{"id":6533,"date":"2026-10-08T07:59:00","date_gmt":"2026-10-08T05:59:00","guid":{"rendered":"https:\/\/hacnumedia.org\/solarpunk-futuristic-visions-that-stand-against-dystopia\/"},"modified":"2026-10-25T17:19:56","modified_gmt":"2026-10-25T16:19:56","slug":"solarpunk-futuristic-visions-that-stand-against-dystopia","status":"publish","type":"post","link":"https:\/\/hacnumedia.org\/en\/solarpunk-futuristic-visions-that-stand-against-dystopia\/","title":{"rendered":"Solarpunk, futuristic visions that stand against dystopia"},"content":{"rendered":"\n<p class=\"is-style-chapo wp-block-paragraph\"><strong><br\/><\/strong><strong>As humanity\u2019s future remains uncertain, some creative visions are opening up possibilities for futures compatible with ecological balance. They are gathering under an informal banner: solarpunk. A kind of antithesis to cyberpunk\u2019s dystopian outlook, this movement is being enriched by digital culture artists and their reflections. An introduction.<\/strong><\/p>\n\n<p class=\"wp-block-paragraph\">You\u2019re probably familiar with the term cyberpunk, given its cultural reach into speculative fiction and cinema (Philip K. Dick or Blade Runner), but the solarpunk art movement may be less familiar. When imagining possible futures, artists have often responded to growing technological excess and environmental apocalypse with a critical, dystopian vision of what lies ahead. This bleak scenario has prompted a newer generation of creators to propose \u201ccounter-narratives\u201d guided by a form of positive utopianism, offering different ways of seeing the world. Solarpunk emerged as an artistic movement imagining a future more compatible with ecological balance.<br\/><\/p>\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1200\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-1800x1200.jpg\" alt=\"\" class=\"wp-image-6256\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-1800x1200-1.jpg 1800w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-900x600.jpg 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-600x400.jpg 600w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-767x511.jpg 767w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-2048x1365.jpg 2048w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH20-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Sleep for Earth &#8211; Le Clair Obscur<\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\"><br\/>Concerned with environmental issues as well as ethical and social questions, particularly the fight against discrimination, solarpunk is far from a structured movement. Its first mention is thought to date back to a 2008 blog post titled \u201c<a href=\"https:\/\/republicofthebees.wordpress.com\/2008\/05\/27\/from-steampunk-to-solarpunk\/\">From Steampunk to Solarpunk<\/a>,\u201d a reference to another retrofuturist movement with a distinctive Victorian aesthetic: steampunk. As Camilla Colombo, from the Belgian research and curation platform OHME, explains: \u201cSolarpunk is less an established artistic network than a cultural and speculative movement that imagines ecologically harmonious futures shaped by communities.\u201d She adds: \u201cThere is no central organization. It is more a collection of shared practices, values, and imaginaries, found in literature, art, design, activism, and architecture. Artists and collectives identify with it to varying degrees, often without belonging to any specific organization.\u201d In practice, references to this artistic movement are found mainly in recent literature, including <a href=\"https:\/\/www.l-atalante.com\/catalogue\/neptune\/histoires-de-moine-et-de-robot-9791036002588\/\">Becky Chambers\u2019s Monk and Robot<\/a> series and Nina Munteanu\u2019s <a href=\"https:\/\/themeaningofwater.com\/age-of-water\/\">A Diary in the Age of Water<\/a>. More recently, solarpunk-inspired worlds have also appeared in video games such as <a href=\"https:\/\/www.youtube.com\/watch?v=g9pPFTP35iU\">Solarpunk<\/a> and, even more famously, <a href=\"https:\/\/www.youtube.com\/watch?v=tTxlz7bQaGQ&amp;t\">Terra Nil<\/a>.  <br\/><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\ud83d\udd34 TERRA NIL, on recr\u00e9e la nature \u00e0 partir d&amp;apos;un monde d\u00e9vast\u00e9\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/tTxlz7bQaGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p class=\"wp-block-paragraph\"><br\/><br\/>The solarpunk \u201cmanifesto\u201d is relatively recent and was itself developed collectively and iteratively. Its first English-language version, published on a blog in 2014, has been revised several times since, notably by writers such as Adam Flynn. It sets out a vision of the future based on sustainability, social justice, decentralization, and a harmonious relationship between humans, technology, and nature. These principles are echoed across key websites and initiatives, including Solarpunk Conference \/ Solarpunks Blog, Permacomputing, Collapse OS, Low Tech Magazine, and Public Domain Books to Restart Computer Technologies. As the French-language version of the manifesto, Solarpunk: A Solarpunk Manifesto, illustrates, solarpunk is as much a philosophical outlook as an activist one. It states that \u201cthe essence of solarpunk is a vision of the future that embodies the best of what humanity can achieve: a post-scarcity, post-hierarchy, post-capitalist world where humanity sees itself as part of nature and clean energy replaces fossil fuels.\u201d It also explains that \u201cthe \u2018punk\u2019 in solarpunk stands for rebellion, counterculture, post-capitalism, decolonialism, and enthusiasm. It means taking a different path from the conventional one, which is becoming increasingly alarming.\u201d <\/p>\n\n<h2 class=\"wp-block-heading\">Solarpunk and digital culture: a perfect match?<\/h2>\n\n<p class=\"wp-block-paragraph\">The ubiquity of digital technologies in our lives makes them a natural field of inquiry for imagining new ways of thinking about the future, particularly at the intersection of technology and sustainability. Digital culture thus offers fertile ground for exploring solarpunk imaginaries and DIY practices. This convergence of ecological concerns and technological practices can be seen in the work of numerous artists, including Juliette Bibasse and Joanie Lemercier, with their project <a href=\"https:\/\/mudac.ch\/designers\/solar-lab\/\">Solar Lab.<\/a>It is also evident in the work of Dutch artist <a href=\"https:\/\/www.markijzerman.com\/\">Mark Ijzerman,<\/a> who gives a voice to the nonhuman world, including biodiversity, aquatic systems, and living organisms, through installations and audiovisual performances grounded in rigorous fieldwork, collaborations with biologists, astronomers, and ecologists, and a practice that embodies the solarpunk ideal of technology serving as a means of listening to the living world. London-based artist and designer <a href=\"https:\/\/www.chalinebang.com\/192.168.2.70.html\">Chaline Bang,<\/a> meanwhile, explores ways of reclaiming obsolete technologies, from old smartphones to lightweight open-source systems, to question the economic and political models that shape our relationship with digital technology. Her approach is both practical and critical, closely aligned with solarpunk\u2019s emphasis on digital sobriety.<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1067\" height=\"626\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/overview_nnn_interaction.1067x0-is.jpg\" alt=\"\" class=\"wp-image-6254\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/overview_nnn_interaction.1067x0-is.jpg 1067w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/overview_nnn_interaction.1067x0-is-900x528.jpg 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/overview_nnn_interaction.1067x0-is-767x450.jpg 767w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Conversations with Crustaceans &#8211; Mark Ijzerman<br\/><a href=\"https:\/\/www.markijzerman.com\/site\/assets\/files\/1045\/cwc_pic1.jpg\"><\/a><br\/><\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\">The immersive conference-performance <em>Sleep For Earth<\/em> created by director Fr\u00e9d\u00e9ric Deslias and his company Le Clair Obscur, can be described as \u201c <em>an overarching project, an open and expandable geopolitical manifesto.\u201d<\/em> Its central premise, <em> \u201cputting humanity into stasis to suspend our predation of resources,\u201d<\/em> suggests a blend of solarpunk principles and cyberpunk sensibilities. <em>\u201cSolarpunk is familiar territory for me. I\u2019d been immersed in it since my first Miyazaki films without really being conscious of it,\u201d<\/em> says Fr\u00e9d\u00e9ric Deslias. <em>\u201cBut recently, Le Clair Obscur has taken an urgent ecological turn that has brought us much closer to the movement. Between climate fiction and protopias, solarpunk is not far off. I\u2019m also very familiar with the authors published by La Volte\u201d<\/em> (editor\u2019s note: Alain Damasio and Norbert Merjagnan). <em>\u201cAnd Sleep For Earth grew out of a close collaboration with the writer LI-CAM, whose fictional world of \u00c9coume offers a model for a resilient society that is very much solarpunk. So Sleep For Earth is very much in tune with it, although it remains more ambiguous.<\/em>\u201d A broader direction is indeed emerging in digital art, shaped by new sensibilities such as slowness and the use of techniques that have stood the test of time or draw more heavily on non-Western traditions. One example is writer Carolyn F. Strauss\u2019s <a href=\"https:\/\/valiz.nl\/en\/publications\/slow-technology-reader\">Slow Technology Reader<\/a> (A Tool for Shaping Different Structures), which explores more human-centered ways of developing technology.<br\/><\/p>\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1800\" height=\"1200\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-1800x1200.jpg\" alt=\"\" class=\"wp-image-6253\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-1800x1200-1.jpg 1800w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-900x600.jpg 900w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-600x400.jpg 600w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-767x511.jpg 767w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-2048x1365.jpg 2048w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/SLEEP-FOR-EARTH17-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">Sleep for Earth &#8211; Le Clair Obscur<\/figcaption><\/figure>\n\n<h2 class=\"wp-block-heading\"><br\/>Supporting solarpunk art through Solar Futures<\/h2>\n\n<p class=\"wp-block-paragraph\">To support this trend in digital art, an open call titled <a href=\"https:\/\/solarfutures.eu\/index.html\">Solar Futures<\/a> was launched in January 2026. It brings together four cultural organizations working at the intersection of art, science, and digital technology: <a href=\"https:\/\/ohme.be\/\">OHME<\/a> (Brussels), <a href=\"https:\/\/www.electroni-k.org\/\">Electroni[k]<\/a> (Rennes), <a href=\"https:\/\/instrumentinventors.org\/\">iii<\/a> (The Hague), and LEV Festival (Gij\u00f3n), in partnership with the universities ULB and VUB. \u201cThe idea emerged from a shared conviction among the four partners: artists can play an active role in imagining desirable futures, in dialogue with scientific research and contemporary challenges,\u201d explains Camilla Colombo. \u201cSolarpunk became the conceptual framework because it offers both an ideological and a practical space in which to explore these questions.\u201d Three artists were selected from 140 submissions to create new works in distinct formats, each addressing a specific theme: a physical installation exploring renewable energy and circular resources (Jin Lee); a screen-based experience focused on permacomputing and digital sobriety (David Lazar); and a live performance exploring new political and social imaginaries (Carolin Schnurrer). \u201cThese three formats and themes are not arbitrary,\u201d Camilla Colombo emphasizes. \u201cThey reflect very different ways of imagining and representing futures through material, digital, and collective approaches.\u201d <\/p>\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1644\" height=\"1064\" src=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/inference_commons_1.png\" alt=\"\" class=\"wp-image-6249\" srcset=\"https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/inference_commons_1.png 1644w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/inference_commons_1-768x497.png 768w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/inference_commons_1-1536x994.png 1536w, https:\/\/hacnumedia.org\/wp-content\/uploads\/2026\/10\/inference_commons_1-900x582.png 900w\" sizes=\"auto, (max-width: 740px) 100vw, 740px\" \/><figcaption class=\"wp-element-caption\">David Lazar &#8211; <em>Inference_Commons<\/em><\/figcaption><\/figure>\n\n<p class=\"wp-block-paragraph\">The most advanced of the three projects, scheduled to be presented first at the Maintenant Festival in Rennes in October 2026, is <em>Inference_Commons<\/em> by Romanian artist David Lazar. The work is conceptually rigorous, building bridges between democratic governance and digital infrastructure while reaching back to the distant tribal past of early human communities. <em>\u201cThe work is a speculative installation built around a single question arising from my research into computing power and how it might be governed as a commons: \u2018What if computing had evolved less like a cloud and more like a campfire?\u2019\u201d<\/em> explains David Lazar. <em>\u201cRather than an abstract, distant \u2018cloud\u2019 owned by someone else, I\u2019m interested in computing as something people gather around, share, and negotiate together.\u201d<\/em> Lazar arrived at this idea by looking at human history and early forms of tribal governance, in which people gathered around fires to tell stories and deliberate. In this screen-based installation, the screens literally take the form of a campfire, positioned low to the ground in a small circle where people can sit or stand together. For David Lazar, solarpunk is therefore more than an aesthetic mood board. It offers a way to question power through energy, as well as political power itself. Who controls shared technological resources, within what limits, and how can these infrastructures be reimagined to make them sustainable, grounded in their specific contexts, and accountable to the people who depend on them? <\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n<h2 class=\"wp-block-heading\">A movement without self-identified artists? <\/h2>\n\n<p class=\"wp-block-paragraph\">The solarpunk movement\u2019s informal, collective, forward-looking, and still very young nature can make it difficult for artists to identify themselves clearly with it. David Lazar does not claim membership in the solarpunk movement. He considers himself <em>\u201caligned with its ethics, even if I haven\u2019t yet adopted the full lifestyle.\u201d<\/em> Discovering solarpunk aesthetics, along with related practices such as low tech and permacomputing (see the <a href=\"https:\/\/hacnumedia.org\/en\/permacomputing-ephemeral-trend-or-lasting-phenomenon\/\">HACNUMedia<\/a>article), gave him <em>\u201ca language for something I was already moving toward: technology on a smaller scale, slower, more responsible, genuinely attentive to energy and ecology, with infrastructure that is actually designed with those concerns in mind.\u201d<\/em> As Camilla Colombo acknowledges, <em>\u201cThere are countless artists and practitioners whose work could easily be described as solarpunk, but who have never heard the word or know nothing about the movement.\u201d<\/em>This is illustrated by this <a href=\"https:\/\/solarfutures.eu\/open-call.html#ecosystem\">non-exhaustive survey<\/a> of digital artists whose approaches align with solarpunk. <em>\u201cSolarpunk is not a closed label or a protected designation, and that is actually one of its strengths.\u201d<\/em> Yet solarpunk\u2019s still-blurry boundaries could eventually have a downside. For now, its philosophy largely emerges from underground scenes, but the term could also be co-opted. Could solarpunk become another buzzword, much like its dystopian cousin cyberpunk, which eventually came to encompass and capitalize on the negative storytelling found throughout science fiction? Could it, too, be subject to a form of well-intentioned but fundamentally commercial appropriation? It is a question worth asking when <a href=\"https:\/\/www.youtube.com\/watch?v=mDz_GfI3Q5A&amp;t=397s\">architect Vincent Callebaut,<\/a> who highlights the ecological ambiguities and lack of public buy-in surrounding certain mega-projects, which are difficult to reconcile with the solarpunk ethos.<br\/><\/p>\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\ud83c\udf0d SOLARPUNK: la r\u00e9cup\u00e9ration d\u2019une utopie \u00e9cologique\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/mDz_GfI3Q5A?start=397&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n<p class=\"wp-block-paragraph\"><br\/><br\/>While solarpunk\u2019s ambitions seem most coherent in local, community-based projects, its challenges may also lie in finding ways to connect grassroots initiatives with digital technologies, which confront us with a systemic, hyperconnected world.<br\/><\/p>\n\n<p class=\"is-style-signature wp-block-paragraph\">Laurent Catala<\/p>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As humanity\u2019s future remains uncertain, some creative visions are opening up possibilities for futures compatible with ecological balance. They are [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":6262,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[41,38,40],"class_list":["post-6533","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-expert","tag-ecology","tag-hybrid-creation","tag-society","entry"],"_links":{"self":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6533","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/comments?post=6533"}],"version-history":[{"count":1,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6533\/revisions"}],"predecessor-version":[{"id":6536,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/posts\/6533\/revisions\/6536"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media\/6262"}],"wp:attachment":[{"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/media?parent=6533"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/categories?post=6533"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hacnumedia.org\/en\/wp-json\/wp\/v2\/tags?post=6533"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}