The document outlines Linda Carroli's 'Long Time No See' project, aimed at fostering dialogues around time, community, and futures through artistic engagement in Aspley. It emphasizes the importance of storytelling as a method for community change and the creation of new myths, utilizing technology and creative methods like cultural probes and social media. The project critiques traditional notions of community, advocating for a more inclusive and transformative understanding of social dynamics.

1. Linda Carroli – Community Catalyst, Long Time No See

2. Vision: The Sustainment (meaning futuring and
the giving back of time)
Purpose: A living artwork that develops
dialogues around time, community and
futures, working with a range
of nascent communities of interest, initially
drawn from NBN connected locations, students
and special interest groupings such as Festival
audiences.

3. Environment Project Dimensions
Community
Community
Action
Culture
Art Technology
Science Economics praxis
Language
Enabling Art Technology
Plural Poiesis Techne
Sustain-able

4. Objective: A community of change enabled to
develop new myths and metaphors through the
transformative dynamics of social process,
artmaking and subjectification (re)directed
towards futuring as part of the Long Time No See
project.

5.  Tendencies towards utopian ideals of
community. Cognisant that community is not
given and cannot be assumed.
 Moving with participants through a series of
engagements to enable futuring as
storytelling / storytelling as futuring through
image, sound and text
 Creating multiple experiences of knowing as
part of a process of change

6. People
Place
Program
Platform
Prototype
“Community isn't a property, nor is it a territory to be
separated and defended against those who do not
belong to it. Rather, it is a void, a debt, a gift to the
other that also reminds us of our constitutive alterity
with respect to ourselves” - Roberto Esposito

7. In the first instance
working in and around
Aspley
The Enabling Suburbs project is a
community of change that is already
based and working in Aspley.
http://enablingsuburbs.wordpress.com

8. Clockwide from top
left:Projects by M12,
Proboscis, Slow Art
Collective, Marjetica Potrc,
University of the Trees,
Miriam Kilali

9. “We can try to maintain our existing way of life or we can
create another more viable one of which there is still no
imaginary” – Tony Fry
 Futuring/Defuturing  Beginnings/Endings
 Sustainment  Community-History-
 Working with what Time
already exists  Psychogeography
 How do we make time?  Commoning
 What is being cast into
the future?

10. Process  Social media presence
 People  Cultural Probes
 Place  Workshops, drawing on
 Program Causal Layered Analysis
 Platform using creative and
 Prototype generative methods –
ultimately output to
flickr and twitter.
 Tagging, GPS and
keywords feed into
artwork

11. Drivers of Change
Twitter Storytelling
Cultural Probes
Narrative Ecology &
Design Fiction
Psychogeography
Geotagging

12. CLA asks participants to explore four different
layers of understanding issues of concern:
 Litany: Surface, easily-verified comments
 Social Causes: Statements invoking actors and
their structural relationships
 Discourse/Worldview: Grand, “big picture”
statements that challenge assumptions on the
previous two levels - reflect deeper, generally
non-negotiable worldviews.
 Myth and Metaphor: Folk sayings, slogans,
archetypes and ancient stories.

13.  The most powerful dimension – symbolic and
cultural capital
 Cultivating new/alternative/redirected
cultural imaginaries
 Working with images or phrases that
encapsulate our constraints and what we
hope to achieve
 ‘Change community for what?' - Capturing
new stories or images to enable futuring and
‘making time’.

15. Do community facilities
construct or respond to
a normative
idea of community?