Take the underlying theory of multiple worlds as a point of departure, and reflect on the historic and socio-political conditions that require and produce the making and breaking of worlds.
WorldingGameworlds often reinforce stereotypes and perpetuate past and present power structures as well as their claims on Worldmaking. To produce stories which defy the dominant narrative, requires a critical analysis of representation in storyworlds, but also the invitation of diverse authors into their making.
As a niche and often volatile appearance, the term Collective Worldbuilding originated in the context of roleplay games and fiction writing, ushering projects in which an online community constructs a growing metanarrative as well as its animation, increasingly facilitated by worldbuilding softwares or online mapping tools.
Multiple WorldsThis research begins with attempts at dissolving the illusion of a ‘common world’, that appears already co-opted by satisfying hegemonial claims for (its) order. Surely, colliding worlds are confronting. Their crashing can make a mess in our shelf of convictions as it unravels the seams of our thinking fabric and yet, this is a proposal to embrace complexity, leaving the comfort of one's own skull or self applauding filter bubble.
In Ways of Worldmaking (1978) Nelson Goodman already performs the ontological turn away from a dualist approach of ‘Many worldviews, only one world’. What follows it the radical gesture of multiplying the world. Once we have shattered the illusion of the universal, what are the implications of this such relativism for public and artistic discourse? How can we construct a common place in which multiple worlds intermingel instead of drifting apart in a fight about the centerstage?