Kai Lehikoinen & Satu Tuittila — Arts‑Based Approaches for Futures Workshops

DOI:10.1002/ffo2.182

ORIGINALARTICLE

Arts‐basedapproachesforfuturesworkshops:Creatingand interpretingartisticfuturesimages

KaiLehikoinen1 | SatuTuittila2

1ResearchInstitute,UniversityoftheArts Helsinki,Helsinki,Finland

2OpenCampus,UniversityoftheArts Helsinki,Helsinki,Finland

Correspondence

KaiLehikoinen,ResearchInstitute,University oftheArtsHelsinki,Helsinki,Finland.

Email: kai.lehikoinen@uniarts.fi

Fundinginformation

EuropeanCommission'sErasmus+Knowledge Alliance

Abstract

Asamultidisciplinaryfield,futuresresearchborrowsapproachesfromdifferent disciplines.However,itoftenignoresthepotentialoftheartsonalargescale,even thoughtheartsembracecreativityandoftendepictandnarrateimaginedfutures. Thisarticleappliesacasestudyapproachtoreviewandcategorizeselectedarts‐basedapproachesandassesstheirpotential strengthsandlimitations forfutures workshopsinhigherartseducationcontext.Theapproachesweretriedextensively inArtSchoolFuturesLabs(15testlabsand12actuallabs)andasummerschoolin eightEuropeancountries.Threecaseexamplesarescrutinizedinmoredetailto illuminatetheiruseinthecocreationoffuturesimages.Oneartisticfuturesimageis discussedwithintheframeworksofWittgensteinianaspectperceptionand intertextuality,highlightingtheimportanceofinterpretationinunpackingthe complexmeaningsthatartisticfuturesimagesconvey.Finally,somerecommendationsaregiventosupportthesuccessfuluseofarts‐basedapproachesinfutures workshops.

KEYWORDS

ArtSchoolFuturesLab,arts‐based,cocreation,futuresimage,futuresworkshop,interpretation

1 | INTRODUCTION

Inrecentdecades,futuresworkshopmethodshavemultipliedand evolvedinmanydirections.Thistrendparallelsthesocialturninthe arts(Bishop, 2006),thegrowingadoptionofsociallyengagedarts practicesinnon‐artscontexts(e.g.,BerthoinAntal, 2013;Huss& Bos, 2022;Schiuma, 2011),andtheincreasingpopularityofarts‐basedresearchwithinqualitativeinquiryindisciplinessuchas anthropology,education,health,andpsychology(Wangetal., 2017). Duringthepastdecadeorso,scholarshaveexploredthepotentialof artisticthinking,arts‐basedapproaches,andcreativearts‐based researchforfuturesstudies(e.g.,Candy, 2010;Gannon& Naidoo, 2020;Lyon&Carabelli, 2016;Mullooy, 2022).However, integratingtheseapproachesintofuturesworkshopsremains relativelylimited,andresearchonarts‐basedapproachesinfutures studiesisstillscarce.Thisarticlepresentsourexperiencesand findingsfromapplyingselectedarts‐basedapproaches,investigated

andassessedaspartoftheFuturesArtSchoolTrends2045 abbreviatedasFAST45 project.1 Theidentifiedgapwasaddressed aswedesignedafuturesworkshopapproachtailoredspecificallyto higherartseducationinstitutions.

BuildinguponIversen's(2006)ideasoffuturesthinking methodologiesforeducation,theaimofthisstudyistwofold.First, weinvestigatehowfuturesworkshopscanderiveadvantagesfrom amalgamatingnonlinear,free‐flowing,andplayfuldivergentthinking fromtheartswiththesolution‐orientedrationalityofconvergent thinking.InlinewithIversen(2006),weproposethatfutures workshopscanfacilitateanexploratoryandcreativeprocess, combiningthestrengthsofboththinkingstyles.Thisperspective guidesourinterestinexperimentingwitharts‐basedapproachesin futuresworkshops.

Artisdiverse,andthereareincreasinglyvariousandconflicting perceptionsofartandtheartist(Gielen, 2015).Drawingfromthe philosophicalfoundationsinformedbyJohnDewey,Barendvan FuturesForesightSci.2024;6:e182. wileyonlinelibrary.com/journal/ffo2 ©2024JohnWiley&SonsLtd. | 1of13 https://doi.org/10.1002/ffo2.182

Heusden,LudwigWittgenstein,andDavidBest,ourperspectiveon art'sroleincreatingfuturesimagesemphasizesart'ssignificancein everydaylife,humanexperience,andsocialinteraction.We acknowledgethecontributionofcontemporarytheoristssuchas SuziGablikandJacquesRancièretotheexpandedunderstandingof artandtheusefulnessofthecriticalframeworkstheirtheories providetostudyvariousdimensionsofart‐basedapproaches.

Gablik's(1991)argumentsabouttheroleofartinfostering communitydialogandthetransformativepotentialofparticipatory andsociallyengagedartspracticestogetherwithRancière's(2004) explorationoftheintersectionofpoliticsandestheticsandhowart disruptsestablishedhierarchiesandchallengesdominantpower structureshavegreatrelevancefordiscussionsonarts‐basedworkin differentcontexts,includingfuturesthinking.However,inthisarticle, weaffirmtheenduringrelevanceofDeweyandWittgenstein's insightsforourresearchmethodologyanditswiderapplicationsin studyingarts‐basedapproachesindifferentcontexts.

Dewey's(1934/2005)conceptpositionsartasaprocessthat facilitatestheexpressionandorganizationofexperiences,fostering learningandunderstandingoftheworld.VanHeusden(2015) extendsthisviewbydefiningartasacognitiveactivitymaterializing lifeexperiencethroughvariousforms,promotingreflectiveimaginationwithoutcompromisingautonomy.Notably,artisticartifactsand performances,asweexperiencethem,evokethoughts,emotions, andbodilysensations,whicharesignificantlycontingentonsocial practicessuchaslanguageandculture(Best, 1986, 1992).

Here,Wittgenstein's(1953/2009)ideaofaspectperception helpsusunderstandthedynamicprocessofinterpretingfutures imagesinarts‐basedfuturesworkshops,whichconstitutesthe secondinterestofourstudy.Wittgensteinexplorestheideathat perceptioninvolvesmorethanjustthephysicalactofseeing(I perceivex);italsoencompassestheconceptualdimensionof recognizingorinterpretingwhatisseen(Iinterpretxashavinga particularmeaning).Hewrites, “Iobserveaface,andthensuddenly noticeitslikenesstoanother.Iseethatithasnotchanged;andyetI seeitdifferently.Icallthisexperience ‘noticinganaspect’” (Wittgenstein,1953/2009,§113,p.203).Exemplifyingaspect perception,heintroducestheclassicduck‐rabbitillusiontoshow thattheimagecanbeseenaseitheraduckorarabbit,highlighting thefluidityofperception.Ourperceptions,Wittgensteinclaims,are subjecttoshiftsinfluencedbyaspects “lightingup [inprocesses involving]halfvisualexperience,halfthought” (Wittgenstein,1953/ 2009,§140,p.207).

WefindthisWittgensteinianideaofaspectperceptionresonatingwithUmbertoEco'sconceptofthereader.Insemiotics,Eco (1979)emphasizesthereader'sactiveroleinconstructingmeaning fromatext.Heviewsatextasanopenwork,andthereaderplaysa crucialpartinitsinterpretation notasapassiverecipientoffixed meaningsimposedbytheauthor,butasanactiveagentengaging withthetext,bringingtheirownexperiences,culturalbackground, andinterpretationstothereadingprocess.Followingapoststructuralistthought,influencedbyDerrida's(1967/1976)ideathat language,discourse,andtextualityplayafundamentalroleinshaping

ourunderstandingofreality,interpretingartisticfuturesimagescan beseenasaformoftextualreading.Therefore,inthisarticle,weuse “reading” intandemwith “interpreting” aswediscussthemeaning‐makingofartisticfuturesimages.

Thus,thisarticleemploysadualfocusthatisintegraltoour research.Ononehand,wereportourexperimentationwitharts‐basedapproachesinfuturesworkshops,settingthescene(futures jump)andcreatingfuturesimages.Ontheotherhand,westriveto articulatetheprocessofinterpretationinreflectinguponthe cocreatedfuturesimageswithanintertextualapproach.Our objectiveistoassessandcategorizethevariousarts‐based approachesexperimentedwithinthecontextoftheFAST45project forfuturesworkshopapplications.However,wedonotintendto reportastrictcomparativestudyoftheusabilityoftheseapproaches butratherpointouttheirstrengthsandweaknesses.Thisassessment willconciselyreviewtheseapproachesanddelvedeeperintothe subjectwiththreespecificcaseexamples.Followingthat,wewill exploretheinterpretativedimensionofartisticfuturesimagesby scrutinizingoneofthecaseexamples afilmscene throughthe theoreticalframeworkofintertextuality,sheddinglightonthe interconnectednessoftextualinterpretationanditsrelevanceto futuresimages.Wewillarguethatwhileartisticallycreatedfutures imagesarerichinideas,theirfullpotentialforcontributingto,for example,scenario‐buildingbenefitsfromanuancedprocessof interpretation.First,however,wewillstartbycontextualizingour researchandintroducingitsmethodology.

2 | BACKGROUND

Alignedwiththeaforementionedphilosophicalstance,ourperspectiveofarts‐basedapproachesinfuturesworkshopsembracesarts‐basedlearning(Nissley, 2010).Employingawiderangeofcreative andcriticalinquirytechniquesacrossvariouscontexts,includingarts‐basedresearch,organizationaldevelopment,socialeducation,and societalimpact(Boal, 1979;Pässilä, 2012;Schiuma, 2011;Wang etal., 2017),theseapproachesutilizearts‐basedthinking,creativity, andvariousartisticmediums forexample,film,literaryarts,music, performingarts,visualarts toexplore,express,interpret,anddepict complexresearchquestionsorconcepts.Throughcreative,sensory, andcollaborativeengagement,theyempowercommunitiesand enhanceobservationalabilities,creativethinking,andinnovation processesforindividualsandgroups(Lehikoinen&Siljamäki, 2023).

Forexample,theintegrationofartandeducationcanbefoundin initiativeslikeutopianpedagogyinsociology(Salmenniemi etal., 2024)andtheFuturesSchoolinFinnishbasiceducation (Lastenjanuortensäätiö, 2020).Moreover,artanditsdiverse approacheshavefoundextensiveapplicationinmakingvisibleor criticallyassessingthepresent,asseeninorganizationaldevelopment andbusinesscontexts(e.g.,BerthoinAntal&Strauß, 2013; Darsø, 2013;Pässilä, 2012;Schiuma, 2011).Theseapproacheshave alsosupportedsustainabilitytransitionsduringtheecologicalcrisis (e.g.,Huhmarniemi, 2023;Latvala‐Harvilahti, 2021).Notably,someof

theseexpressionshavetakentheformofperformances,as exemplifiedinworkslikeVähinäänin(2021)andSilentopia(2022).

Inorganizationaldevelopmentcontexts,MeisiekandBarry (2018)notethatmeaningfulinsights,evokedbyartisticexperiences thatare “truetotheformulatedproblem” (Meisiek&Barry, 2018, p.480),playacrucialroleineffectivearts‐basedlearning.This highlightstheroleofmeaning‐makingandinterpretationinset contexts(Weicketal., 2005)andcollaborativeapproacheswhere meaningsunfold “inaniterative,activeandintenseway,toenable participantstoforayintonewexperiences” (Flamandetal., 2022, p.18).AlongwiththeseideasandfollowingBest(1992),wefind reflectionpivotalforarts‐basedlearning,withmeaning‐making, occurringwithintherealmofinterpretation,unveilingqualitiesand meaningsthatareoftenabsentinimmediateartisticexperiences. Thisperspectivecompletesourviewonthemultifacetedrolesofart andarts‐basedlearninginshapingdiverseaspectsofhuman experienceandenvisioningpossiblefutures.

Buildingonthisperspective,ourexaminationofarts‐based approachesforfuturesworkshopsinthisarticleissituatedwithinthe contextofthesocialturninthearts,particularlyattheinterface betweenartisticinterventionsinorganizations,andsociallyengaged artspractices.Signifyingadeparturefromthemoretraditional conceptofartinthemodernera,thesocialturninthearts (Bishop, 2006)overrecentdecadesreflectsashifttowardssocial engagement,communityparticipation,andtransformativepractices incontemporaryart.Thistrendinvolvestheartsasacatalystfor collaborativereflectionandcocreation,andthestriveforsocial changebecominganintegralpartoftheartmakingprocess.For Helguera(2011),thedefiningfeatureofsociallyengagedartliesinits relianceonsocialinteractionasafundamentalaspectofitsexistence. Thisformofartprioritizescollaborationwithcommunities,fostering collectivereflectionandenvisioningmeaningsinspiredbycommunity themes.Sociallyengagedartspracticesrevolvearoundshared insightsandtransformativeendeavors,extendingbeyondtraditional artinstitutionstoinfluencesocialstructures.Applyingarts‐based learninginorganizationalandbusinesscontextsisoftenreferredto as “artisticinterventionsinorganizations” (BerthoinAntal, 2013). Theseinterventions,likearts‐basedlearningopportunitiesingeneral, canembodymultipleforms;theirdurationandtheuseofartistic domainsvary.However,theygenerallycontributewith “theiresthetic waysofknowinganddoing,ofengagingwithpeople,ideas,artefacts andspaces” (BerthoinAntal, 2013,p.8).Incontrasttothemodern individualisticartistconcept,rootedinliberalhumanism,socially engagedartsandartisticinterventionsredefinetheartist'sroleby emphasizingthefacilitationofcollaborativeprocessesoverindependentwork(Lehikoinen&Pässilä, 2016).

Webelievethatutilizingarts‐basedapproachesindesigning futuresworkshopsforhigherartseducationinstitutionsisbeneficial inmeetingthespecificneedsoftheseinstitutionstoenhancetheir futuresconsciousness.CurrentlynavigatingaturbulentVUCAworld, whichisvolatile,uncertain,complex,andambiguous(Bennett& Lemoine, 2014),highereducationinstitutionscansignificantlybenefit fromincreasedfuturesconsciousness(Lalotetal., 2020)in

consideringandtakingconcreteactionstowardpreferredfutures. Recognizingthisimperative,theFAST45projectwasinitiatedto specificallycatertotheneedsofhigherartseducationinstitutions. Theprojectencompassedexploringandinventoryingideasrelatedto thefuturesofhigherartseducationinstitutions,creatingresearch‐informedfuturescenarios,thedevelopmentofapedagogicalconcept foralearningplatform,andtheorganizationofadebateonpolicyand decisionactions.Throughthedevisedpracticalworkshopapproach ArtsSchoolFuturesLab weaimtoelevatetheirfuturesconsciousnessandequipthemtonavigatetheuncertaintiesofpossiblefutures (Lehikoinen&Tuittila, 2023).

3 | METHODOLOGY

Inthisstudy,weinvestigatedtheuseofarts‐basedapproachesin futuresworkshopsattheintersectionofarts‐basedresearchand futuresstudies.Inlinewiththedualfocusofourstudy,ourresearch questionsincluded:(1)Howcanarts‐basedapproachesbecategorized,andwhatistheassessmentoftheirusabilityinthecontextof futuresworkshops?(2)Whatinsightscanbegainedfromstudying theinterpretationofartisticfuturesimagesinthecontextofour researchfocus?

Weadoptedacasestudydesign(Merriam, 1998)toapproach ourresearchquestionsbytreatingarts‐basedapproachesinfutures workshopcontextsasdistinctentities.Withinthecasestudydesign, weemployedpurposivesampling(Merriam, 1998)togatherdata fromvarioussettings,including15testworkshops,12ArtsSchool FuturesLabs,andasummerschool,spanningeightEuropean countries.Theseactivitiesfocusedonenvisioningthefutureof higherartseducationandrelatedtopics,withparticipantsranging fromteachers,researchers,andstudentstoprofessionalartistsand representativesfromartsandculturalorganizations.Datacollection methodsincludedaliteraturereview,participantobservations, participantandfacilitatorsurveys,notes,creativeoutputs,and reflections.Theliteraturereviewcontributedtowardourtheoretical frameworkwithinthecasestudydesign.Anonlinesearchwas conductedusingGoogleScholarwithkeywords “art‐basedmethod,” “art‐basedlearning,”“sociallyengagedart” andtheirvariationsto identifypertinentliterature.Relevantliteraturewasalsosought throughextensivereadingandbyexaminingreferencescitedinthe identifiedtexts.

Inaddressingourfirstresearchquestion,weexploredand testedadiverserangeofarts‐basedapproaches,asdepictedin Figure 1.Thisexplorationaimedtoassesstheirusabilityinfutures workshopstailoredforparticipantsinhigherartseducation, encompassingbothstudentsandprofessionals.Toevaluate usability,weemployedathoroughapproach.Inadditiontoour observationsasworkshopfacilitators,weconductedanonline postworkshopsurveyforbothparticipantsandcofacilitators.Using aLikertscale(1 –5),wegaugedtheeffectivenessofthearts ‐based approachesininspiringparticipation,supportinggroupwork, facilitatingfocusonworkshopthemes,andaidinginthecreation

andpresentationoffuturesimagesandideas.Opencommentfields wereincludedtogatherinsightsintotheworkshopexperienceand receivesuggestionsforenhancingfutureworkshops.Inspiredby Byrne(2022),weemployedaninductivequalitativeapproachto extractexplicitandimplicitmeaningsfromthedata,consideringthe uniquenessofeacharts‐basedapproach.Weanalyzedeachdata sourceseparately,integratedfindingsthroughconstantcomparison (Millsetal., 2006),andalignedresultswithexistingliterature.The resultsofthisanalysis anapproximatecategorizationofdifferent arts ‐basedapproachesandtheassessmentoftheirusability are summedupinFigure 1 andfurtherarticulatedinthefollowing sectionofthisarticle.

Inaddressingoursecondresearchquestion exploringhow artisticfuturesimagesareinterpreted wedrewupontheWittgensteinianconceptofaspectseeing,emphasizingthepotentialfor multipleinterpretations.Ashighlightedintheintroduction,the illuminationofvariousaspectscanevokediverseinterpretationsin thereaderofafuturesimage.Expandingonthisnotionandadopting apoststructuralistperspective,weaimedtodelveintotheunderstandingofhowartisticfuturesimagesareinterpreted.Our methodologicalapproachtothisinquiryisvisuallydepictedin Figure 2,whereweillustratetheextensionofafuturesimage a filmsceneportrayinganartstudentwithanartchipimplantedinher brainforenhancedartisticskills beyonditsapparentboundaries

throughthelensofintertextuality(Allen, 2000;Frow, 1990; Kristeva, 1986).Thisillustrationdemonstrateshowourinterpretationsarisefromtheinterplaybetweenthefuturesimageandthe diversetextsitinvitesustojuxtapose.Theassociativeapproachwe employed similartoFreud's(1899/2010)freeassociationapproach usedinthearts,forinstance,amongSurrealists(Willette, 2011) was anintegralpartofourintertextualplay.Buildingonthisplay,welater constructedourinterpretativenarrativetitled “AFaustiantaleof learningintheneoliberalworld” inthisarticle.Thenarrativeservesas yetanotherfuturesimage,elicitingreaderresponsesregarding possiblefutures.

Fordatatriangulation(Patton, 1999)tobuildanin‐depth understandingofthearts‐basedapproachesinfuturesworkshop contexts,weapplieddatafrommultiplesources(seeabove)and memberchecks(Yanow&Schwartz‐Shea, 2006)bydiscussingour observationswithlocalworkshopco‐facilitatorsandsharingour preliminaryinterpretationsandconclusionswiththeconsortium partnerstocollectfeedbacktoensurethestudy'svalidity.Additionally,ourthree‐decadeexperienceinhigherartseducationandartistic andarts‐basedwork,coupledwithourknowledgeoffuturesthinking, positionedusas “insider” (Kemmis, 2009,p.29)researchersinarts‐basedapproacheswithinfuturesworkshopsforhigherartseducation institutions,whichwastheprimaryfocusofthisstudy.Next,wewill investigateindetailsomeofthearts‐basedapproachesascase examplesforourresearch.

OurresearchfollowedethicalguidelinesoutlinedbyUniartsHelsinki andALLEA'sEuropeanCodeofConductforResearchIntegrity,andno priorethicalreviewwasrequired.Weobtainedformalpermissionfrom

workshopparticipantsfordatacollection.Theartisticoutputswere cocreatedthrougharts‐basedapproachescommonlyusedinartistic interventionswithinorganizations andsociallyengagedart,emphasizing collaborativeprocessesandreflectionsratherthanfinalizedartistic artifactsorpublicperformances.Theseoutputsweredocumented throughphotography.Althoughsomeoutputswereestheticallyappealing,theirprimarypurposewithinFAST45'sfuturesworkshopswasnot focusedonesthetics.Participants' coreflectionsontheseoutputswere recorded.Theinformedconsent,signedbyparticipants,includedanote abouteffortstoanonymizematerials,thoughcompleteanonymitycould notbeguaranteed.Participantsagreedtotheuseofcollectedmaterials, includingartisticoutputs,forresearchpublications,teaching,and communication.

4 | ARTS ‐ BASEDAPPROACHESTESTED INTHEFUTURESWORKSHOPS

Theapproachesstudiedservedtwomainfunctionsinthetestworkshops andFuturesArtSchoolLabs:(1)astriggersforafutures‐orientedmindset attheworkshop'soutsetand(2)astoolsforcocreatingandreflectingon futuresimages.Thesummerschoolfeaturedaliveactionrole‐playing game(LARP)organizedbytheSchoolofCommonsandCarinaErdmann andStephHoll‐Trieuof 0ct0p0satZurichUniversityoftheArts(ZHdK) toimmerseparticipantsinafictional2045world,exploringthefutures imagesofartseducation.

InboththetestworkshopsandFutureArtSchoolLabs,we utilizedfuturesjumpexercises imaginaryleapsintimetoatarget

yearinthefuture byleveragingselectedvisualorauditorytriggers toinspireparticipantstoenvisioninnovativeideasforpreferable futures,movingbeyondconventionalviewsofthefutureas dystopian,utopian,ormerelyanextensionofthepresent(Heinonen &Ruotsalainen, 2013;Siivonenetal., 2022).Intheseexercises,we employedimaginarynewsheadlinesfromthefilmindustryin2045, imagesofalternativelearningspaces,amultisensoryobservation walk,andashortfilmpresentingamicrochippedartstudent.These triggersalwaysincludedashortintroductionoftheexercise,getting acquaintedwiththetriggermaterial,andcollaborativereflection uponthematerialsupportedbyguidingquestionsrelatedtoeach workshop'soveralltheme.

Wealsoemployedarangeofarts‐basedapproachesinthe collaborativecreationoffutureimages,akinto “‘snapshots’ ofpossible futures” (Jokinenetal., 2022,p.2),whichdepictpossible,probable,or preferredfuturesforhigherartseducation.Thisinvolvedinviting participantstodelveinto “whatnext” and “whatif” inquiries,envisioning therealizationofidentifiedtrendsandweaksignals,andconsideringtheir implicationsandsignificancefortheartsandhigherartseducation.To createthefuturesimages,weapplied,forexample,drawings,crafts,film, soundscapes,collaborativestorytelling,androleplays.Variedmaterials, suchascut‐outimagesandtexts,cardboard,crayons,yarn,Legos,andso on,wereutilizedtocreatefuturesimagesintheformofbricolageor installation(Figures 3 and 4).Theartificialintelligence(AI)DALL‐E2 imagegeneratorwasusedintwoworkshopstocreatefutureimages.

Figure 1 furtherabovesummarizesourprimaryfindings, encompassingthestrengthsandlimitationsofallarts‐based

approachesscrutinizedinthisstudy.Inthesubsequentsections,we willdelveintoamorecomprehensiveanalysisbyfocusingonthree specificcaseexamples:musicalsoundscapes,aLARP,andashortfilm usingmobilephones.

4.1 | Futuringwithmusicalsoundscapes

Theworldofworkischanging,andprofessionalismisexpandinginmusic andotherartfields(Danhash, 2018;Gaunt&Westerlund, 2021).This observationledustoinvitemusicstudentswithdiverseorientationsat UniartsHelsinki'sSibeliusAcademytoidentifyanddiscussweaksignals andemergingtrendsconcerningthepossiblefuturesofthemusicfield andmusicians'prospectivecompetencyneeds.Usingtheirobservations fromthediscussionintwogroups,we instructedthemtocollaboratively composeamusicalfuturesimageorsoundscapethatwouldillustratethe futuremusicians'workandlifein2045.Thestudentswereencouragedto becreativebyusingtheirvoices,anymaterialsathand,orthemusical instrumentstheyhadwiththem.Additionally,theyhadtheoptionto exploredigitalcompositionwiththeirlaptops.Thegroupshad45minto completethetaskbeforesharing theinstantandimprovisational outcomes.

Theoutcomes twodistinctmusicalsoundscapes conveyed intenseatmospheresandelicitedmanyemotions.Thefirstone combinedpianoplayingwitharubberglow areferencetoacyborg element withlivevoices,beepingcellphoneinterruptions,and interruptive,randomlyspoutingin‐appadvertisementsinfreecomputerapplications.Thesecondsoundscapeentailedcomputer‐created soundsoverlappingandmergingwithrecordingsinseverallanguages.

4.2 | LARP

DuringtheFAST45FootnotesSummerSchoolatZurichUniversityofthe Arts,studentsandartseducationprofessionalsparticipatedinatwo‐and‐a‐half‐daylive‐actionrole‐playinggamesetin2045,unfoldingfroma speculativescenario.Beforetheevent,eachparticipantcreateda

charactertoimmersethemselvesinafictionalscenario.Thesecharacters collaborativelyexploredthefuture ofhigherartseducationthroughset tasksinoneofsevenparallelworkshops.Theworkshopthemescovered abroadspectrum,includingdigitalculturesofeducation,art,andsociety, inter‐ andtransdisciplinarity,knowledge commons,institutionalstructures andstrategies,ecologicalandsocialsustainability,andtheinstitutional versusthenoninstitutional.

Thesetupofthesummerschoolboldlydepartedfromthe conventionsoftraditionalconferences,fosteringanenvironmentthat encouragedintuition,playfulness,andmultisensorythinking,particularly duringthejointsessions.Forexample,theopeninganddailyjointsessions wereintroducedbyanenthusiasticceremonymasterandfeatured elementssuchasimaginarytimetravel,somaticexercises,atmospheric soundscapes,andabstractfuturisticvisuals.Theseelementshelped participantsengageincreativeandimaginativethinking.

Thesevensmallgroups,eachwithadistinctthemeandaname dis/ continuities,orangology,chaos/mosis,commonalities,re/programming, symbiosis,andplasticity immersedthemselvesinthoroughandfocused explorationsoftheirassignedtheme(seeabove),startingfroma prerecordedfuture‐orientedvideo‐lecturefeedsgivenbyspeakerssuch asBrettNeilson,WillFurtado,TheaReifler&PhilippBergman,Lina Dokuzović,KlasseKlima,andBrandyButler.Thelecturesconstitutedthe centraltextbodysubjecttocommentary,elucidation,andexpansion dispositionedasfootnotes.Thesecocreatedfootnotesandother workshopoutputscontributedtowardsFAST45scenarioworkforthe futuresofhigherartseducation.

4.3 | Cocreatingshortfilmstoimaginefutures

Inourthirdcase,theparticipants,allprofessionalsinhigherarts education,wereinvitedtocontemplatetheimpactsoftechnologyon thepossiblefuturesofhigherartseducation.Theywereshowna dramaticturninashortfilmfragmentonbiohackinginthearts.The sceneinvolvestwoartstudentsdiscussingthemicrochipinsertedin onestudent'sbraintoenhanceherartisticabilitiesandmakeher paintfaster(Figure 5).

Theparticipants,includingtheauthorsofthisarticle,were taskedwithusingthefragmentasastartingpointtobrainstorm thenextdevelopmentinsmallgroups.Theywereaskedtouse mobilephonestorecordashortsubsequentepisodeforthe fragment.Wehad2htocreatetheplotandfilmit.Eventually,our groupcreatedashortfilmaboutamicrochipcompanynegotiating dealswiththerectorofanartschool.Intheplot,thecompanywas tryingtohideinformationthatsometimestheirinstalledchipsare hacked.

5 | INTERPRETINGANARTISTIC FUTURESIMAGE

Whileartisticfuturesimagesoftenconveyexplicitmeanings,a moredetailedreflectionoftheimagecanyieldinterpretations, helpingthereaderunderstandtheprofoundcomplexityofthe topicdepictedintheimage.Toillustratethis,ourintertextual reading aFaustiantaleoflearningintheneoliberalworld providesadetaileddescriptionintotheidentifiedintertextsand theirinterplay,illuminatingaspectsthatenabledustoperceivethe futureimage inthiscase,afilmscene insevendifferent,yet interconnected,ways.

5.1 | AFaustiantaleoflearningintheneoliberal world

Asweinvestigatedthefilmscenedepictinganartstudentwithan implantedartchipinherbraintoenhanceherartisticabilities,we initiallyconsideredthesceneinthecontextofneurotechnologyand advancementsinlearning,viewingitasacelebrationofprogressin neurotechnologyinartseducation(Interpretation1).Upondeeper analysisusingtheassociativeapproach,unfilteredthoughts,memories,andemotionsemerged,revealingthestudent'sambitionfor rapidsuccess.Thispromptedustocontemplatetextsonthe influenceofneoliberalismonhighereducation.Olssen(2015),for example,writes, “Whereasinclassicalliberalismtheindividualis characterizedashavinganautonomoushumannatureandcan practicefreedom,inneoliberalismthestateseekstocreatean individualthatisanenterprisingandcompetitiveentrepreneur” (Olssen, 2015,p.130).Thereferencemadeusseethefilmsceneas depictingneoliberalism'sroleinfosteringacompetitivelearning environment(Interpretation2).

Inthefilmscene,theartstudent'sstrivingtoexcel,madeusalso considerthejobmarketinthearts.InternationalLabourOfficeinits recentreportaboutthefutureofworkintheartsandentertainment sectorstatesthat “Newyoungentrantsintheartsandentertainmentsectortendtoacceptunpaidworkconsideredpartofthe ‘process’ inaverycompetitiveenvironment,inwhichyoungpeople tendtobeoverrepresentedcomparedtoothersectors” (InternationalLabourOffice, 2023,p.32).Thisintertext,sparkedustosee

biohackinginthefilmsceneasacopingstrategyforthestudentto competeinboththeschoolandjobmarket(Interpretation3).This insightmadeusconsiderthesceneasasignalaboutneoliberalism's influencedrivingartiststoprioritizemarket‐drivensuccessand efficiencyoverartisticintegrityandauthenticity(Interpretation4). Thisinterpretationissupportedbythefilmscenewheretheart student,withtheartchipinherbrain,focusesonmastering19th ‐centurystyleslikeCubismandSurrealismratherthandeveloping herindividualartisticmindsetorapproachwithinthecontemporary artworld.

Thecontemplationofthecopingstrategysparkedinusa recollectionoftheFaustiantale,whereinFaustmakesapactwiththe devilforknowledgeandpower(“Faust,” Wikipedia, 2024).Viewing thescenethroughthisFaustianintertext,theartstudentundergoesa radicaltransformation,implantingamicrochiptoexcelinherartistic pursuits.Thisinterpretationsuggeststhatthescenereflectsthe humandesireformasteryandthelengthssomeindividualsarewilling togotoachieveit.Unknowingly,perhaps,theartstudenthassold her “soul” bygrantinganeurotechnologycompanyaccesstoher brainforenhancedskills(Interpretation5).Thisinterpretationevoked anallegoricalexploration,connectingtorecentnewsonbrain‐hacking,neuroprivacy,andneurorights(Ienca, 2015;Wild, 2021), incitingustoseethefilmsceneasanalert,warningusaboutthe seriousrisksofneurotechnologyinhigherartseducationandmore generally(Interpretation6).

TheFaustianmyth,knownforitsexplorationofmoraldilemmas andconsequencestiedtoFaustianbargains,comestolifeinthis scene.Theartstudent'schoicetoaugmentherabilitiesthrough technologysparkedethicalconcerns,promptingreflectiononthe potentialconsequencesofmanipulatingone'sinnatetalents.Thisled ustoponderguidelinesregardingresearchethicsandintegritysuch as TheEuropeanCodeofConductforResearchIntegrity (ALLEA, 2023), whichdoesnotyetacknowledgebio‐ orbrainhackingasmisconduct. Thisobservationmadeusconsiderthefilmsceneasaweaksignalof futureethicalchallenges,notonlyconcerningequitablelearningin higherartseducationbutalsotheresponsibleconductofartistic research(Interpretation7).

Thenuancedinterpretationsofthefilmsceneunderscorethe intricateinterplaybetweentechnology,education,ethics,and artisticintegrityinthecontextofhigherartseducation.Insights rangefromthecelebrationofneurotechnologicaladvancementsto theinfluenceofneoliberalisminfosteringacompetitivelearning environment.Considerationsextendtoartstudents'copingstrategiesinresponsetoacompetitivejobmarket,emphasizingthe potentialprioritizationofmarket‐drivensuccessoverartistic authenticity.Ethicalconcernsemerge,linkedtoFaustiandesire formasteryandtheunforeseenrisksassociatedwithneurotechnology.Thesemultifacetedperspectivesserveasvaluablecritical considerationsforhigherartseducationinstitutions,urgingreflectionontheethicaldimensionsoftechnologicalinterventionsand thebroaderimplicationsforequitablelearningandresponsible artisticresearch.

Usabilityofarts‐basedapproachesinfutures workshops

Ourcloseanalysisofarts‐basedapproachesinfuturesworkshops suggeststhattheyofferdiversebenefitsinboostingcocreationand coreflectionwhilealsoentailingsomelimitations.Forexample,some approaches,suchasdrawing,boardgames,andLego‐basedactivities, havelowskillrequirementsandareaccessibletomanyparticipants. Others,likeAI,music‐making,andfilmmaking,demandspecificskills andmaygenerateperformanceanxiety.

Anotablestrengthsharedbymanyoftheseapproachesisthe abilitytofacilitatethenonverbalexpressionofideasandemotions, contributingtoaholisticandimaginativeexplorationoffutures images.Forexample,cut‐outimagescomposedasbricolageserve asvisualmetaphorsforfurthercontemplation.Severalapproaches, includingbricolages,shortfilms,andLARP,offermultimodal experiences,combiningvisual,auditory,andtactileelementsto enrichthefuturesimagingprocess.Thismultimodality (Dressman, 2020)ofarts‐basedworkinfuturesworkshopscan helptheparticipantsacquire,process,andshareinformationinways thatbettercorrespondwithmultipleintelligences(Gardner, 2000), individuallearningstyles(Honey&Mumford, 1992 ;Kolb, 1984 ; Leiteetal., 2009),anddifferentcommunicationstyles (Keteyian, 2010).

Further,LARPandmultisensorywalksstandoutfortheir immersiveengagement,providingparticipantswithexperiential learninganddeeperinsightsintofuturesimages.Moreover,sound andmusic‐basedapproachesandbodilyimaginativetime‐traveling excelincreatingaffective(Niven, 2013)connectionswiththe envisionedfutures,arousingemotions,andmoods.

Manyoftheseapproachesarehighlyequipment‐ ormaterial‐dependent,necessitatingearlypreparationtoaccessmaterials, instruments,andtools.Thisdependencycanimpactthefeasibility ofthesemethods.AI‐basedimagemaking(Figure 6)lacksconcrete, physicalandsensoryinteractionwithmaterials.Additionally,itleaves muchofthecreativeacttoAIwhilethepersonusingAIretainsa degreeofcreativeagencyinformofcommandsdependingonthe person'sAIinteractionskills.

Someapproaches,likecollaborativestorytellingandboard games,relyheavilyonlanguageandmayposechallengesfor nonnativespeakers.Inaddition,approachessuchasLARPcanbe highlycomplex,callingforsupportiveelementstomaintainparticipantenduranceandmotivation.Forexample,theLARPthatwe participatedinpresentedtheparticipantswitharangeofintricate challengesdespitethepresenceoffacilitatorsandaworkbook outliningthegame'sstructure,schedule,andtasks.Thesechallenges includedmaintainingimaginativecharacter,reflectingontheprovidedextensivesetofquestions,sustainingmotivation,managing fatigue,navigatinggroupdynamics,andadheringtoestablished deadlines.Also,someapproaches,suchasfilmmaking,canbetime‐consuming,challengingthescheduleandsufficientcoreflectionof

theproducedoutputs.Finally,perceptionsofartisticvaluevary acrosstheapproaches.Someparticipantswithabackgroundinthe artsmayconsiderspecificapproacheslessartisticornaive,orthey mayfindarts‐basedapproachesinstrumental,impactingtheir engagement.

6.1 | Oninterpretation

Asourinterpretationsofthefilmsceneshow,wordsaretoolsto navigateinherentcomplexityininterpretinganartisticfuturesimage. However,wordsdonotdirectlyreflectreality;Derrida's(1978) conceptof “différance” demonstratestheirinterconnectednature, resultinginelusivefinalmeanings.Thus,ourinterpretationsintertwinewiththenuancesoflanguage,branchingintodictionaries, myths,newsarticles,andotherassociations,renderingassigned meaningsunstable.Groundedinthetheoryofintertextuality,this phenomenonisexplainedbyrecognizingthatboththecreatorsof futureimagesandtheinterpretersareculturallyembedded.The creatorsareinfluencedbyexternaltextualsources,whilethe interpretersconstructmeaningsbyconnectingtheseimagestoa networkedtextualframeworkshapedbytheirpriorexperiences (Kristeva, 1986;Worton&Still, 1990).Thisinterconnectedrelation betweenexternaltextsandtheartisticfuturesimageininterpreting theimagecontributestotherichnessanddepthofourunderstanding

ofthecomplexityofmeaningsthatthereadingoffuturesimagescan yield.

LinkingourinterpretativeprocesstoEco's(1979)notionofthe “reader” oftextandWittgenstein's(1953/2009)ideaofaspect seeing,weproposethatthereader,akintotheinterpreterofa futuresimage,possessesagencytoconstructmeaningswithincertain limits.Theselimitsaretethered,ononehand,towhatisexplicitly presentintheimageanditsimmediatecontext elementsthereader recognizes and,ontheotherhand,totheculturalcontextofthe reader(Best, 1986),whichestablishesboundariesforaspectstolight upandevokeassociations.Withoutadequatejustification,the interpretationsriskbeingconfinedtoarealmofbeliefsandpersonal preferencesratherthanengagingincriticaldiscourse(Best, 1992).

Asdemonstratedabove,theopennessofanartisticfutures imageallowsformultipleinterpretationsinfluencedbytheinterplay ofintertextsthattheWittgensteinianaspectseeingmakespossible. Thisrecognitionofinterpretativeflexibilitylaysthefoundationfor ourargument,which,followingBest(1992),assertsthatinterpreting artisticfuturesimagesdemandsreasonedanalysis.

7 | CLOSINGREMARKS

Inourexploration,attheintersectionofarts‐basedresearchand futuresstudies,wedelvedintotheapplicationofarts‐based approacheswithinfuturesworkshops,addressingkeyquestions regardingtheircategorizationandusability,aswellasgaininginsights intotheinterpretationofartisticfuturesimages.Inalignmentwith Mullooy(2022),weaffirmthatarts‐basedresearchisintegralto cultivatingcriticalfutures,servingasapluralistic,culturallyresponsive,andnuancedformofpublicscholarship(Mullooy, 2022,p.162). Ourexplorationofvariousarts‐basedapproacheswithinfutures workshopsunderscorestheircapacitytoofferdiversebenefits, includingaccessibility,nonverbalexpression,emotions,immersive experiences,andmultimodality.Theseapproaches,categorizedinto visual,technology‐dependent,narrative‐based,sound‐ andmusic‐based,corporeal,interactive,andperformative,aswellasgaming, presentuniquestrengthsandconsiderationsforenvisioningfutures images.Facilitatorsarepivotalintailoringtheseapproachesfor optimalimpactwithinspecificcontexts.

Moreover,ouranalysishighlightstheinterpretativecomplexity ofartisticfuturesimages,emphasizingtheinterconnectednatureof language,culture,andreason.DrawinginspirationfromWittgenstein'sideaofaspectperception,weadvocateforareasonedand analyticalapproachtointerpretingtheseimages,steeringclearof subjectiveinterpretations.Asweconclude,weunderscorethe versatilityofarts‐basedapproachesacrossdiverseorganizational contexts,emphasizingtheneedforcarefulconsiderationwhen selectingandcombiningmethodstoenhancetherichnessoffutures exploration.Recognizingthepotentialofart‐basedresearchto contributetocriticalfutures,ourfindingsreinforcetheimportance ofcollaboration,clearcommunication,andamultifaceted

understandingofartinfosteringopen‐mindedparticipationwithin futuresworkshops.

Acknowledgingthelimitationsindetailofdescriptionconcerning thevariousart‐basedapproachesassessedinourstudy,wefound thatarts‐basedapproachesinfuturesworkshopsoffermanybenefits, includingaccessibilityfordiverseparticipantsandfacilitatingnonverbalexpressionofideasandemotions.Theseapproachesprovide immersive,multimodalexperiencesandcancreateemotional connectionswithenvisionedfutures.Eachapproachoffersdistinct advantages,makingthemsuitablefordifferentcontextsand participantgroups.However,someapproachesmaydemandspecific skills,requireearlymaterialpreparation,poselanguagechallenges,or betime‐consuming.

Intherealmofemployingarts‐basedapproacheswithinfutures workshops,theimportanceofinterpretingartisticfuturesimages becomesevident.Ouranalysisillustratesthattheinterpretative processhingesonwordsinterwovenwithassociations,shapedby externaltexts,myths,images,andreferences amanifestationof intertextuality.Thisinterpretativenecessityiscrucialforcomprehendingtheintricatemeaningsembeddedintheseimages,asreaders engageinthoughtfulcontemplation.FollowingBest(1992),and drawingfromtheWittgensteinianideaofaspectperception,we recognizetheinterconnectednatureoflanguage,culture,andreason, emphasizingtheneedforareasonedandanalyticalapproachto interpretingartisticfuturesimages.Thisapproachensuresadeparturefromsubjectiveinterpretations,guidingreaderstonavigatethe nuancedinterplaythatshapesthesignificanceoftheseimages.

Itisworthnotingthatarts‐basedapproachesareversatileand canbeeffectivelyutilizedacrossvariousorganizationalcontexts. However,facilitatorsneedtocarefullyconsidereachapproach's uniquestrengthsandchallengeswhenselecting,ensuringthatitis themostsuitablefortheparticularfuturesimagingexerciseathand. Facilitatorsplayacrucialroleintailoringtheseapproachesfor optimalimpactwithinthechosencontextbycombiningmultiple methodsoradaptingapproachestoalignwithspecificgoals, enhancingtherichnessanddepthofthefuturesexplorationprocess.

Perceptionsofartisticvaluecanvaryamongparticipants, influencingengagement.Therefore,whenintroducingarts‐based approachesinfuturesworkshops,itiscrucialtorecognizethatartisa multifacetedconcept,andpeople'sdiverseconnotationscanimpact theirengagement.Toaddresspotentialmisunderstandings,itis beneficialtopointoutthatarts‐basedapproachesoftendrawfrom sociallyengagedartspracticesemphasizingcocreationandcoreflection.Moreover,arts‐basedworkinfuturesworkshopsextends beyondcreativeartmaking,committedobservation,andexpression, encompassingcommunication,ideaexploration,evocationofmeanings,andemotionalresonance.Assuch,artisticfuturesimageshave asmuchtodowithexperiencing,reflecting,andinterpretingasthey havetodowithmaking,performing,andexhibiting.Toensure favorableparticipation,itisvitalforfacilitatorstocollaborateclosely withtheorganization'srepresentativesandinformtheparticipants abouttheworkshop'stheme,objectives,andapproaches.

Basedonthisresearch,arts‐basedapproachescanencourage freshperspectivesonfuturesbyembracingdiversewaysofimagining andknowing,elicitingamoreprofoundandintricatecomprehension ofhumanexperiences,meaning‐making,andtheworld.Artcan contributetofuturethinkinginvariousways:byinspiringalternative futuresthroughmediumslikesciencefictioninfilmsandliterature, encapsulatingfuturescenariosthroughartisticillustrations,and posingthought‐provokingquestionsthatchallengeourperceptions andunderstandingofthefuture.

Buildingupontheinsightsgleanedfromourexplorationofarts‐basedmethodsinfuturesworkshopsandthemultifacetedcontributionsofarttofuturesthinking,futureresearchendeavorscoulddelve deeperintoareassuchastheimpactofculturalreflectioninshaping futurescenarios,thepotentialofspeculativedesignpracticesto informdecision‐makingprocesses,andtheroleofcommunitydialog facilitatedbyartinfosteringcollectiveenvisioningofsustainableand equitablefutures.Incorporatingperspectivesfromtheoristssuchas JacquesRancièreandSuziGablikintotheseinvestigationscouldoffer valuabletheoreticalframeworksandcriticalinsightsintothepolitics ofestheticsandparticipatoryart,enrichingourunderstandingofthe roleofartinfuturesstudiesanditsbroaderimplicationsforsocietal change.

ACKNOWLEDGMENTS

ThisresearchisbasedonthedatacollectedinFAST45;aproject fundedbytheEuropeanCommission'sErasmus+KnowledgeAlliance. TheEuropeanCommission'ssupportfortheproductionofthis publicationdoesnotconstituteanendorsementofthecontents, whichreflecttheviewsonlyoftheauthors,andtheCommission cannotbeheldresponsibleforanyusethatmaybemadeofthe informationcontainedtherein.Theauthorswouldliketoexpresstheir gratitudetothefollowinginstitutionsfortheirinvaluablesupport duringtheFAST45project:AEC,ArtAcademyoftheTurkuUniversity ofAppliedSciences,conexionesimprobables,EstonianAcademyof Arts,ELIA,FilmuniversitätBabelsbergKonradWolf,KULTAry,Le CEFEDEMAuvergneRhône‐Alpes,LUCASchoolofArts,Microsoft Ireland,SchoolofCommonsatZurichUniversityoftheArts, TechnologicalUniversityDublin,UniartsHelsinki,andXenorama.In addition,heartfeltthankstoallthestudents,teachers,researchers, administrators,leaders,andpartnerswhoparticipatedintheworkshopsandcontributedvaluablefeedbacktothisarticle.Theauthors alsoextendourappreciationtoourcolleagueswithintheFAST45 projectfortheirgenerousassistancethroughoutourexperimentation.

CONFLICTOFINTERESTSTATEMENT

Theauthorsdeclarenoconflictofinterest.

DATAAVAILABILITYSTATEMENT

Thedatathatsupportthefindingsofthisstudyareavailablefromthe correspondingauthoruponreasonablerequest.

ORCID

KaiLehikoinen http://orcid.org/0000-0002-8198-5854

ENDNOTES

1 FAST45wasa3‐yearproject(2021–2023)fundedunderERASMUS+ programKA2Cooperationforinnovationandtheexchangeofgood practices,knowledgealliances;grantagreementnumber621613‐EPP‐1‐2020‐1‐BE‐EPPKA2‐KA.Byfirmlybelievingintherelevanceof futuresthinkinginhigherartseducation,theFAST45project endeavorstoelucidateandunderstandtheforcesshapingthefuture developmentofhighereducationsystems,individualinstitutions,arts ecosystems,careersinthearts,communities,andsocietyatlarge.It alsofacilitatesthescanningofpossiblefuturehorizonstodiscover adaptivestrategiesandopportunitiesfordisruptionratherthanbeing disrupted.TheprojectwasledbyLUCASchoolofArtsinBelgiumwith twelvepartners:LeCefedemAuvergne,Rhône Alpes,Estonian AcademyofArt,FilmuniversitätBabelsbergKonradWolf,TechnologicalUniversityDublin,UniartsHelsinki,ZürichUniversityoftheArts, TheAssociationEuropéennedesConservatoires,Académiesde MusiqueetMusikhochschulen(AEC),TheEuropeanLeagueof InstitutesoftheArts(ELIA),conexionesimprobables,MicrosoftIreland, andXenorama.

2 ThefilmwasproducedbyFabelfilm(https://fabelfilm.be)forthe Erasmus+KnowledgeAllianceFAST45.

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Howtocitethisarticle: Lehikoinen,K.,&Tuittila,S.(2024). Arts‐basedapproachesforfuturesworkshops:Creatingand interpretingartisticfuturesimages. Futures&Foresight Science, 6,e182. https://doi.org/10.1002/ffo2.182