Ivica Mitrović talks with Ákos Schneider, the head of the Theoretical Studies module at Moholy-Nagy University of Art and Design Budapest (MOME)

You coordinated and co-chaired (with Karina Vissonova and myself (Ivica)) the Speculative Perspectives track at this year’s Cumulus conference at the Moholy-Nagy University of Art and Design (MOME) in Budapest. What were the intentions of the track and post-conference reflections around track-related topics such as speculative futures, post-speculative design, more-than-human…)?
This year’s Cumulus theme began with the premise that in an era of polycrisis, merely refining our practices is insufficient; we must also critically examine the inherited preferences and references of modern design on a systemic level. Our track sought to bring together diverse perspectives on speculative design to push the conversation beyond its usual boundaries. We focused on applying speculative approaches to more-than-human considerations, expanding design beyond an anthropocentric view to encompass the interconnections between humans, non-humans, the biosphere, and the technosphere. We also explored post-speculative efforts aimed at evolving the practice to more effectively address real-world challenges. Our goal was not just to showcase speculative design as a tool for envisioning future scenarios, but to create a space for design reflections that transcend the dominant human- and user-centred paradigms.
Contemporary design culture is often seen as being in a liminal state, where traditional methods and frameworks are fragmenting and new frameworks have yet to fully emerge. This transitional phase is characterised by uncertainty and professional identity crises, making critical speculation a particularly relevant approach. However, liminality also suggests that any solidifying practice may face scepticism. We have observed that the toolkit of critical speculative design is now being utilised across various regions and design contexts. While speculative design is frequently associated with imagining distant futures or alternative presents, there is an increasing recognition of the need to connect these visions with concrete, present-day actions. Yet, as speculative design becomes more professionalised, questions arise about whether it retains its critical edge. Does its power diminish when mobilised for direct problem-solving? This question sparked the most intense discussions by the end of the conference.

Moderating at the Cumulus Budapest 2024 conference.
After co-chairing the final session and discussion in Budapest, it became apparent that although there is a strong (and even growing) popularity of speculative design, the main arguments against the practice / critics (for example, the focus on dystopian futures) are still present and new criticisms (such as becoming normalised in/by the capitalistic system to become an “affirmative” design practice) are emerging. What are your reflections on this final discussion about the role of speculative design today and in the future?
In Hungary, and perhaps more broadly in Central and Eastern Europe, speculative design continues to offer a refreshing alternative to the affirmative mainstream. However, it’s evident that these speculative gestures can become repetitive while they gain legitimacy in academia, social projects, and design enterprises. In my view, this evolution brings us to the recurring debate about whether speculative design is merely an elitist pursuit confined to gallery spaces, as its methods now clearly extend beyond artistic and educational contexts. This expansion suggests that the genre has matured over the past decade and has secured its place in the contemporary design landscape. Nevertheless, as speculative design becomes more mainstream, there is a risk that it could be co-opted by the very systems it seeks to question, resulting in provocative yet ultimately safe and streamlined visions. Meanwhile, post-speculative approaches are increasingly intersecting with social design and participatory methodologies. My impression is that these practices begin to subtly steer speculative thinking towards solution-oriented tactics even before we have fully explored the systematic possibilities of speculation.
We can assume that the existing frameworks for problem-solving are themselves part of the polycrisis. Beyond the scope of small-scale design projects, user-centred participation in innovation and product development is primarily driven by mass data collection and the continuous monitoring of user behaviours. Future directions are mapped out based on statistical analysis, favouring an innovation strategy that relies on incremental, ongoing optimization. From this perspective, the opportunity for radical, systemic change is significantly limited. One of the major challenges in contemporary design is its narrow spatial-temporal focus and obsession with immediate user needs. I argue that speculation in design should aim to free imagination from the constraints of optimization and user-centred determinism.
Designed experiences and interactions are shimmering on the surface of larger complex structures. For example, while a smartphone’s smooth interface provides a personalised experience, it also conceals the vast planetary socio-technical infrastructure involved. Good design narrows down complexities to provide comfort. However, I believe the true value of speculative design lies in its ability to address spatial-temporal dimensions and interconnections beyond this limited perspective. Acknowledging dimensions that extend far beyond the human scale is a speculative endeavour and not intuitive. This might require a shift from fiction-oriented design towards systems thinking, potentially adopting post-designer-centred, post-user-centred, and even post-anthropocentric perspectives. Yet, in the face of radical ecological and technological transformations, it is crucial to embrace certain decenterings and move beyond the immediate here-and-now.
Ultimately, I view speculative design as a critical practice of transition and exploration, rather than an end in itself. It will evolve and may eventually need to be surpassed, as it does not provide a conclusive alternative but opens new directions for design. The shape of a post-growth or post-anthropocentric design culture, for instance, remains uncertain. We are in an in-between state, compelled to speculate. Additionally, speculative design is most effective as a research-through-design approach. Without sufficient research depth, projects risk becoming superficial and losing their substance, as seen with many fictional scenarios and world-building efforts, whether utopian or dystopian.
Nominating “more-than-human” as one of the topics of the speculative tracks proved to be successful since two of the four sessions focused on this topic. Why is it an important subject and how does it fit into the speculative perspective(s)?
While speculative design has been a topic of discussion since the early 2000s, its potential implications have gained renewed significance, necessitating a more direct engagement with the human-centred framework. The most exciting developments today arise where speculative design intersects with post-anthropocentric perspectives. In social theory, the critique of anthropocentrism is partly informed by ecological awareness and concerns about the solutionist credo of endless growth. However, challenges to anthropocentrism stem not only from the “limits to growth” but also from the dynamics of the digital technosphere. When considering algorithmic capitalism, large-scale data analysis, automation, and machine learning systems, Adam Greenfield, for example, describes the experience of the “posthuman everyday,” where human scale, perception, and desire are no longer the primary orientation points. The notion of the human as the measure of all things appears to be collapsing. In this context, the posthuman condition is not related to science fiction or a transhumanist agenda aimed at enhancing or surpassing humanity through technology. Instead, it emerges as a current ontological principle, highlighting the complexity of an ecological and socio-technical framework where humanity’s traditionally central and self-defining role is being destabilised.
For design, embracing more-than-human thinking means acknowledging that our world is shaped not only by human actors but also by non-human entities—whether animals, plants, technology, or abstract systems like algorithms. Nominating this as a topic for the speculative conference track proved successful, as it taps into a critical and evolving area of inquiry that challenges traditional human-centred approaches. I believe that critical speculative design could find fresh relevance by shifting towards post-anthropocentric experiments, considering contexts where neither the human designer nor the user is the central figure, but rather one actor among many, with designs seen as part of broader material constellations. This approach seems to align more closely with our current reality, dominated by digital network technologies and ecological crises. By questioning the centrality of the human, speculative approaches open up possibilities for new forms of interaction and design ethics.
As a design theorist - what do you think is the role of theoretical classes for (practice-based) design students? Why is it important to develop methodologies (or frameworks) on how to practice (and teach) design? Are the (developed) methods transferable to other social, cultural and political contexts?
While design theory can inspire new ways of designing, I don’t necessarily believe that its main role is to provide designers with better methodologies. Instead, it’s more about expanding their room to manoeuvre, offering opportunities for self-reflection, and helping them to craft their own narratives within a fundamentally fragmented information landscape. Today, young people gather knowledge in an incredibly saturated digital space, which makes it challenging to contextualise their professional practice. Our main task is to counteract this fragmentation, for instance, by introducing umbrella concepts like speculative design. Regarding my institution in Hungary, students have been incorporating speculative elements into their graduation projects for some time, though this practice was not previously labelled as such or recognized as part of a broader discourse. A well-articulated concept can be empowering. While hands-on practice is essential, theoretical classes provide the critical foundation that allows students to understand the broader context of their work, including the social, cultural, ethical, and philosophical dimensions of design. These classes help to engage with the complex issues that design must address in an interconnected world. I appreciate Liam Young’s claim that today, you can’t even design a cocktail bar meaningfully without considering the journey of the sand used to make the glasses from which guests will drink. A building or user experience actually connects incredibly distant locations and different time scales, but this often goes unnoticed. A contemporary designer must situate their work within these constellations and consider multiple locations and temporalities simultaneously. I encourage students to engage in such thought experiments and reframing.

Copies of the book The Limits of Human-centered Design: Speculative Design and Posthuman Condition (2022)
How could we (as design educators) contribute to new approaches that could lead to the necessary changes in social, political and economic systems?
It is clear to me that education has a significant impact on various social subsystems, but it is a very slow-moving field with gradual processes. Moreover, in recent years, a general distrust of traditional institutions, including educational institutions, has become prevalent. Speculative design can be seen as a field where conventional systems are momentarily set aside to explore alternatives that mainstream frameworks might miss. This approach is of course as much about attitude as it is about institutional and policy considerations. Spaces that enable such “tactical exceptions” – to use Benjamin Bratton’s expression – can be seen as zones of speculation. This is crucial for addressing emerging fields that lack a fixed social direction or implementation, such as advancements in biotechnology or information technology. Moreover, climate change may also necessitate the speculative bypassing of normative frameworks and experimenting with new norms through speculative methods.
Universities, research communities, design and art institutions are some of the most dynamic speculative zones. Even today, these spaces continue to be fertile grounds for critical and quasi-utopian thinking, offering a venue for challenging established practices in innovation and social operation. It is our responsibility to make these widely understandable and visible as potential catalysts for change, because in times of crisis and amidst paralysing scenarios of the future, creative endeavours, fundamental research, experimentation, and subversion are not merely self-serving activities but vital commitments to social reflection and renewal. The first step now would be for these speculative zones to acknowledge and embrace this active role, even if it means undergoing internal reforms, and to start rebuilding trust in them.

The first Speculative Design Day at MOME in 2022.