8 Rooms (Short Story Reinvented)

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Society has become nomadic and post-urban. There is radically less energy consumed per person in this future. Society becomes a series of tribes connected by mobile devices. People have learned the lessons of the disaster, so they are collaborating through their devices and becoming a global mobile community. Energy regulation is based on the values of the nomadic tribes.

Like ancient Mongolians, people have robotic horses to move from one place to another, living in tents enabled with solar panels. Cities are not liveable, so old buildings and skyscrapers become the platforms for solar panels and storage units. Because of the climate-induced super storms, these tribes cannot practice traditional agriculture. Instead, they have turned to marine agriculture, producing different types of algae that are grown with the use of robots.

This scenario explores a vision of a smart Scandinavian megacity design colonizing the earth between and Communities have an extremely efficient physical infrastructure in terms of housing and residence. Mobility has slowed since the self-sufficiency of most buildings reduces the need for transport. Education and work are virtual, urban gardens produce ample food, and waste forms a key energy source. The megacity design encapsulates the self-sufficient zeitgeist of the times.

This future started due to migration problems but thrived thanks to technological innovations. Renewable energy infrastructure, the internet of things IOT , and artificial intelligence gave birth to the optimization of truly intelligent cities and a new network of smart, self-sustaining communities. Consider the life of the Perez family, who joined a Scandinavian-inspired energy cooperative residential community in Mexico. They are required to adopt a collective mindset, so they commit to becoming more efficient in their energy consumption as tenants of the co-operative.

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Although they live in a tiny apartment, there is plenty of space for kids to explore in the virtual world. The stories emerging from Radical Scenario Development push the boundaries of what our energy future might look like. Radical Scenario Development allows for new ideas, environmental disruption, and game-changing innovations to rise to the surface in conversations that promote social learning.

The workshop was notable for its capacity to use conversation as a tool to explore how reinventing the future of energy might unleash new balances of power.

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Further uses of the output from this workshop might address specific challenges in adapting to each scenario, and the most pressing implications for business and education in these different futures. The use of the scenarios for these purposes is the intention of this process.

The authors are futurists with Fast Future — a professional foresight firm specializing in delivering keynote speeches, executive education, research, and consulting on the emerging future and the impacts of change for global clients.

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See: www. Steve Wells is an experienced strategist, keynote speaker, futures analyst, partnership working practitioner, and the COO of Fast Future. Alexandra Whittington is a futurist, writer, foresight director of Fast Future, and a faculty member on the Futures program at the University of Houston. Trending Serving Gaia and Caesar: working for change in engineering education Big space-time, values, and the next era of complexity Urban Brand-Utility: A projected future for brand communications as a regenerative force in the global urban fabric One Year at the Journal of Futures Studies JFS Blog Longevity: curse or blessing?

By Rohit Talwar, Steve Wells, and Alexandra Whittington Introduction and Background How are businesses, organizations, and communities preparing for a range of possible energy futures? Material and Methods The Radical Scenario Development process combines elements of established scenario and group discussion techniques. A handout provided some prompts that helped frame the scenario during Round 1: How could daily life be different in this future?

Imagine the impact on many different locations like office, school, and home. Who are the key actors and stakeholders in this scenario? How are the energy generation and distribution systems regulated?

Who owns or controls the dominant technology? How have the international, national, regional, and local energy generation and distribution markets evolved? How are energy infrastructures financed? How is the consumption of energy paid for? How have existing and new consumer products and lifestyles evolved in this future? Dressed in a white polo shirt with fitted trousers, she wears a gamine look across her chiseled face.

Chris flings herself backwards onto the couch at the mention of Nelson. She's aware of her. But she wasn't anticipating the suggestion that this new, masculine iteration of her prior project, Christine and the Queens, is the pop equivalent of a Nelson thesis.

She doesn't make it simpler. It's so rare that women get to own these facets so intensely and also be in the skin and flesh. You're a slut but you're intelligent. Nelson published her gender-bending memoir in , when the terminology around non-binary thinking was just entering the conversation. Unlike other academic prose, Nelson's is accessible. Her account of fluidity is so natural, relatable, and romantic that it can't be unread; it leaves you feeling evolved. The notion of a two-dimensional Adam and Eve world seems limited.

Of course we want it both ways. We've always wanted it both ways.

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It's sexy and smart, camp and earnest, butch and femme. Yet how to explain this…. She's also at the end of her tether. I'm touching a problem. The song's steez, however, was eclipsed by her transformation. She was now a crop-haired, muscle-flexing, hip-thrusting Lothario. And her name was short, too: Chris. Onlookers were angry. Some conflated Chris with a desire to transition to male. How about man and woman? Chris was sad and surprised.

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The haircut, for example—it's just a haircut and it felt amazing. It's photographer Paolo Roversi's doing. She'd written an eight-page manifesto on Chris beforehand, and Roversi just looked at her: Where is the short hair? He showed her pictures of Chet Baker. Moments later her hair was like Baker's. That's not how others saw her.

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If she were transitioning, she'd have been less inclined to flaunt her physique. Interviewers have been aggressive in their reactions. In France, her haircut made the news. Grow it back. Fluidity is impossible. When Chris became an international sensation four years ago, she experienced modern-day rock-stardom—onstage every night, meeting desirables, having her way with them. She considered how male rock stars act unapologetically feminine without their masculinity being questioned. Complexity and intricacy is reserved to men.

Women must make it unthreatening, simplified. Now she doesn't have to wish, because she's Chris. The masculinity has made her feel whole. When you think of extremely macho men, it's so feminine. They're like, 'I'm not gay! You're such a girl. The story of how Christine and the Queens came to be is so fantastical that you couldn't make it up. McGregor, born in Providence, had held a wild array of jobs over the course of his young adulthood: security guard, bank and movie theater employee, even an MP in the National Guard during the riot-prone late s.

In that latter gig, McGregor saw raw bigotry firsthand and was repulsed. Combating racism would go on to be a central passion for him.

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  • A fan of pulp storytelling, he got his first comics-writing gig in a horror story for Warren Publishing and right around then landed the Marvel proofreading job. Buckler — a Detroiter by birth — had been in the industry a few years longer, but had done little of note and had only started working for Marvel in early They had considerable editorial freedom due to the fact that no one was really reading the series at the time. The two men quickly became close. It was in that Bronx apartment that Killmonger was born. That meant an all-black cast — something never before seen in mainstream comics.

    And an all-black cast meant another rarity: a black bad guy.