my practice has
consisted of multiple projects that have interacted
with the pillars of hindrance. These projects have
also allowed me to inquire into and categorize
a series of emotional responses to the climate
crisis, both in terms of the self and the collective.
I refer to these responses as states. By conducting
these projects, whether they focused on partici­
patory workshops or a dialogue with the self,
I have externalized multiple states of response
to the climate crisis; these were evidenced in
conversations, on pieces created, or on results of
the workshops. After listing these states, I chose
the ones that seemed to fit most of the projects
and literature research as an attempt to unpack
and rationalize some of the diverse responses to
the climate crisis. Once I had chosen to focus on
a few states, it became evident that some were in
opposition to one another, for example hope and
an eco-lacking—that which lacks nature relations
—view of the future.
Hence, instead of displaying individual states, a
spectrum became the better modelled response
to describe and understand a more holistic
experience of the emotions in question. This
model is not exhaustive and is not all-pervasive,
but it can be evidenced through the practice
that informed this thesis. The model (figure 26),
which I have named Mente Ambiente, is composed
of three spectrums to characterize the condition
of climate-provoked emotions: An eco-lacking
view of the future placed in contrast to hope,
powerlessness countering agency, and
disconnection placed against connection.

36

figure 20: Affects based on projects part 1

figure 21: Affects based on projects part 2

figure 23: Affects word cloud

figure 22: Affects list

figure 24: Affect selection

figure 25: Affects selection held as opposites

37

This model creates a discussion and a transitory
space; the movement between one state and its
spectrum opposite can be done through a creative
practice. Through the making, I have gained a
better understanding of some of the emotional
responses we can have to the climate crisis. This
understanding allows for the movement in the
spectrum and the creation of projects that permit
a reconciliation with some of these challenges
and emotions. This practice allows for a creation
and fostering of hope, focusing a practice
on imagining possible futures that put forth
ecological perspectives and pluriversality, and
opposes the view of a future where nature has
been exploited completely. It fosters an
understanding of our ability to take on small
or big actions, allowing the practitioner to start
doing something, to start preparing and
understanding the self to then continue acting
for futuring. The practice evidences agency,—
how our actions are not isolated, how communities act and care, how we foster relationships
with other beings just by existing—it encourages an expansion of connection to the MtH
world, and it offers hope—putting forth different
futures. Through this practice, the previously
mentioned goals are pursued intentionally and
actively, allowing the practitioner to increase
understanding and shift within the spectrums.

38

Mente Ambiente

figure 26: Mente Ambiente
(thank you to Jen Hiebert for helping
me with the digital embroidery)

39

Workshop composed of discussion,
making and living with. Participants
were asked to create a landscape from
a memory using natural materials and
following that live with it and reflect on
the creation once a week.

A participatory workshop that asked
participants to interact with objects
created based on False Creek’s history
and then create a future (in groups) for
this area.

Participants were tasked with connecting
with their future- and past-selves
through writing and reflection, as well as
experiencing a narrative environment (either
an ecologically aware or a climate disaster
future one).

Sewing activity practiced outdoors
with the intention of reflecting on our
surroundings, relations to nature, and
notions of care.

Embroideries created based on the
environment around us, with some iterations
paying special attention to t he natural
environment. A personal analysis of green
areas percentage of places I have lived in vs.
the felt connection was also made.

figure 27: Collective-focused projects referred to in the Explicating Mente Ambiente through the projects done section

Exploring design fictions with the
intention of creating 2 paths to show
collective thinking, one path for a
climate crisis aware future, one for a
future of ignoring the crisis.

Using an understanding of cognitive
dissonance to create a map of values
and consumption habits, leading to an
exhibition of some of the influences on
decision-making.

A project to increase attention to the
natural world that surrounds us daily.
Mapping walks based on maps but also
on the nature found along the path,
paying attention to their impressions
and textures.

Sketches overlayed on photo slides to
showcase changes in the world. Foundimages blended with sketches of the past
and speculative sketches of the future.

figure 28: Self-focused projects referred to in the Explicating Mente Ambiente through the projects done section

Explicating Mente Ambiente through
the work done
Eco-lacking ~ Hope

figure 29: Projects used in explicating the Eco-lacking ~ Hope spectrum

One of the responses that arises from
experiencing the climate crisis is that of having
an eco-lacking view of the future. This is charac­
terized by adopting a view of the future that is
entirely technology-centric or one that only sees
disaster and hostility in future nature relations.
An inability to see that the world can change can
enhance this state by permitting only our imagi­
nation of probable futures (Dunne and Raby,
2013) and not the plausible or possible futures
including some eco-positive preferable futures.
Not only do we see the probable path of the
evolution of technology progressively isolating
us from nature, but we also have difficulty in
challenging the path the world is already on—
one that seems inevitable. Examples of these
paths are some of the pillars of hindrance that
were mentioned previously, such as productivity
values or a disbelief that people will care about
the environment.

42

On the opposite side of this spectrum sits hope.
Its importance is due not only because it is a
positive-affect and can help with the moderation
of climate-anxiety, but also because it is necessary
for futuring. One will not take on actions to
mitigate climate change or to build a more
ecologically aware and pluriversal future if they
do not have hope that it is possible. Hope can
14

“If we don’t have hope that
we can put the fire out, we
will give up.” (Goodall &
Abrams, 2021)

empower people;14 it allows us to believe the
world can change, therefore allowing us to act
with intentionality. It is, consequently, not a
dormant affect but it brings with it the possibility
of action (Goodall & Abrams, 2021).
The movement within this spectrum and the
evidencing of both its polarities can be seen
through the different projects that have informed
this research.
Both in their outcomes and in the reflection of
the process, the projects Our Time Capsule
(preparatory phase) (figure 30–figure 41) (see
Appendix A) and Fiction Explorations evidence the
difficulty one can find when trying to create a
future that is different from the despair-filled
climate disaster one that we are mostly already
familiar with. Through both these projects, I
tasked myself with creating different futures,
each with two possibilities: a positive version
where human and nature relations were not
exploitative and led to a future where climate
change was effectively addressed, and one where
technology had taken precedence and climate
disasters were menacing. The creation of the
latter proved to be much easier than of the
first. Although I had tasked myself with it and
knew the importance of being able to recognize

43

multiple possibilities—especially a positive
one—I found myself struggling to come up with
one. Fiction Explorations and the preparation of the
workshop, Our Time Capsule, showed a dialogue
with the self that brought forth an inability to
see the possibility of change and step out of the
despairing scenario that is already on our minds
when regarding the climate crisis. Although
this is undoubtedly not an argument to ignore
the warning and catastrophic characteristics of
climate change, it is an evidencing of the necessity of seeing diverging possibilities so that one
can create more futures to be pursued; ones that
are ecologically aware and that help us to address
the climate crisis.

figure 30: Air purifier in the shape
of a tree (CD)

figure 31: Jacket for keeping the
extreme heat out (CD)

figure 32: Work Screen (CD)

figure 33: Flyer advertisements of
rental system of emergency
shelters and kits (CD)

figure 34: Organic compound
chemical composition to
represent meals (CD)

figure 35: Ipad with manual for
communication device
inserted on the arm (CD)

Our Time Capsule project images
CD: Climate disaster scenario U: Utopian Scenario

44

figure 36: Books representing
subjects of interest and values
of the time (U)

figure 37: Sketches and prototype of
lightning energy gatherer and
water filter (U)

figure 38: Tomato plant representing
indoor garden (U)

figure 39: Posters for community
events and community
services offered (U)

figure 40: Sketch of flying
transportation (U)

figure 41: Plants representing
stronger presence
of nature (U)

Our Time Capsule project images
CD: Climate disaster scenario U: Utopian Scenario

It is with that in mind, that the projects Seeing
Through Time (figure 42–figure 54), Our Time
Capsule (participatory phase), and Let’s Build
Tomorrow (figure 55–figure 62) (see Appendix B)
can be understood.
Seeing Through Time was a project of looking into
found photos and overlaying them with sketches
of the past, the present, and of an imagined
future. In a blend of timeframes, the project
allowed me to not only imagine, but actually

45

visualize changes that have modified how our
world works. Although not entirely focused on
nature relations, this project showed both me
as the practitioner and the audience that the
world can change; it already has changed. This
project did not attempt to show a positive or
negative future, but changes through time, and
by using a medium that is already distant from
today’s instruments, the entire project showed
changes that happen in our daily lives and that
are quite ubiquitous.
The participatory phase of Our Time Capsule asked
participants to connect to their past-selves and
future-selves and experience one of two narrative scenarios. This project allowed some of the
participants to connect more with their own
selves during the workshop; however, when
reflecting upon the future, ideas of stress and
anxiety about the unknown came up—a partici­
pant specifically mentioned climate change as
one of the reasons for that anxiety. On the other
hand, this project also showed how there can
be positive aspects when thinking about the
future. Showing the need for positive future
scenarios that will inspire people to think of the
future and take action to achieve it, a participant
mentioned that what made them think about the
future were role models, an aspiration to be like
someone. Although this project focused more
on the self, it showed that there exists a need to
change how we frame thinking about the future,
in order to bring agency (talked about in the last
spectrum) and hope. The construction of possible
futures can only exist if people can see that there
are different possibilities and that they can change
the present.

46

figure 42: Watch sketch on fruits
and watch photos

figure 43: Future cities sketch
on cityscape photo

figure 44: Fashion evolution on
landscape photo

figure 45: Waterwheel sketch
on river photo

figure 46: Old ship sketch
on ship photo

figure 47: Building structure sketch
on hotel side photo

figure 48: 14 Bis sketch on
airplane photo

figure 49: Oil platform sketch
on sea photo

figure 50: Rocket sketch on
airplane photo

figure 51: Expansion of water sketch
on aquarium pool photo

figure 52: Cage sketch on
animal photo

figure 53: Cruise ship sketch
on sea photo

Seeing Through Time project images

47

figure 54: Presentation of Seeing Through Time project with slide projector (Image by Leea Contractor)

48

Lastly, Let’s Build Tomorrow was a workshop that
asked participants to look at objects inspired by
False Creek’s history and create a future for the
area. They were given collage materials and the
possibility of sketching, writing, and speaking.
With this project, two connections to the
spectrum in question can be drawn. The first
was a quote by one of the participants when
presenting their group’s final collage. The group
had made two different future representations,
when presenting the participant said, “We have
a good future and a bad future for False Creek.
Starting on the bad future because it feels more
likely…” This reflects the belief of change being
improbable and the belief in the likely attainment
of a dystopian future instead of a hopeful one.
However, all groups created at least one positive
and ecologically aware future: from creating
two versions to include a dystopian and utopian
one, to creating a progression from today and
nature exploitation to a better integration with
nature, to a future of the return of False Creek’s
water and its fish that although MtH-focused still
included humans but with more respectful interactions between the two. This shows the making
process as a possible path to open our thinking
to creating more ecologically aware futures, and
different possible ones as well. This can lead to
more examples of possible nature relations that
build pluriversal and less destructive futures,
building on hope and aiding in the movement on
the spectrum in question in this section.

49

figure 55: Workshop creation by participants

figure 56: Close up of workshop creation by participants

figure 57: Close up of workshop creation by participants

Let's Build Tomorrow project images

50

figure 58: Workshop creation by participants

figure 59: Close up of workshop creation by participants

Let's Build Tomorrow project images

figure 60: Close up of workshop creation by participants

51

figure 61: Workshop creation by participants

figure 62: Workshop creation by participants

Let's Build Tomorrow project images

52

Disconnection ~ Connection

figure 63: Projects used in explicating the Disconnection ~ Connection spectrum

The second spectrum in the Mente Ambiente model
is that of Disconnection ~ Connection. This speaks
directly to connecting to the MtH world. It not
only reflects that we constantly have interactions
with the natural world, affect it and are affected
by it, but it also recognizes that we are part of
nature ourselves.
This disconnection can arise from a lack of interaction with the natural world, we have separated
15

“nos alienamos desse
organismo de que somos
parte, a Terra, passando
a pensar que ele é uma
coisa e nós outra: a Terra
e a humanidade. Eu não
percebo que exista algo que
não seja natureza. Tudo
é natureza. O cosmos é
natureza. Tudo em que eu
consigo pensar é natureza.”

“We have been alienated
from this organism that we
are part of, the Earth, and
have begun to think it is one
thing and we are another:
the Earth and humanity.
I don’t see where there is
something that is not nature.
Everything is nature. The
cosmos is nature. Everything
I can think of is nature.
(Krenak, 2019)

ourselves from nature (Krenak 2021),15 or—
related to the previous spectrum—to a focusing
on the world of humans as separate from the
world of nature, focusing only on human-made
worlds. This disconnection is also due to the
diminishment of the value we place on nature
and on our connection to it. The Brazilian author
and indigenous leader Ailton Krenak writes
in his book Tomorrow is not for Sale about this
disconnection, saying some have stopped valuing
this connection to nature,16 we have taken away
nature’s senses and started viewing her only as
resources to extract from (Krenak, 2019).

53

About his relationship to
nature, he says,
“é uma experiência que não
vejo ser valorizada por
muita gente que vive
na cidade.”

16

“it’s an experience I don’t
see being valued by many
who live in the cities.”
(Krenak, 2021)

Connection—the positive affect—is achieved
through noticing our reliance, impact, and
relationships with the MtH world. Connecting
transforms our relationship with nature into a
non-extractive and non-exploitative relationship,
asking for a recognition of the importance of
the natural world not as something to serve
humanity, but as a partner (Fletcher et. al 2019)
and as part of humanity. This connection can
also be intensified by and intensifies care.
Caring can take different forms but involves
understanding that which is cared for and its
needs (Puig de la Bellacasa, 2017). It can mean to
look after, to give importance to, to understand,
to hold dear. Despite holding different meanings,
caring allows for a sense of responsibility and can
change the need to act into a want to act. Caring
is an important way to create a more interlinked
and collective world (Puig de la Bellacasa, 2017),
which gives attention to MtHs and can create
a connection to it. The recognition that we are
constantly in relation to others, including beings
from the natural world, is an important way to
strengthen this connection. Our connections
transcend ourselves and impact us and those
we are connected to; we cannot exist without
relating to others (Haraway, 2003). The understanding of this is important when searching for
a connection to nature; the connection is there,
we just need to look for it and enhance it.
Exhibiting this spectrum are a few of the
projects conducted during this research. A step
towards this connection can be seen through
the Pieces of Walking project, which recognized

54

a lack of awareness of the everyday interaction
with nature. The project consisted of noticing
nature during walks, whether those were walks
for the project or to move from point A to point
B. This proved to be a way to increase attention to
other beings in our surroundings, it also brought
forward questions of extraction, what could I take
away to use in the project? What still had to stay in its
environment? This project brought forward diverse
ways of representing the walk: through maps,
leaf prints, and sketches (figure 64–figure 67). A
practice of noticing increases our interactions—at
least our awareness of them—and therefore leads
to a stronger recognition of the MtHs we share
our places with.

figure 64: Items collected for Pieces of Walking project

55

figure 65: Imprint for Pieces of Walking project

figure 66: Imprint for Pieces of Walking project

56

figure 67: Imprint for Pieces of Walking project

Secondly, the project Making and Living with Our
Natural World Memories (heretofore referred to
as Making and Living) (figure 68–figure 71) (see
Appendix C) was another attempt to increase
this connection between the self and nature.
The workshop asked participants to create a
landscape of a memory they had in nature
utilizing natural materials, such as flowers and
spices. They were then asked to live with and
reflect upon these creations. Using intentional
reflection to increase connection, the project
used memories to bring forth a stronger connection to the pieces. It is important, however, to
recognize the extraction portion this project had.

57

The use of natural materials was crucial for
participants to see change and bring the materials
closer to them, but it also had some exploitative
nature to it, seeing the materials as a resource.
However, it did evoke in a participant the want
to “fix” the changes, which can be connected to
a want to care for it, despite its inevitable perish.
The participant who reported the lowest connection and worry at the beginning, expressed
the most increase in both categories by the end.
This project then points to a possible movement
between feeling disconnected and connected
for some people. It is important to note that the
“living with” took place for 6 weeks and the
connection may only have lasted as long as the
active reflection was taking place.

figure 68: Creation by participant

58

figure 69: My creation

figure 70: My creation after time had passed

59

figure 71: Creation by participant

An important finding, in another project, was the
connection through memories. During a camping
17

“Life writing as an ecological
research method, i.e. as a
process by which to uncover
the interrelationships
between beings and place”
(Fletcher, 2021)

trip, I practiced life writing17 which allowed me
to intentionally reflect on this experience of
connecting to nature. Throughout my time at
Trout Lake, the Seymour River hike, and
Nanaimo, I noticed memories of myself and my
family related to nature started to resurface.
Without romanticizing the past, my memories
became a way to accept a connection to nature.
The memories aided me in recognizing that the
connection had been devalued but could increase
its value in my life. The memories, for me, were
quite helpful in also giving myself permission to
pursue this connection. Because I thought I had

60

not had an intense connection to nature in the
past it was at points difficult to justify to myself
the work of finding this connection, but the
memories, as well as the camping experience,
were ways to allow myself to expand this
connection and begin to feel part of it more.
Another project that informs this spectrum
more is Connecting (figure 72–figure 73). This was
an embroidery project that represented places;
it attempted to look at the connection to the
natural world, but focused first on a place lived
in, then on a happy place, then on the first in
terms of the natural world. This project brought
up the subjectivity of what a connection or even
the composition of natural environments are.
Especially important, was the idea of access; the
project reflected that despite the existence of the
natural world around us, our access to it may
change the way we notice and connect to it.

figure 72: Embroideries of percentage of green spaces (Connecting project)

61

figure 73: Embroideries (Connecting project)

62

Lastly, the Sew and Share project asked participants
to embroider in a big muslin fabric together,
while thinking about their surroundings, a course
we took, and the idea of care and responsibility.
A lot of the creations reflected the nature outside,
but they also reflected deep instances of caring
for ourselves and how we can show that in dif­ferent ways. In this project, the making allowed
for conversations to happen and for an activity
that is many times done alone and indoors to
be done outside and somewhat col­lectively. The
project used making to create an active moment
of reflection into the connection and experience
of nature.
A connection to MtHs is crucial for maintaining
action for futuring as it shifts the type of
relationship we hold—seen in Making and Living
and Pieces of Walking—and reinforces a relationship of care. This connection can be found and
intensified through different projects that focus
both on the collective and the self. Importantly,
for someone who has inhabited a world where
industrialization has been glamorized, permis­sion to look for that connection is an important
step towards finding it. A creative practice
allows for this search and offers permission to
the practitioner.

63

Powerlessness ~ Agency

figure 74: Projects used in explicating the Powerlessness ~ Agency spectrum

The last spectrum that composes this model is
that of Powerlessness ~ Agency. Just like having
an eco-lacking view of the future, it can be
paralyzing to feel powerless. One of the reasons
for this feeling is recognizing how small we
are in comparison to the problem at hand—the
climate crisis—or not knowing what to do.
Agency, on the other hand, presents power and
ability to act. It recognizes that we can have an
impact, but also that we are connected to other
beings. Agency is nourished by connecting to
others and being inspired, it is also part of
recognizing the reverberation of our actions—
this needs to be done in a way that allows for
empowerment and not for more paralysis.
Moreover, it requires hope—an active feeling

64

18

“Hope is often
misunderstood. People seem
to think that it is simply
passive wishful thinking: I
hope something will happen
but I’m not going to do
anything about it. This is
indeed the opposite of real
hope, which requires action
and engagement.”
(Goodall & Abrams, xiii)

(Goodall & Abrams, 2021)18—to understand our
actions as steps towards a future that mitigates
the climate crisis.
One of the ways that agency can be achieved is
through seeing a connection between the pastand the future-self. This connection can provide
agency to the individual. In the participatory
portion of Our Time Capsule, participants were
asked to reflect on their connection to their
past- and future-selves. Creating this connection,
through reflection and the experience of narrative
environments, allowed participants to reflect on
the effects of their actions. A recognition and
acceptance of the past leading to the present was
mentioned as a reconciliation with the self’s
decisions. Furthermore, the workshop gave
participants an awareness of the present
influencing the future. Although agency came
through as a result of this project, a lot of the
reflections on actions holding power were
focused on the individual instead of a collective
ecologically aware future. This may be because
the questions did focus on the individual self
as those are important for recognizing the self’s
agency. However, a more in-depth guided
reflection could have pointed to other beings
and climate change. Participants did, however,
bring in collective futures during the last portion
of reflection and mentioned a want to act in the
present to build a future.
Self-Axiology (figure 75) was a project that inquired
into cognitive dissonance and ecologically aware
choices. I mapped values I held when making
everyday decisions and what influenced those.

65

This project allowed me to challenge some of the
actions I thought little of. The project allowed
me to understand some of what influences my
actions as well as adopt different small actions
that helped me start acting for futuring. This
project allows for movement from feeling
powerless to having agency because it showcases
power and choice in small actions that one can
take towards a more ecologically aware future
as well as understand what are some everyday
systems that need to be challenged.

figure 75: Embroidery value map (Self-Axiology project)

66

Seeing Through Time (figure 76–figure 77),
mentioned before, also evidences agency. In its
making, Seeing Through Time reveals that actions
and changes that can seem small have a huge
impact in our daily lives and future. With its
process, anything that is in the pictures or is
added to it cannot be taken away, they can only
be hidden. Its result of showcasing changes from
transportation modes to fashion decisions, points
to the impact actions can have. This project
shows a more collective view of action, such as
maintaining zoos, or the evolution of cars and
ships. It is important to note that individuals
inhabit those systems and there is power and
agency in questioning and understanding them
and their alternatives.

figure 76: Slides with overlayed sketches (Seeing Through Time Project)

67

figure 77: Postcard with overlayed sketches (Seeing Through Time project)

When discussing people’s actions toward
countering climate change, Making and Living
participants brought forth ideas of the problem
being systemic, and not knowing where to begin.
Participants in this workshop demonstrated the
various ways one can feel powerless; the wicked­
ness of this problem, its being time-bound, and
not knowing how to address it leads people to
halting or not even starting an action. It was
through this discussion, however, that ideas
of reordering priorities came about, as well as
relying on a community to create opportunities
for acting together and making a bigger impact.
19

“Being localized, small,
connected and open (to
others’ ideas, culture
and physical presence),
these promising social
innovations actively
contribute to the realization
of resilient, distributed
socio-technical systems.”
(Manzini, 2013)

Related to Manzini’s SLOC systems,19 Making
and Living’s discussion with participants showed
the importance of connecting to others to
feel empowered.

68

Participants of Let’s Build Tomorrow demonstrated
an understanding of the need to not just imagine
futures but create them through the making.
When describing the futures, they had created,
a group mentioned that “It takes more than
wishing and hoping [...] you have to make it.”
This demonstrates not only the role making
can have in opening opportunities for creating
entirely different notions of the future, but the
role it can have in allowing the practitioner to
reflect on their own responsibilities and power
to take actions. Moreover, the project called for
collaboration and a construction of a future in
groups. The workshop used a creative practice
to start the connection between individuals to
create something for the collective.
Agency is not only important for acting and
countering paralysation, but it is also important
20

“It sounded like action and
agency were very important
for generating hope, but that
hope could survive even in
a prison cell.” (Goodall &
Abrams, 2022)

to maintain hope (Goodall & Abrams, 2021)20—
the positive-affect of the first mentioned part
of this model. This creative practice focuses on
revealing points in daily life that people have
agency over to empower them and encourage
hope. Another significant component of agency
is that of connection to community; it is through
supporting and being supported by others that
actions grow. It is through this connection to
community that a practitioner can grow in their
agency, whether that is validation of their
practice, inspiration for different actions to take,
or learning and evolving their thinking.

69

Final Project
The final project of this thesis has two parts: a
toolkit and a series of embroideries.

The toolkit
The toolkit demonstrates a convergence of this
practice and focuses on the collective. It intends
to allow users to step into an exploration of their
own emotions regarding the climate crisis and
into a creative practice that deals with these
themes. It is primarily focused on design students
and those who are interested in investigating this
condition. The toolkit is designed with the intention of maintaining surprise and interest. This is
a way to enter both into dialogue with the self
and with one’s community.
It has 3 components. The first is a series of
cards, through which the user can choose a state
to explore—Hope, Agency, or Connection by
drawing a prompt to respond to. The second is
a dice which gives the user a medium through
which to explore said prompt. Thirdly, there is
a spiral bound collection of fabrics and paper
which would allow the user to embroider,
sketch, write, and stamp, in addition to any
other affordances the user finds for these. The
following figure 82 explains the dice component
and the ability to use this kit collectively or
individually more extensively. The prompts can
be answered as a dialogue with the self or the
collective, and the user does not need to use the
dice to decide on a material.

70

figure 78: Persona and user journey for analog and individual use of toolkit

71

figure 79: Persona and user journey for digital and individual use of toolkit

72

figure 80: Persona and user journey for collective use of toolkit

73

74

figure 81: The toolkit and its components

figure 82: Dice explanation

75

An alternate form of this toolkit—intended
for broader accessibility—is an online version
(figure 83–figure 85) that allows the user to
randomly select a prompt and a material. This
version includes a gallery for sharing pieces
by the users and creating a community.

http://menteambientetoolkit.com/

figure 83: Online toolkit webpage

76

figure 84: Online toolkit webpage

http://menteambientetoolkit.com/

77

http://menteambientetoolkit.com/

figure 85: Online toolkit webpage

78

The return to the self
This embroidery series returns to the dialogue
with the self and evidences the model by
using it as a vector to dive into artifacting the
relationships one has with the natural environ­
ment. With this project, called Landscapes of
Connection (figure 86–figure 91), I explore my
own connection to the MtH world through
different time lenses: the past, the present, and
the future. By also utilizing the future to look
at this connection, I showcase hope for an
eco-positive future, another of the spectrums
of Mente Ambiente. Additionally, it brings together
the different aspects of my practice such as the
importance of memory and looking to my past
as one of the means of finding permission to
continue with this practice. Building on my
creative practice, Landscapes of Connection allows
me to continue framing my practice with notions
of care and relationality. This project shows the
practice as ongoing and reflective, looking at the
themes and ways I have addressed them, finding
new ways to tackle them, and learning more
about them now that I have different vectors
through which to frame the project.

79

figure 86: Embroidery of interaction with tress (past-focused)

80

figure 87: Embroidery of Lake Michigan (past-focused)

81

figure 88: Embroidery of Lynn Canyon Creek (present-focused)

82

figure 89: Embroidery of West Lafayette Celery Bog (present-focused)

83

figure 90: Embroidery of winter (future-focused)

84

figure 91: Embroidery of picnic landscape (future-focused)

85

A practice like mine places
the self as critical and allows
the practitioner to explore
their own relationship
to the climate crisis while
reconnecting with the
community and the world
around them.

figure 92: Relief print representing hope

Conclusion
During this research I have found that there
is work that needs to be done with the self
in understanding our responses to the climate
crisis and preparing for action. Interest in
the exploration part is crucial to maintain a
practice that results in understanding and the
rationalization of a holistic experience. This
practice is ongoing, it does not eradicate
climate anxiety, but aids in the mediation of
its experience.
Today we need a shift in our value frameworks,
one that is underway for some people but that
still needs to be worked on and adopted by
others. This practice allows for those who have
some interest in this field to expand it and start
that shift. It also intends to evoke interest in
those who have not had any prior interest in
inquiring into their values and behaviours.
It is important to note that the adoption of
a creative practice to shift within the three
spectrums and start moderating the emotions
that come with the climate crisis needs to be
intentional and reflective. The practitioner must
be able to reflect on their pieces to understand
their responses. It is helpful to have the practice
geared towards the climate crisis or an ecologi­
cally aware practice to better externalize tacit
knowledge and interpret responses in this area.
This can lead to finding points to focus on for the

87

movement within the spectrum and for taking
on action. That is why the toolkit was created,
to become a helpful tool and a non-intimidating
path into this intentional and reflective practice.
In like manner, this practice needs to have both
focus on the self and on the community. It is not
enough to watch or interact with what others
have done, but the dialogue with the self needs
to be personally experienced, to externalize
knowledge, to understand personal responses, to
21

22

23

“The key to acquiring tacit
knowledge is experience.”
(Nonaka, 1995)
“We cannot be proud of
someone else’s souvenir
unless the narrative is
extended to include our
relationship with the object’s
owner.” (Stewart, 1993)
“Societal adaptation
cannot be accomplished by
individual coping responses,
but societal adaptation
will have to incorporate
individual adaptation.”
(Clayton, 2020)

gain tacit knowledge,21 and to truly connect with
the practice so that one can create movement
in the spectrums.22 However, pluriversal and
ecologically aware futures are unattainable if all
is individual.23 Communities have the potential
to inspire, support and empower their members.
It is important to share and work together in the
creation of futures.
A practice like mine places the self as critical and
allows the practitioner to explore their own relationship to the climate crisis while reconnecting
with the community and the world around them.
In the same way that Kate Fletcher’s (2021)
method of life writing can create opportunity for
multiplicity and give voice to those writing, the
engagement of this practice allows for putting
forth a plurality of ontologies. This plurality
needs to exist in order to create futures that
recognize care, relationality, and the MtH world
as paramount to existence.
It has been through this practice that I have
observed ways to shift within the spectrums,
from holding an eco-lacking view of the future

88

to fostering hope, from feeling disconnected
to working on feeling connected, from feeling
powerless to recognizing agency. The three
spectrums that were rationalized during this
practice have been shown as separate—and can
be seen that way—but they can also be seen as
interacting. Hope, connection, and agency feed
into each other and exponentially expand the
possibilities of each other. Through understanding
their components and relatedness, I am able, as
a designer, to produce pieces and projects that
help me address each of these states specifi­cally,
allowing me to find ways of transiting in these
spectrums and approximate myself and help
those I design for to get closer to the
positive-valued emotions of the spectrums.
Using narratives and stories as underpinnings
of many of the projects that have informed this
research allowed me to expand my practice
to be intentional in using making to search
for meaning and understanding in the world
around me. Narratives become an important
method to generate a practice of understanding
climate-evoked emotions as they can be used
to contemplate the possibility of futures, and
importantly, of pluriversal and ecologically
aware presents.
After conducting this practice, I have continued
to change as a designer. Not only have I found
value in a type of research that I had not
exercised before, but I have also started to pay
attention and look at the world with different
eyes. Although I was worried about the climate
before, I am now more perceptive of my own

89

practice and how it can start in some ways
addressing it. I have also grown my
practice to expand the notions of a visual
communication practice.
Finally, in my attempt to answer why we care—
specifically why I cared—about the environment,
I have concluded that caring is part of who we
are, even if it has been tucked away for some
time. The shift in value may be needed to change
what we care for, but caring is there. We care
because “beings do not preexist their relatings,”
(Haraway, 2003) because caring and relating are
intrinsically connected, and living is relating.
But to access that care we need to recognize those
relations. Through the use of memories, we can
further reveal our characteristic of caring and
permit the self to search for it within ourselves.
Care is an important part of the practice and,
although part of life, must be brought into it.
To call onto care to guide a practice allows
for a deeper dialogue and connection to
the conjuncture.

90

This practice will continue
to flow between the self and
the collective.

figure 93: Relief print representing care

Future research direction
Going forward, this practice will continue to
flow between the self and the collective. As it is
not a finite solution to eradicate climate-evoked
negative emotions, this practice does not stop.
It can, however, be augmented. The intention
is to continue the dialogue with the self, but
specifically focus on points that have not been
quite moderated yet, for me that is to work more
intensely within the connection spectrum.
With the intention of supporting others to
explore their own relationship to the climate
crisis, it will be important to test the toolkit and
make the necessary adjustments and ameliorations. Testing would be done with design
students and those involved in a creative practice;
it requires literacy in the reflective aspect of
design. The targeted community is that of those
relatively interested in re-examining their
practice and relationship to nature; it is for
people who want to enter into this dialogue.
A life practice would transcend the toolkit by
implementing aspects of this reflection in the
design practice itself and not just on the prompts
provided, making the practice more ecologically
aware and one that reflects on our relationships
to the MtH. A further step would be to create
a different toolkit for those who have not been
interested in this practice, intending to bring
more people into the realm of futuring. This

92

requires this practitioner to continue developing
this research but also focus on a different
target audience.
As I would like to teach, I look forward to
including the insights of this research into
teaching pedagogy and examining class planning
with Mente Ambiente’s spectrums in mind, placing
the dialogue with the self and ecologically aware
exercises into course outlines.
Finally, the continuation of this practice will
focus on the transition between understanding
and acting. The future of it is to find more
ways of behavioural change and leverage them
into action.

93

I found permission, I paid
more attention and I began
to recognize possibilities
for the future.

figure 94: Relief clay print of gypsophila impression

Reflection
Throughout this thesis, I have suggested that my
creative practice has allowed me to move along
the Mente Ambiente spectrums. I also mentioned
that this practice elicited in me different states;
I found permission, I paid more attention and
I began to recognize possibilities for the future.
With the intention of expanding on these for
my defence presentation, I named them practice-­
evoked knowings as they appeared as results of my
creative practice. These knowings in addition
to a better understanding of the condition of
living in the midst of a climate crisis have
allowed me to shift within the spectrums and
shift my own perspectives.
I hope to expand my research in the future to
focus more on these knowings and how they are
elicited and affected by a creative practice as well
as to understand their effects on how we inhabit
the world.
Through my making practice and the practiceevoked knowings, I reflected more on how I
inhabit the world. Inquiring into our ways of
being in the world allows for actions to change
through focusing on a shift in perspective and in
value rather than just in a shift of systems that
are designed to guide and change behaviours.
This practice sits then as a guide for intrinsic
change that was not forced upon us but that
can become part of us. This thesis sits within

95

frameworks that recognize the importance of
addressing the affective responses when inquiring
into our being in the world. It is through these
emotions that we understand ourselves in it and
aspects of our reality.
Lastly, I would encourage you, reader—whether
you have a making practice or not—to take an
initial step into making. The action of making
and reflecting on it has allowed me to better
understand how I am in the world. It has helped
me externalize tacit knowings and find new
perspectives. Making allowed me to meditate on
topics that I had for some time wondered about
but also discover new ones. It allowed me to find
new ways of inquiring into and exploring the
world that embraces me.
Landscapes of Connection allowed me to sit with
my memories, to remember who I was with and
what I had felt. I re-established them in my mind
and they allowed me to hope for the encounter
of many more landscapes and beings that I could
connect with in the future.

96

References
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Albrecht, G. (2011). Chronic Environmental Change: Emerging “Psychoterratic”
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Bowker, G. C., & Leigh Star, S. (2000). Categorical Work and Boundary
Infrastructures: Enriching Theories of Classification. In Sorting Things Out
Classification and Its Consequences. MIT Press.
Burko, D. (2022). Diane Burko: Seeing Climate Change. American University
Museum.
Clayton, S. (2020). Climate anxiety: Psychological responses to climate
change. Journal of Anxiety Disorders, 74(102263). https://doi.org/10.1016/j.
janxdis.2020.102263
Crutzen, P. J. (2006). The “Anthropocene.” In Earth System Science in the
Anthropocene. Springer.
Dunne, A., & Raby, F. (2013). Speculative Everything : Design, Fiction, and Social
Dreaming. Mit Press.
Escobar, A. (2018). Design for Transitions. In Designs for the Pluriverse :
Radical Interdependence, Autonomy, and the Making of Worlds (pp. 137–164).
Duke University Press Books. https://web.s.ebscohost.com/ehost/detail/
detail?vid=0&sid=c38dd3dd-b108-48e7-ada1-2b7bfc775ac6%40redis&bdata=JkF1dGhUeXBlPXNoaWImc2l0ZT1laG9zdC1saXZl#db=nlebk&AN=1731769
Egenhoefer, R. B. (Ed.). (2017). Routledge Handbook of Sustainable Design (1 edition). Routledge.
Even, F., & Mercadier, L. (2021). Sororelle / Sororal. In Vimeo. https://vimeo.
com/632227976 Simon Filliot (Cinematographer). Papy3D Productions, JPL
Films (Producers)Marion LeGuillou (Sets and Animation).

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Manzini, E. (2013). Resilient Systems & Sustainable Qualities; Small, Local, Open,
Connected: An Emerging Scenario. Current, Spring 2013(04), 10–14.
Fletcher, K. (2021). Life Writing as an Ecological Research Method. Fashion
Practice, 1–13.https://doi.org/10.1080/17569370.2021.1882760
Fletcher, K., Louise St Pierre, & Tham, M. (2019). Design and nature : a partnership. Routledge, An Imprint Of The Taylor & Francis Group.
Fry, T. (2009). Design Futuring : sustainability, ethics and new practice. Berg.
Fry, T. (2020a). History, modernity and defuturing. In Defuturing: A New Design
Philosophy(pp. 51–57). London: Bloomsbury Visual Arts,.http://dx.doi.
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Fry, T. (2020b). Introduction. In Defuturing: A New Design Philosophy
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Garrison Institute. (2021). The More than Human World with David Abram. In
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Haraway, Donna. The Companion Species Manifesto: Dogs, People, and Significant
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Belo Horizonte, October 2011. Educação Em Revista, 29(3), 301–323.https://doi.
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Irwin, T., Kossoff, G., & Tonkinwise, C. (2013, October 12). Transition
Design: Re-conceptualizing Whole Lifestyles. Head Heart Hand: AIGA
Design Conference. https://www.aiga.org/inspiration/talks/
terry-irwin-gideon-kossoff-cameron-tonkinwise-transition-design-re
Kahn, S. (n.d.). I can smell the water. https://www.saskiakahn.com/
i-can-smell-the-water-2
Krenak, A. (2019). Ideias para adiar o fim do mundo. Companhia Das Letras.
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Krenak, A. (2020b). O Amanhã Não Está a Venda (Tomorrow is not for Sale).
Companhia das Letras.

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Malafouris, L. (2013). Introduction. In How Things Shape the Mind : A Theory of
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Mothes, K. (2022, November 11). Nathalie Miebach Weaves Data and Anecdotes into
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of Minnesota Press.
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Action. 1 edition. New York: Basic Books.
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possíveis. Arcos Design, 11(2), 7–25. https://doi.org/10.12957/
arcosdesign.2018.47515
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(Eds.),Design and Nature: A Partnership. Earthscan - Routledge.
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the gigantic, the souvenir, the collection. Duke University Press.
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Stewart, S. (1993c). The Miniature; The Secret Life of Things and Miniature Time.
In On longing: Narratives of the miniature, the gigantic, the souvenir, the collection.
Duke University Press.

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Tharp, B. (2018). What is the four-Field Framework? In Discursive design : critical,
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Destructive Divide Between People and the Environment.

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1(2), 153–172. https://doi.org/10.7454/in.v1i2.20
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24
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Curator: The Museum Journal, 56(1), 3–9. https://doi.org/10.1111/cura.12001
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Objects.

100

Appendix A:
Our Time Capsule
REB Approval

Emily Carr University Research Ethics Board (ECU-REB)
Research + Industry Office
520 East 1st Avenue
Vancouver, BC V5T0H2
+1 604 844 3800 ext 2848
ethics@ecuad.ca
CERTIFICATE OF RESEARCH ETHICS APPROVAL

The Emily Carr University Research Ethics Board approves the following project:
File #
100483

Title
Our Time Capsule

Principle Investigator:
S. Gaur

Other Investigators
G. Borba

The current approval dates are:
Approval Date
May 18, 2022

Expiration Date
May 1, 2023

The nature of the approval is as follows:
Type of Event
New Approval Process

Type of Review
Delegated Review

Approved Documents
Recruitment material
Timetable
Consent form

It is the researchers’ responsibility to meet all research ethics requirements in the jurisdictions in which the research takes place.
The procedures and protocols described in this certification must be followed closely. Note the following conditions associated
with this approval:
•

•

For multi-site or partnered research, researchers are required to comply with all research ethics requirements that
apply. Researchers are expected to share notice of this approval with partners, sites of research, or other research
ethics review boards, as applicable.
If changes to the approved application and documents are required by new partners, sites of research or other
research ethics boards, researchers are required to inform the ECU-REB of these changes.

Researchers are required to report anticipated changes, adverse incidents, and project completion for further research ethics
review. All reporting is managed through the research portal on the Research Management System Process Pathways Romeo https://ecuad.researchservicesoffice.com/. Login and complete “event” reports for changes, adverse conditions, renewals, and
the completion of this research ethics file.
This research ethics approval is in compliance with Tri-Council guidelines (TCSP2 2018) and Emily Carr University policies and
procedures.

Nick Conbere
Chair, Emily Carr University Research Ethics Board
Emily Carr University of Art + Design

figure A1: Ethics board approval document

101

REB Closure

3/13/23, 9:18 AM

Mail - Giulia De Oliveira Borba - Outlook

ECU-REB Review Results: Approved Final Report // "Our Time Capsule, File No:
100483"
do-not-reply-ecuad@researchservicesoffice.com <do-not-replyecuad@researchservicesoffice.com>
Mon 3/13/2023 9 13 AM

To: Sophie Gaur <sgaur@ecuad.ca>;Giulia De Oliveira Borba <gborba@ecuad.ca>
Cc: ethics@ecuad.ca <ethics@ecuad.ca>;research@ecuad.ca <research@ecuad.ca>;do-not-replyecuad@researchservicesoffice.com <do-not-reply-ecuad@researchservicesoffice.com>
March 13, 2023
Sophie Gaur
Faculty of Design + Dynamic Media
Emily Carr University of Art and Design
Dear Giulia and Sophie,
Re: Our Time Capsule, File No: 100483
Researchers: Sophie Gaur (Principal Investigator)
Miss Giulia de Oliveira Borba (Co-Investigator)
Thank you for completing and submitting the final report for this project to the Emily Carr University
Research Ethics Board (ECU-REB). The completion form has been reviewed and approved. This file is
now closed.
Thank you for participating in the research ethics review process at Emily Carr University of Art +
Design. Best wishes for future projects.
Sincerely,
Lois Klassen
Research Ethics Coordinator, Research + Industry Office
Emily Carr University of Art + Design
This email and attachments are intended solely for the use of the individual or organization to which it is addressed and may
contain information that is confidential. If you have received this email in error please notify the sender immediately by return
email to ethics@ecuad.ca.

figure A2: Ethics board closure email

https://outlook.office.com/mail/deeplink?popoutv2=1&version=20230303006.07&view=print

102

1/1

scenarios led to a greater understanding of

Summary

the scenarios impact as well as engaged the

General

participants in thinking first-hand about
their own connections to their past and

The “Our Time Capsule” project consisted

future-selves.

of the creation of narrative scenarios and
a workshop for participants to experience

Narrative scenarios/environments were the core

them. The workshop was conducted over 2

of this project. They aided in the reflection

consecutive days for half of the participants

of participants about their connections

and over 1 day for the other half.

across time. Additionally, they are examples
of varying possibilities of the future.

The following is a report on this project and
its results.

Reflections were completed by participants in
3 stages. First, they completed a conversa-

This workshop consisted of 4 participants.

tion to their future-selves. Then they expe-

Methods

rienced the narrative scenario (instructed to
pretend that they were then inhabiting the

This project used six methods.

future) and talked to their past selves. After

Literary and Historical Research was done into

that they “came back” to the present and

how to create narrative scenarios, but also

reflected once more on their connection to

on climate change impacts, and goals cities

their selves across time.

have and what areas they are addressing.

What the project was searching for

The information and knowledge acquired in
this phase helped with the imagination and

This project intended to inquire into our

creation of the narrative scenarios that were

connection to our future and past-selves.

central to the workshop and the project.

It specifically was designed to understand
the effectiveness of narrative environments

Making was focused on the artifacts and

within this area of inquiry. It was also a

ideas that the scenarios needed to take shape

way to create a visible connection between

and become effective in conveying the idea

present and future and understand how that

of a future. The making was done by the

could affect decision-making for the future.

researcher (Giulia), exploring the different

Part I: Preparing Environments

practices and materials that fitted what the
scenario needed, whether that was sewing,

Preparing the environments included

graphic design pieces, or recycling paper.

literary research and research into existing

What Ifs are a speculative design method that

narrative scenario projects. The creation

were used to think of the

of the scenarios posed some challenges,

narrative scenarios.

considering their development. I found it
necessary to come up with a series of

Workshop was central to this project. Having

questions to lead the way into thinking

participants come and experience the

about different and possible systems. I

103

set out create one scenario that was

Our Time Capsule

utopian and humans’ relationship to

Talk to future-self

nature had improved and was valued,

How connected do you feel to your future & past self?

and one where some values of our

1
Not at all

current world were exponentialized

How connected do you feel to your future & past self?

5

10
Extremely

and climate disasters were all around.
The “utopian” narrative scenario called
for less material representations.
And to represent the value-systems,
the ideas, and inner-workings of these
futures, both were accompanied by
a short story written for a specific
character that would inhabit the
scenario. Additionally, both scenarios
were similar in the sense that they
were both similar sized, had a desk,
figure A3: Reflection on connection of selves

and focused somewhat on a work area
of the character’s home.

Our Time Capsule
Talk to future-self

Part II: Talk to future-self

Reflect, write, sketch.

This part of the workshop had 3 stages.

What would you want to tell yourself in 50 years?

Firstly (figure A3) the participants were
asked to reflect on their connection to their
past- and future-selves. This was not only a
way to compare and analyze the effectiveness on the narrative scenario, but it was
also a chance for participants to start their

What skills do you want to have?

journey through time and realize that they
can create a connection between the selves.
The second stage (figure A4), which was
only given to the participants after they

Our Time Capsule

were done with the first stage, asked the

Talk to future-self

partici­pants to talk to their future-selves.

Reflect, write, sketch.

Lastly (figure A5), also only given once the

What do you want to teach yourself?

previous stage was completed, participants
were asked to reflect again on the connection they felt to their past and future-selves.

figure A4: Enter into dialogue with the future
104

people and the climate crisis had deeply

Our Time Capsule

worsened. Both narrative environments

Talk to future-self

were composed of artifacts that evoked

How connected do you feel to your future & past self?

the values and reality of that future world.
Additionally, they both had a small excerpt
of a story about an individual who would
have lived during that time. The artifacts
that composed this narrative scenario are
shown on the images on the next page.
Participants were told to pretend they were
inhabiting the future and to experience the
scenario as such, attempting to be immersed
in it. Each participant was assigned one of
the two scenarios to experience. This part
of the workshop happened after they had
already reflected on their connection to
figure A5: Reflection on connection of selves

their past and future-selves and had replied
to the questions about what they wanted

Part III: Discussion

their future-selves to know.

After participants talked to their future-

Part V: Talk to past-self

selves, we had a group discussion about

After participants interacted with the

the process and the activity. This was done

scenario and its artifacts, they were handed

only with two participants as the timeline

a new sheet of paper (figure A6) that

worked differently for different participants.

prompted them to talk to their past-self,

Part IV: Narrative Environment

keeping in mind that they were inhabiting
that scenario in the future. Participants

Following the part of talking to their future-

were allowed to stay within the narrative

selves, participants were asked to experience

environment to respond to this set

a narrative scenario. This was done with

of questions.

two participants on the same day as the

Part VI: Reflection

previous part and with two participants on
different days.

After participants had talked to their past-

There were two narrative environments

selves, they were invited to come out of the

created for this project. One was utopian

narrative environment and reflect on their

and focused on expanding our relation-

connection to their future and past-selves

ships the natural world and the other was

(figure A7–figure A8). The question about

a climate disaster, showing a world where/

answering this survey differently (figure

when the natural world was distant from

A8) proved to be somewhat redundant and

105

therefore participants were told that if they

Our Time Capsule

had answered that question in some way

Reflection

Would you answer any of the questions in the survey differently?

before, they could ignore the last page.

Our Time Capsule
Talk to past-self

Reflect, write, sketch.
What would you want to ask your past-self?

What would you want to warn your past-self about?

figure A8: Reflection on overall workshop

Analysis
As the researcher who had to prepare

figure A6: Enter into dialogue with the past

these scenarios, it was quite difficult to
imagine other futures, even though the
project depended on it. New inquiries then

Our Time Capsule
Reflection

started to arise: How can someone who is

How connected do you feel to your future & past self?

not setting themselves up to imagine these

1
Not at all

futures believe that there are different

5

10
Extremely

options and possible futures? How may

How connected do you feel to your future & past self?

we question and critique the world we are
in if we do not see other possibilities?
Based on participants, 3 out of 4 had an
increase on how connected they felt to their
future and past-selves, while 1 participant
had a decrease in the connection. Although
the shift in how they felt took place, the
question that came up was “how long this
shift in feeling connected will remain"
and “will it go back as time goes by? How
often do we need to remind ourselves of
figure A7: Reflection on connection of selves

106

future-self
(First Part)

4

(Last Part)

(numbers)
[first part last part]

(%)
[Change ÷
first part x
100]

7

3

75

Done in

CD

the connections so that we feel
connected?”
different
days

5

Lastly, the question of “Is it even useful
10

5

100

Done in

to be connected?” came up, asdifferent
the idea of

CD

days

3
7

of 4.75

feeling
anxious
about-66.66
the future
showed
upU
1
-2
Done
in
same day

in the conversation that took place during
9

2

6.75

2

28.57

the workshop.

Done in
same day

U

Scenario

CD

CD

U
U

figure A10: Graph of connection rates by participant

figure A9: Graph of change in connection rate by participant

Participant

Talk to
future-self
(First Part)

Reflection
(Last Part)

Change
(numbers)
[first part last part]

Change
(%)
[Change ÷
first part x
100]

Timeline

1

4

7

3

75

Done in
different
days

CD

2

5

10

5

100

Done in
different
days

CD

3

3

1

-2

-66.66

Done in
same day

U

4

7

9

2

28.57

Done in
same day

U

6.75

2

AVG [sum of 4.75
all 4 ÷ 4]

Scenario

figure A11: Table of comparison of connection rates

107

have to pack up quickly once the rains start

Narratives included with the scenarios

and they can’t sell their products for days

CD Scenario

until it has all been cleared.

It’s another day. I have spent the morning

After I walk around a little, I head back

designing the new vehicle. We are almost

inside. I feel a lot better in here, but I like

there. We are now working on making a

the space of the outside. I should go back

cheaper module, of course the more expen-

to work, but since I’m the boss, I can take

sive ones have been out already, but it’s

a few more hours off today. I decide to

expensive to build and the profit could

spend that time interacting with the online

be higher. I have also spent the day so far

community I am part of. We talk, play

managing the projects of the company, and

games with each other, and sell and buy

preparing for the acquisition I am spear-

products from each other. This is where

heading. The morning has been exhausting

I get most of my social interactions, but

already. So after exactly 3 hours of work, I

I don’t want much more than that. After

allowed myself a break for lunch, but since

some of that chilling time, I head into a

I have bought the new food we developed,

meeting to talk about the communication

it only takes me a few minutes to eat all the

industry and the acquisition I am making,

nutrients I need. As soon as I put the little

we are working on this deal for months

strip of paper in my mouth it dissolves,

now. It’s so tiring, I just want them to accept

it is so effective, I lack no nutrients and

the money and let me own it. After yet

the sensation of it in my mouth is pretty

another unresolved meeting, I log out of

pleasant, there is not even any work that

the digital-work interface. I’m done for the

goes into it, as soon as it dissolves—because

day. It’s time to get my night nutrients and

of the contact with your saliva— you can

shower. Then I can jump onto the enter-

swallow, and your body starts taking it all

tainment-interface or work on my personal

in. After lunch I took some time for myself.

project: the robot-assistant (yes, I am still

I put on my outside clothes. It’s hotter than

trying to work on my patented version, it

usual today, but thankfully I have my jacket

includes a few resources if the owner is

keeps the heat out and lets me avoid getting

caught unprepared for a natural disaster, I

sunburns. However, it has not rained in

think it will be a best-seller.) The day ends

weeks, and I don’t need to put my flood

and I head to sleep.

gear on, which is great since it’s a hassle to

U Scenario

get it all on. I have a pretty good infrastructure here, my block doesn’t get flooded,

It’s my birthday today, and this has made me

but sometimes I like walking through the

reflect on my life, as it usually does. I have

high-end tech market, which does get wet

been told the world was much different

a lot—a few years ago that would have

before I was born. We—humanity—used

worried people, but now it is all waterproof

to use money, apparently, as an excuse to

because we have become prepared for the

continue planet-damaging habits, not indi-

floods. The problem is the not-so-high-end

vidually—because we can’t expect those

part of the market, those are still not

who struggled to put food on the table to

completely waterproof and so the vendors

sacrifice even more, to be careful to only

108

buy organic when they can barely buy the

I decided to start with a special breakfast,

processed food those with money don’t even

I made French toast, obviously I used the

want, or to decrease their plastic consump-

bread I bought from the local bakery, my

tion—but in a bigger level. We restructured

best friend works there, and I admire her

our systems to have our and the planet’s

work so much. She founded this bakery

well-being above money.

to help people who have had hard times
keeping jobs, it’s not a place you have to stay

We measured no expense during this tran-

forever, but it’s a place where you can learn

sition—yes, the rich were taxed—but other

new skills and gain good team working

measures were taken as well. We began

experience. I added some of my straw-

to shift our priorities, it wasn’t about the

berries, of course some people have huge

most advanced phone, or the person who

gardens, but I’m grateful for the amount I

purchased most things. Now the system

have in this apartment, and whatever I can’t

itself is different, hard to imagine right?

plant, I can find at the local farmer's market.

Well, hard to imagine a world so characterized by inequality existed if you were born

I do have to work today, but I enjoy it quite

recently, but hard to imagine where we are

a lot. I work in creations, so I spend my

now if you lived most of your life in the

days imagining, dreaming, creating, making.

20th and early 21st centuries.

I’m currently working on two projects,
transportation and energy. We finally found

But here we are now. There are still issues,

a way to harness the energy of lightning

don’t get me wrong, but they are not about

and I’m designing a prototype that will get

poverty, hunger, lack of access to healthcare,

that energy and the energy from rainwater

pollution, intensifying climate collapse. We

impact while filtering the rainwater. It’s

still talk about ethics and morals, stories of

quite a lot of work, but with the help of my

creation, we’re still dealing with saving the

team we have been getting closer and closer

planet, we started and nature is resilient,

to a working prototype.

but there’s still a long way for its and
our rehabilitation.

After the day is done, I will head to a dinner
party for my birthday in the community

There are diseases, secrets of the universe

garden, most of my friends are coming.

we are still trying to find, death, love, evil,

After that, my sister is coming over so we

goodness. We are still struggling with much

can hang out for a bit and talk, I so enjoy

of what humanity has experienced over the

my conversations with her, from trivial

years, but we decided we aren’t alone, we

funny stories to deep philosophical debates.

decided we are not just for ourselves, but

After she heads back to her home where

for each other and for the world. And so

she lives with her partner, I’ll curl up in bed

now, we consider other cosmologies and

and watch a movie or read a book.

beings in our lives and discoverings.
But going back to my day, as soon as the
sunlight came into my apartment, I found
myself smiling. This is a day to celebrate me
and also celebrate all my connections to the
world around me.
109

Appendix B:
Let's Build Tomorrow
REB Approval

Emily Carr University Research Ethics Board (ECU-REB)
Research + Industry Office
520 East 1st Avenue
Vancouver, BC V5T0H2
+1 604 844 3800 ext 2848
ethics@ecuad.ca
CERTIFICATE OF RESEARCH ETHICS APPROVAL

The Emily Carr University Research Ethics Board approves the following project:
File #
100485

Title
Let's Build Tomorrow

Principle Investigator:
S. Gaur

Other Investigators
G. Borba

The current approval dates are:
Approval Date
May 18, 2022

Expiration Date
May 1, 2023

The nature of the approval is as follows:
Type of Event
New Approval Process

Type of Review
Delegated Review

Approved Documents
Recruitment material
Timetable
Consent form

It is the researchers’ responsibility to meet all research ethics requirements in the jurisdictions in which the research takes place.
The procedures and protocols described in this certification must be followed closely. Note the following conditions associated
with this approval:
•

•

For multi-site or partnered research, researchers are required to comply with all research ethics requirements that
apply. Researchers are expected to share notice of this approval with partners, sites of research, or other research
ethics review boards, as applicable.
If changes to the approved application and documents are required by new partners, sites of research or other
research ethics boards, researchers are required to inform the ECU-REB of these changes.

Researchers are required to report anticipated changes, adverse incidents, and project completion for further research ethics
review. All reporting is managed through the research portal on the Research Management System Process Pathways Romeo https://ecuad.researchservicesoffice.com/. Login and complete “event” reports for changes, adverse conditions, renewals, and
the completion of this research ethics file.
This research ethics approval is in compliance with Tri-Council guidelines (TCSP2 2018) and Emily Carr University policies and
procedures.

Nick Conbere
Chair, Emily Carr University Research Ethics Board
Emily Carr University of Art + Design

figure B1: Ethics board approval document

110

REB Closure

3/13/23, 9:10 AM

Mail - Giulia De Oliveira Borba - Outlook

ECU-REB Review Results: Approved Final Report // "Let's Build Tomorrow, File No:
100485"
do-not-reply-ecuad@researchservicesoffice.com <do-not-replyecuad@researchservicesoffice.com>
Mon 3/13/2023 9 10 AM

To: Sophie Gaur <sgaur@ecuad.ca>;Giulia De Oliveira Borba <gborba@ecuad.ca>
Cc: ethics@ecuad.ca <ethics@ecuad.ca>;research@ecuad.ca <research@ecuad.ca>;do-not-replyecuad@researchservicesoffice.com <do-not-reply-ecuad@researchservicesoffice.com>
March 13, 2023
Dr. Sophie Gaur
Faculty of Design + Dynamic Media
Emily Carr University of Art and Design
Dear Giulia and Sophie,
Re: Let's Build Tomorrow, File No: 100485
Researchers: Dr. Sophie Gaur (Principal Investigator)
Miss Giulia de Oliveira Borba (Co-Investigator)
Thank you for completing and submitting the final report for this project to the Emily Carr University
Research Ethics Board (ECU-REB). The completion form has been reviewed and approved. This file is
now closed.
Thank you for participating in the research ethics review process at Emily Carr University of Art +
Design. Best wishes for future projects.
Sincerely,
Lois Klassen
Research Ethics Coordinator, Research + Industry Office
Emily Carr University of Art + Design
This email and attachments are intended solely for the use of the individual or organization to which it is addressed and may
contain information that is confidential. If you have received this email in error please notify the sender immediately by return
email to ethics@ecuad.ca.

figure B2: Ethics board closure email

https://outlook.office.com/mail/deeplink?popoutv2=1&version=20230303006.07&view=print

111

1/1

influences us. Additionally, the artifacts are

Summary

important to demonstrate how much we

General

have changed, not personally, but generally.
Furthermore, it inquired into if a

This project is based on creating futures

connection to and an ability to see the

for the area of False Creek while looking

environment may help in the creation of

at its past and seeing the changes that have

more ecologically aware futures.

happened through time.

Part I: Interacting with the objects

The following is a summary of this project
and an analysis.

Participants were divided into groups (of
2 and 3) and asked to interact with objects

Methods

made (or acquired) based on the history

Historical Research was done into the

of False Creek. Although groups could see

history of False Creek for the creation of

each other’s objects, each group was asked

design probes.

to interact with a certain set—the natural
world objects, the human-made ones, or

Material Exploration this was used for the

interact with both. Some groups were very

creation of design probes.

interested in the objects, and some seemed

Design probes were objects created by the

more interested in starting to create the

student researcher based on False Creek’s

future quickly.

history in order to establish a place-based

Part II: Creating future

story for participants to create their futures.
These included clay sculptures, store-bought

Participants were then asked to create

objects, biomaterials, and berries to repre-

a future within their groups by talking,

sent the flora, fauna, and human-made

writing, sketching, or using any of the

history of the region.

collage materials that were brought.

Collaging. Participants were allowed various

Part III: Sharing

methods to create the future, but the

Participants were then asked to share their

method mostly used was a collage of

group’s vision of the future of False Creek

materials from magazines to paper cut-outs

and share their creations.

to photo slides.

Part IV: Survey

What the project was searching for

Later participants were asked to respond

This project aimed to find ways to see

to a survey as a reflection. Although not all

change and understand how that affects

participants responded.

our visions for the future. It is a way to see

Analysis

change and different possibilities but also
question them and our places in the world.

Interestingly all futures created were

The workshop is a way to think about a

ecologically aware and all groups chose to

future collectively while discovering what
112

use collaging and making instead of writing/

The creations and explanations showed

just talking. Some participants knew more

a recognition of the lack of awareness of

about the history of False Creek and told

the environment today, but also projected

stories of the area.

futures that considered MtHs more. Ideas
of power to change were also brought up
through an explanation of the creation.

Objects used in the workshop

figure B3: Blue mussels made of clay

figure B6: Industry made of clay

figure B4: False Creek's shoreline made of biomaterial

figure B7: House representing the residential area

figure B5: Blueberries representing flora

figure B8: Rails toy representing the Pacific Railway Company

113

Appendix C:
Making and Living with our Natural World Memories
REB Approval

Emily Carr University Research Ethics Board (ECU-REB)
Research + Industry Office
520 East 1st Avenue
Vancouver, BC V5T0H2
+1 604 844 3800 ext 2848
ethics@ecuad.ca
CERTIFICATE OF RESEARCH ETHICS APPROVAL

The Emily Carr University Research Ethics Board approves the following project:
File #
100486

Title
Making and Living with our Natural
World Memories

Principle Investigator:
S. Gaur

Other Investigators
G. Borba

The current approval dates are:
Approval Date
May 18, 2022

Expiration Date
May 1, 2023

The nature of the approval is as follows:
Type of Event
New Approval Process

Type of Review
Delegated Review

Approved Documents
Recruitment material
Timetable
Consent form

It is the researchers’ responsibility to meet all research ethics requirements in the jurisdictions in which the research takes place.
The procedures and protocols described in this certification must be followed closely. Note the following conditions associated
with this approval:
•

•

For multi-site or partnered research, researchers are required to comply with all research ethics requirements that
apply. Researchers are expected to share notice of this approval with partners, sites of research, or other research
ethics review boards, as applicable.
If changes to the approved application and documents are required by new partners, sites of research or other
research ethics boards, researchers are required to inform the ECU-REB of these changes.

Researchers are required to report anticipated changes, adverse incidents, and project completion for further research ethics
review. All reporting is managed through the research portal on the Research Management System Process Pathways Romeo https://ecuad.researchservicesoffice.com/. Login and complete “event” reports for changes, adverse conditions, renewals, and
the completion of this research ethics file.
This research ethics approval is in compliance with Tri-Council guidelines (TCSP2 2018) and Emily Carr University policies and
procedures.

Nick Conbere
Chair, Emily Carr University Research Ethics Board
Emily Carr University of Art + Design

figure C1: Ethics board approval document

114

REB Closure

3/13/23, 9:11 AM

Mail - Giulia De Oliveira Borba - Outlook

ECU-REB Review Results: Approved Final Report // "Making and Living with our
Natural World Memories, File No: 100486"
do-not-reply-ecuad@researchservicesoffice.com <do-not-replyecuad@researchservicesoffice.com>
Mon 3/13/2023 9 07 AM

To: Sophie Gaur <sgaur@ecuad.ca>;Giulia De Oliveira Borba <gborba@ecuad.ca>
Cc: ethics@ecuad.ca <ethics@ecuad.ca>;research@ecuad.ca <research@ecuad.ca>;do-not-replyecuad@researchservicesoffice.com <do-not-reply-ecuad@researchservicesoffice.com>
March 13, 2023
Sophie Gaur
Faculty of Design + Dynamic Media
Emily Carr University of Art and Design
Dear Giulia and Sophie,
Re: Making and Living with our Natural World Memories, File No: 100486
Researchers: Sophie Gaur (Principal Investigator)
Miss Giulia de Oliveira Borba (Co-Investigator)
Thank you for completing and submitting the final report for this project to the Emily Carr University
Research Ethics Board (ECU-REB). The completion form has been reviewed and approved. This file is
now closed.
Thank you for participating in the research ethics review process at Emily Carr University of Art +
Design. Best wishes for future projects.
Sincerely,
Lois Klassen
Research Ethics Coordinator, Research + Industry Office
Emily Carr University of Art + Design
This email and attachments are intended solely for the use of the individual or organization to which it is addressed and may
contain information that is confidential. If you have received this email in error please notify the sender immediately by return
email to ethics@ecuad.ca.

figure C2: Ethics board closure email

https://outlook.office.com/mail/deeplink?popoutv2=1&version=20230303006.07&view=print

115

1/1

then create using the natural materials a

Summary

visualization of a landscape from their own

General

memories. The workshop participation
was important as I was looking at how

Making and Living with our Natural World

participants’ making could play a role in the

Memories was a project composed of 3

connection to the natural world and to

parts: a discussion (held in July/2022), a

their pieces.

session of making (held on the same day in
July/2022), and lastly living with a piece

Living with was used as a method to attempt

created in the workshop for 6 weeks and

to continue the connection between the

weekly reflections.

participants and their pieces as well as to
support the ability to see change.

At the beginning of the workshop,
partici­pants were asked to answer a survey

Lastly, participants were asked to actively

regarding their connection to the natural

reflect on their pieces. Again, positioning

world (How connected do you feel to the

participants to see changes that were

natural environment?) and their concern

happening to their pieces and potentially

for the climate crisis (How worried are

increasing their relation to it.

you about climate change?). The survey

What the project was searching for

was applied again once the workshop was
concluded and one more time after the

The workshop focused on understanding

entire project (weekly reflections) came to

how we view the natural environment and

an end.

how making could enhance our connection
to it. Moreover, I sought to understand more

The following is a report on this project and
its analysis.

about our ability to see process and change.

This project consisted of 3 participants and

asked to pay attention to the changes that

the researcher who took part in some of

took place in their pieces. The workshop

the activities.

intended to inquire into the relationships

With the living with part, participants were

we have with the natural world and focused

Methods

on learning ways to actively pay attention

This project used four methods.

to it. Lastly, the workshop looked at how
intentional reflection can play a role in our

Making was used as a method to create

ability to see change and in fostering

connections between the participants

a connection.

memories and their creations, creating

Part I: Discussion

a connection between themselves and
their pieces.

The workshop started with a discussion

The workshop in itself was a participatory

about how we viewed the natural world,

method. Participants were asked to take part

how we felt about it, when did we pay

in a discussion about the natural world and

attention to it, among other questions that

116

came up throughout the conversation. The

Part II: Making

discussion was recorded for the researcher

For the making part, participants were asked

to listen back and analyze, and potentially

to visualize a memory they had in or about

quote participants in the report or the thesis

the natural world. They were to use natural

document (covered by the consent form).

materials to make their compositions.
Flowers (figure C3) were supplied, as well
as spices such as cinnamon and turmeric.

Part III: Living with
After the workshop, participants were asked
to take their creations home and live with
them. They had known of this part of the
project as the workshop started. Every week,
participants received a survey that asked
them to reflect on their pieces, stimulating
an active and intentional reflection. The
survey included the following questions:
• Has anything physically changed in
your piece? What?
• How do you feel about your
creation/piece?

figure C3: Flowers and river stones; materials for making.

• Do you have any other comments?
This part took approximately 6 weeks, with
the last reflection survey being sent out on
August 22nd for the week of Sunday August
21st to August Sat 27th.
In their responses participants were asked
to include a flower name that acted as their
codename and was drawn in the workshop,
these names were not to be shared as
to maintain some anonymity in the
survey platform.

Analysis
Some aspects seemed important in the
reflections when thinking about change, our
figure C4: Table set up for making session.

117

connection and impact in the natural world.

have been because the flowers were not

Participants pointed to:

pet-friendly, but that is uncertain.

• Independence of living material;

It seems then interesting that this could not
only have affected their connection to the

• Change leading to being upset;

pieces/natural world, but also may point
to the idea of using the natural world as

• Wanting to fix it or to have created it

resource and trying to establish a barrier

differently;

between that.

• Some change was surprising;

This workshop, and its discussion and

• Participants also pointed to different

reflection, are also helpful in understanding

senses such as tactility when there was no

some of the emotions that come due to the

visual change.

climate crisis, such as the problem being
systemic, not knowing how to act, and ideas

Participant changes on how connected

of access to the natural world.

they feel to the natural environment and
on their concern with climate change are
shown in the graphs to the right
(figure C5–figure C6).
Overall, it is hard to determine how much
and for how long the workshop affected
the participants. However, the project did
bring forth to them an interaction to the
natural world that may not have increased
every single participant's connection, but
did showcase change and insights into such

figure C5: How Connected do you feel to the natural
environment graph

aspect, it also did influence at least one
participant, who started with the lowest
connection and worry, which may be an
indication that this is an interesting way to
respond to the climate crisis for those that
do not feel very connected to the natural
world at first.
It was also an interesting project to take
on just based on the idea of creating with
natural materials. The participants received
flowers, a basil plant, spices, and stones to
execute their visualizations. One participant
used an entire plant, and another used no

figure C6: How worried are you about climate change graph

flowers and only spices and stones—it may
118

Appendix D:
Printing with Clay
General
Because the use on linoleum or the rubber
material for printmaking seemed very
wasteful, I decided to explore a different
material from which to make my prints.
Utilising clay without firing it would allow
me to recycle it back into moldable clay.
(I am still in the experimentation phase)
This process is still in its initial stages and
I would like to continue research into it to
determine better its processes and feasibility.

Steps I took:
figure D1: Clay

1: Roll a slab of clay to the dimensions you
need (figure D2);
2: Carve your piece, you can wait for the
clay to dry, but do not let it get bone-dry
as you may break the slab (figure D3);

3: Prepare the ink and fabric
3.1: Make soy milk (figure D4)
3.2: Soak fabric in soy milk and let dry
(figure D5–figure D6)

3.3: Combined earth pigment with soy
milk and agar (for consistency)
(figure D7)
4: If your clay if bone-dry, wet it enough so
that it won’t break when pressed on and

figure D2: Rolled slab of clay

the ink will not get soaked into;
5: Spread the natural dye on clay and print it
on the fabric (figure D8);
6: Allow fabric to dry (figure D10).

119

figure D3: Carved clay

figure D4: Soy milk preparation

figure D5: Soaking fabric

figure D6: Drying fabric

120

figure D7: Ink with earth pigment from Maiwa

figure D8: Printing process

figure D9: Printed fabric

figure D10: Drying prints

121

Appendix E:
TCPS 2 Core Certificate

PANEL ON
RESEARCH ETHICS

TCPS 2: CORE 2022

Navigating the ethics of human research

Certificate of Completion
This document certifies that

Giulia de Oliveira Borba
successfully completed the Course on Research Ethics based on
the Tri-Council Policy Statement: Ethical Conduct for Research
Involving Humans (TCPS 2: CORE 2022)
Certificate # 0000790673

22 January, 2022

figure E1: Ethics board approval document

122

Typography
This document is typeset in
Body: Adriane regular 10/17
Headings: Seiva regular 14/21
Subheadings 1: Seiva bold 11/16
Subheadings 2: Seiva regular 11/15

Mente Ambiente:
dialogues within, dialogues with us
Giulia de Oliveira Borba
Supervisor: Dr. Sophie Gaur