Category Archives: technology

Cyber-Solar-Lunar𝘗𝘶𝘯𝘬

by Ashton K. Arnoldy

As genres of speculative fiction—fiction which aims to imaginatively influence the manifestation of our collective future—solarpunk and lunarpunk hold a promise that their ancestral foil (cyberpunk) does not. Whereas cyberpunk exercises a predominately negative, or critical, purpose by presenting a dystopian future we ought to avoid realizing, solar and lunarpunk both aim to envision positive alternatives inspired by a renewed cosmic spirituality. This may seem like an idiosyncratic characterization, but in what follows I will try to make clear why the recontextualization of humanity in a meaningful cosmos is what essentially distinguishes solar and lunar from cyberpunk. And, in accord with the pluralistic ethos Navarre opened this series with, I want to acknowledge from the outset that my characterizations may not resonate with everyone—and that’s okay. While it’s true that—in relation to the Earth—the Sun and Moon communicate distinct, archetypal characteristics, it’s also true that archetypes are polysemous: they manifest themselves in a range of meanings. And yet, if we are to discern what actually is archetypally lunar or solar, we must refer to realities that are not reducible to human social construction alone. Cyberpunk also partakes of the archetypal and might arguably be seen as a contemporary form of mythology conveying the dangers of hubris (think of Prometheus or Icarus). The major difference between these ancient myths and cyberpunk, however, is that between then and now has stretched a period of radical industrialization and its corresponding ecological devastation. Human hubris is writ large in the last century’s capitalist delusion of endless extraction and technological innovation cued to selfish ends. Solar and lunarpunk speculatively intervene to renew humanity’s sense of proportion (etymologically, the word “cosmos” arises from the Pythagorean-inflected κόσμος, which once denoted the universe as a harmonic order). Such speculative interventions are crucial given how pervasive the cyberpunk imaginary is today. The oft quoted saying (attributed to both Fredric Jameson and Slavoj Žižek)“it is easier to imagine an end to the world than an end to capitalism”—exemplifies this pervasiveness, for cyberpunk stories are typically characterized by a form of capitalism pushed to its most inhuman extreme. We need only call to mind Blade Runner, Ghost in the Shell, or Akira and we can see this possible future in vivid detail:

A man in a trench coat looks into the distance in a yellow, dusty environment. The visibility is low so nothing is visible in the distance except yellow sky.
A still from one of the latest cyberpunk classics, Blade Runner 2049 (2017)

The Earth has become a wasteland; cities provide the remainder of humanity refuge from the larger swaths of the planet that are now uninhabitable zones of nuclear fallout. Megacorporations have taken over the function of the state and exercise control over the cultural sphere, ensuring citizens are kept pacified by rituals of escapism (digital, chemical, etc.). The unfeeling, yet self-indulgent elites live high above the clustered and polluted chaos of the urban population, ruling over them through an authoritarian surveillance apparatus that records everyone’s activity. Nietzsche’s Übermensch is translated into a crude form of technological “enhancement” that only wealthy individuals can afford (unless you happen to be a test-subject); radically hybridized human-cyborg forms emerge and prompt one of the major questions of science fiction: What is the human being?

A person in a red cloak and grey tank top sits on a stone chair. Their cybernetic arm pulses and then explodes in a shower of wires which attach to the chair. A person walking up to the chair seems startled by the even and the seated person covers their arm with the cloak.
From Akira (1988)

The punk in cyberpunk often manifests through unlikely protagonists who represent the last bastions of higher values by raging against the machine—against a “society” that cybernetically reproduces inhumanity like a cancer. Whether they be actual humans or synthetic imitations who choose to honor such values, these misfits work against the “high tech, low life” character of their surroundings and shine as beacons of hope for a more humane world. A consistent archetype is the anarchist hacker who deploys their skills to throw a wrench in the system or divulge emancipatory information to the public. Sadly, their struggles usually amount to little given how pervasively the cancer has metastasized. Civilization—in these stories—seems beyond saving. Rather than presenting salutary visions of collective human flourishing, the cyberpunk genre has generally served to warn us of what we could become. These warnings are still relevant given that our world has grown to resemble the cyberpunk imaginary ever-more as the years go by. The ongoing incarceration and persecution of whistleblowers like Julian Assange exemplifies the extent to which cyber rebels pose a threat to the corporation-state juggernaut. This is despicably hypocritical given that social media and search engine companies openly track all user activity that transpires through their platforms. Our daily digital habits feed machines designed to enslave our attention and, increasingly, to shape our desires in ways that perpetuate the ravenous hunger of the monster that is neoliberal capitalism. How do we escape this capture?

The artist Grimes sitting in a stone chair with a red shirt and a red banner fluttering behind.
Grimes echoing a scene from Akira in “Delete Forever” on her last album, “Miss Anthropocene” (2019)

Enter solarpunk, the great potential of which is the return of the central, though unresolvable, question raised above—“What is the human being?”—to its cosmic context. Unlike cyberpunk, which, as a genre, broods over the dangers that arise from technologies borne of human alienation, solarpunk takes its inspiration from the more-than-human world—specifically, the giver of life on Earth: the Sun. Both genres reflect the Anthropocene—the name for our current geological age (cene) during which the human species (anthropos) has become a planetary force. But because the cyberpunk imagination is (typically) constrained to a mechanical vision of the cosmos, it perpetuates the worst kind of anthropocentrism—the kind which mistakes our theoretical models for reality. This mechanistic model—ranging from quantum physics, to biology, all the way to macroscopic cosmology—is defined exclusively by the inorganic laws of nature and can thus only amount to a vision of death. The mysteries of life and human consciousness—in this imaginary—are reduced to sophisticated computational processes that will soon be both explained and rendered obsolete by the rapidly evolving machinations of artificial intelligence. According to adherents of this mythos, technoscience will one day realize its ultimate goal: material immortality.

A GIF beginning with a stream of green numbers on a black background and then moving to what appears to be the assembly of a white android around a black interior structure. A green brain being crossed by a green plane ends the image.
From Ghost in the Shell (1996)

Solarpunk arises dialectically as a healthy reaction to the death-drive made conscious by cyberpunk and responds by reinstating the primacy of Life in the rhythmic organism that is our cosmos. Mechanism is subsidiary to organism, the organic; life is not *in* molecules; rather, molecules arise from the symphonic action of the entire cosmos and this music is life. The wish of solarpunk is to let the light of this cosmic Life inspire all of science and invention. What are science and technology for if not the flourishing of humanity and the wider Earth-community on which we depend? As Matt Bluemink writes, “at its core, solarpunk is the ecological antidote to cyberpunk… [an impetus] to imagine a world where human beings live in harmony with nature, but in a way that embraces developments in modern eco-friendly technology.” To live in harmony with nature is to rediscover the spiritual symphony of our living cosmos. Apart from the more obvious association with solar-power and renewable energy, the solar in solarpunk also refers to the salvific fire of optimism. Solarpunks are punk to the extent that their willful optimism goes against the grain of today’s complacent irony, cynicism, and destructive nihilism. And, sharp contrast to the extrinsic individuality that characterizes cyberpunk societies (and today’s neoliberalism), the solarpunk ethos implies a perception of humanity as a whole—a whole organism to which we as individuals belong. As Adam Flynn writes in Solarpunk: Notes toward a manifesto, “Solarpunk is about finding ways to make life more wonderful for us right now, and more importantly for the generations that follow us – i.e., extending human life at the species level, rather than individually.” The films of Hayao Miyazaki are among the major influences on the solarpunk aesthetic, and this is unsurprising given that Miyazaki’s films are saturated with an environmental ethic that flows from the Japanese Shinto tradition. Indeed, it seems that solarpunk is generally inspired by indigenous wisdom traditions to reintegrate humanity in the great web of life.

An animated image of a cow and butterflies in a field below a solar array. There are trees in the distance.
From the solarpunk-inspired short, Dear Alice (2021)

Though this characterization is by no means exhaustive, I have tried to distill what seems most essential to the spirit (or spirituality) of solarpunk: the light of optimism, the primacy of Life, and the perception of an underlying wholeness (i.e. the human species, the web of life, etc.). And—importantly—these features are not arbitrary, but issue directly from our actual experience of the genre’s namesake: Sol, the Sun. Those who have spent a substantial amount of time enduring frigid nights will know how natural it is to connect the light of optimism with the promise of sunrise. Anyone who pays attention to the flora and fauna of their local environs will know what praises Life sings to the break of dawn. And many will have heard the saying, “For he makes his sun to shine on bad and good people alike.” We do not make these things up; we either attend to such features or blind ourselves to them. The spirituality of solarpunk consists in choosing to recognize that an essential part of our humanity is connected with the Sun, that we are partially constituted by it, and that, just as it inspired our ancestors for thousands of years, it can likewise guide our own aspirations for the Anthropocene. This light-filled renewal of cosmic spirituality is one possible future; a darker future, presented by cyberpunk, consists in the further intensification of alienated anthropocentrism and its ironic apotheosis in the subhuman automaton. We have reached a fork in the road.

Astrologically speaking, we are on the cusp of Pluto’s ingress into the sign of Aquarius (a 20 year transit in total) which many astrologers predict will usher in a form of surveillance more oppressive than we have yet to experience. Many astrologers also anticipate the boundary between machines and (some) humans to increasingly blur. The pervasiveness of the cyberpunk imaginary certainly facilitates our passive entry into this Brave New World, but have the hopeful tales and practical initiatives of solarpunk done enough to prepare us to face the panoptic beast of mass surveillance? Rachel-Rose O’Leary doesn’t think so, and in her widely circulated essay “Lunarpunk and the Dark Side of the Cycle,” she furthers the dialectic of cyber and solar by positioning lunarpunk as a kind of higher synthesis of the two. According to O’Leary’s genealogy, lunarpunk flows from the lineage of cypherpunk—a movement of coder-activists who anticipated the coming dangers of mass surveillance already in the early 1990s. Cypherpunks—including Julian Assange—advocated for and innovated encryption techniques to protect user privacy. Unlike the anonymity enjoyed in the analog world of cash exchange, digital transactions are vulnerable to prying eyes. As Eric Hughs writes in “A Cypherpunks Manifesto,” “when my identity is revealed by the underlying mechanism of the transaction, I have no privacy. I cannot here selectively reveal myself; I must always reveal myself.” It is this freedom to selectively reveal oneself that cypherpunks aim to protect. Why? As Hughs writes, “we cannot expect governments, corporations, or other large, faceless organizations to grant us privacy out of their beneficence. It is to their advantage to speak of us, and we should expect that they will speak.” The parasitic collaboration between advertisers and social media companies to farm our attention is an obvious example of what happens when we allow such entities to “speak of us.” China’s inhumane, authoritarian public health measures are another example of what can happen when citizens lack the negative freedom (protection) of privacy. As early resistors to mass surveillance, cypherpunks resemble the rebellious (because humane) protagonists of cyberpunk stories. And indeed, as O’Leary characterizes the subgenre, lunarpunk continues this resistance, reminding solarpunks that utopia will only ever be elsewhere, while dystopia is nigh.

Black and white image of two round mirrors facing each other with a zoomed in eye in each. There is an animated sun near the left mirror and an animated moon near the one on the right. Text in the image says, "Lunarpunks are the solar shadow-self."
From the video essay “Lunarpunk and the Dark Side of the Cycle,” via Rekt News (2022)

But, significantly, O’Leary isn’t writing speculative fiction, rather, she seems to be going a step further by attempting a more direct intervention into history itself, engaging in what might be called mythospeculation. But she doesn’t claim to be any kind of messiah, rather, she points to the advent of crypto as containing its own speculative, sci-fi potential. As she writes, “crypto is an extreme kind of sci-fi because as well as offering a vision of the future it also provides the tools to make that future possible.” She goes on to describe how the future of crypto is predominately envisioned through the idealism of solarpunk. Now there are many in the solarpunk movement who reject the whole world of crypto as merely a transposition of neoliberal capitalism into the digital sphere. A thread in the solarpunk subreddit titled “Crypto is not (solar)punk” provides a snapshot of the various perspectives involved in the debate. As one user writes,

“Regardless of the environmental impacts, which are sus at best, creating an unregulated currency that is already controlled by the rich and powerful and literally siphoning production and wealth out of the labor force of the country with get-rich-quick schemes, pump and dump, and pyramid schemes is not my idea of solarpunk. Currency as we know it wouldn’t even be needed in a truly post-scarcity solarpunk world. Cryptocurrency is just capitalism turned up to 11.”

With the recent downfall of FTX we know that this is indeed an accurate characterization of some developments in the world of crypto, but others argue that this just proves the true potentials of blockchain technology have yet to be tapped. Another user in the subreddit debate conveys this with respect to the capabilities of NFTs:

“an NFT is really just any data stored on a blockchain that isn’t interchangeable with the other items on it (in the way that one bitcoin can be interchanged with any other bitcoin, because they’re all the same as each other). That means that NFTs could conceivably be used not just for securely keeping track of ownership, but generally for issuing records that can’t be forged or modified, or (along with smart contracts) exchanging data between two parties when the terms of an agreement are fulfilled. We can do those things without trusting a third party – or really, trusting anything except math – and without centralizing authority in the hands of a bureaucracy which might become inefficient, abusive of its power, or corrupt. A large part of solarpunk is the smart and responsible application of technology to improve our lives, and if blockchains were applied properly, they have the potential to legitimize and strengthen the sort of bottom-up social relations that, to me, are vital to the successful implementation of solarpunk ideals.” It is presumably this capacity to cut out third parties (i.e. banks, governments, etc.) and the centralizing power such entities currently enjoy that makes crypto, as O’Leary suggests, an “extreme form of sci-fi” by providing the “tools to make that future possible.”

Blockchain technology, as this user points out, enables peer-to-peer transactions that could provide bottom-up, grassroots movements an economic alternative to the state-mediated systems currently in place. This potential of decentralization is presumably what O’Leary means when she describes crypto as an extreme form of sci-fi, one that provides a vision and the tools to realize it. Unfortunately this potential is hampered by another widely celebrated feature of the blockchain—transparency, the expectation being that public access to transactions will mitigate corruption, or at least make it easy to spot when it does take place. But if we recall the central concern of cypherpunks—privacy—then we might rightly hesitate to celebrate a technology that exposes our transactions to prying eyes. Indeed, this is O’Leary’s main concern, for while many in the Global North might look upon the insistence for privacy with suspicion, those who have faced state-sanctioned oppression know better. That O’Leary knows better becomes evident in another article in which she compares the lunarpunk insistence on encryption with the guerilla style warfare of the Irish during their recent revolutionary period:

“Fighters lacked weapons, but the people and rugged landscape protected them. The new warfare favored hit-and-run tactics and disrupting enemy intelligence. It was the dawn of modern guerrilla tactics – and it won Ireland its independence. These guerilla tactics are no longer feasible today. Modern surveillance technologies and automated weaponry have turned the world that we inhabit into a desert with no protective cover. Resistance fighters are easy targets.”

Transparency, for O’Leary, is like the first iteration of the Irish revolution—when Irish fighters tried to overcome colonial rule by occupying the most public outposts of their territory. But being so conspicuous backfired when the British army arrived and closed-in, catalyzing the recourse to guerilla tactics. Today’s mass surveillance is a similar development. Those solarpunks who, having recognized the emancipatory potential of crypto, opt to join forces with popular blockchains like Ethereum and Bitcoin, put themselves at risk when—in the near future—state regulation sweeps in and transparency backfires. O’Leary and others in the DarkFi movement refer to the latter development—state-based crypto regulation—as “the coming storm,” and position lunarpunk as a revolutionary countermeasure. As she writes, “lunarpunk is a guerrilla movement committed to establishing a digital forest in cypherspace using tools like encryption that its fighters can recede into.”

A quarter moon over an animated dancing forest. Fireflies appear in a few of the frames. Text in the image says: "Lunarpunk is more like a forest. A dense cover of encryption protects tribes and offers sanctuary for the persecuted. Wooded groves provide a crucial line of defense. Lunar landscapes are dark. They are also teeming with life."
From the video essay “Lunarpunk and the Dark Side of the Cycle,” via Rekt News (2022)

In contrast, “by building transparent systems, the solarpunk says: I have faith that the law won’t turn against me. Its insistence on optimism prevents it from preparing for the worst case scenario.” She goes on to compare this situation with the harsh desert landscape where there is no cover, no escape from the relentless exposure of sunlight. In stride with the aforementioned astrologers who anticipate Pluto’s ingress into Aquarius to herald new depths of surveillance, lunarpunks are fostering the growth of forest-cover in cypherspace in hopes of preserving the mere possibility of freedom. O’Leary and others in the DarkFi movement refer to this anonymizing process as “going dark” and in so doing articulate a key feature of lunarpunk. Whereas some solarpunks enthused with crypto might hold out hope for transforming the current system through public projects transparently mediated through Ethereum, lunarpunk—according to O’Leary—is about seceding from the system altogether. As she writes in her conclusion to “Lunarpunk and the Dark Side of the Cycle,”

“Lunarpunk’s believe freedom can only be found outside the logic of domination. This means lunar society must completely decouple itself from the current paradigm. As such the lunarpunk future is born from a conflict that solarpunks seek to avoid.

This solarpunk repression is its weakest point. Solarpunk cannot build the vision it projects if it has already integrated the oppression that it hopes to break away from. By favoring transparency in its systems, solarpunk is tragically engineering its fate. Surveillance – the mechanism of authoritarianism – is bound to the solarpunk destiny.

For solarpunk to succeed it must integrate the lunarpunk unconscious. The only hope for solarpunk is to go dark.”

Just as many in the solarpunk movement reject crypto altogether, many might also take issue with the claim that solarpunk has “integrated the oppression it hopes to break away from.” This may not be true of the movement broadly speaking, but it is an unfortunate fact that the greenwashing powers of capitalism have already made inroads into solarpunk aesthetically. The short film “Dear Alice,” a Miyazaki-inspired animation, is a case in point because it doubles as an advertisement for the Greek yogurt company Chobani. The product placement is truly cringe in an otherwise diverse, utopian vision of a solarpunk future. The presence of a decommodified version of the animation on YouTube and a thread discussing the advertisement on the solarpunk subreddit are enough to show that many in the movement do not wish to capitulate to the powers that be.

An animated woman in a blue shirt, red kerchief around her neck, and a tan apron sets a steaming mug of tea on the rail of a porch. There are flowers and plants hanging from the rail and in the background.
From the commodified version of Dear Alice

As O’Leary understands it, the darkness of lunarpunk refers not only to the cover of anonymity, but also the willingness to look into the dark—to accept uncomfortable truths. For lunarpunks this means embracing the fact that we are living in the midst of a dying empire—a phase of decline which typically features an intensified effort of the state to exert control over citizens—hence the unwillingness to reform. And like fungi in the midst of this decay, the lunarpunks of DarkFi are generating an anonymity-focused layer 1 (foundational) blockchain in hopes of fostering a decentralized economy that could unite a patchwork federation of anarchist communities around the globe. Herein lies another important feature of lunarpunk: the recognition that—out of death—new life can emerge. And whereas solarpunk especially emphasizes a compassionate perception of humanity as a whole (including the future of our species), lunarpunks insist on the integral role each individual plays in the moral drama of history. Up until this point a question may have been hovering in the mind of the reader: “But isn’t anonymity a potential hazard? Won’t it incentivize and facilitate criminal behavior?” Justin Murphy posed this question to O’Leary during a dialogue the two had on the zero-knowledge crypto-anarchy of DarkFi; her response conveys the spirituality that undergirds true anarchy when understood as an ethical form that arises spontaneously from the human heart when we have had the chance to grow into virtue rather than be coerced to imitate it:

“I don’t think anonymity is necessarily a catalyst for bad things, and I also have optimism and faith in people, and I don’t think we need to persecute everyone with this invasive surveillance in order to protect us. No, I believe that people can live ethically and that their ethics should come from themselves and not be imposed on them… let the people do their things, fulfill their destinies—let that arise from them organically, as it should, in the spirit of affirmation.”

By insisting on the negative freedom that cryptography provides (freedom from prying eyes and coercion), it might seem like lunarpunks prize technological fixes over the cultivation of inner freedom and virtue. But the convictions O’Leary expresses above convey the exact opposite. The negative freedom of privacy becomes necessary in our technologically mediated world so as to carve out enclaves where the positive freedom of affirmation can flourish organically. One might discern echoes of Nietzche’s yea-saying here. Cryptography can support the latter, but true virtue can only arise out of individual self-transformation. No technology—no matter how sophisticated—can achieve this for us. Such transformation is the spiritual basis of ethical anarchy. If solarpunk steers science and technology away from the alienated and hubristic ends of cyberpunk, lunarpunk rounds off by reminding us that the key to a future of mutual flourishing ultimately lies within.

An image of a silhouette of darkness and one of light standing in a black and white forest with a quarter moon in the sky above. The dark silhouette touches the light silhouette and the rest of the image fades to darkness.

Text in the image says, "For solarpunk to succeed it must embrace the lunarpunk unconscious. The only hope for solarpunk is to go dark."
From the video essay “Lunarpunk and the Dark Side of the Cycle,” via Rekt News (2022)

Heeding O’Leary’s appeal, Dr. Paul J. Dylan-Ennis imagines a harmonization of solar and lunarpunk achieved when the former integrates the latter by going dark. “Absolutely, in terms of strategy,” he writes,

“Yet, we should also demand the light, the transparent fullness of solarpunk optimism. This is how I imagine a perfect synthesis of solar- and lunarpunk. A transparent society of utopic quality (demand nothing less) protected by a vigilant darkness. Without the light what is there to protect anyway? We should never give up the sun to the state.”

Amen—we should never give up the Sun to the state, for the transparent light of surveillance is only a counterfeit of the true, life-giving light of our star. Dylan-Ennis’ vision of synthesis and O’Leary’s Jungian call for solarpunk to “integrate the lunarpunk unconscious,” are—in my perspective—contemporary intimations of the ancient Pythagorean understanding of the cosmos as a harmonic order. But this harmonic order is not something that is merely given, rather, it is something human beings must participate in if we wish to keep the music of the universal process going. The bare attempt to discern the distinct archetypal character of Sun and Moon at work in these subgenres and the relation that inheres between them is an exercise in this cosmic participation, this renewal of cosmic spirituality. If, in the constraints of this post, we take the light of optimism, the primacy of Life, and the perception of an underlying wholeness to convey the essence of solarpunk, lunarpunk bodies forth the inverse: a familiarity with darkness that wisely guides the light of optimism, a sober recognition that the mystery of Life is ineluctably bound up with the mystery of Death (including the death of empires), and—alongside the light-filled perception of wholeness—an equal respect for difference, for the multeity at work in this harmonic unity we call our cosmos. Whereas the Sun, shining on all below irrespective of differences, occupies the daytime sky alone, the Moon shares the vault of heaven with other planets and a countless host of starry worlds. Contemplating this great celestial diversity, we are filled with awe, perhaps terror—or maybe even a bit of both. Just as the Sun can shed light on what it means to be human and guide our aspirations for the future, so too can the Moon. Unless (or until!) we discover humanoid beings elsewhere in the universe, we ought to measure our essence in close connection with the planet which hosts us: Earth. We are not just on the Earth, but are brought forth through the dynamism of its being. But the Earth would not be what it is if it were not simultaneously dancing with the Sun and the Moon. The three celestial bodies constitute a whole in the form of a tri-unity, with Earth harmonizing the polar extremes of Sun and Moon. Unlike the irresolvable negation of contradiction—the stasis of binary opposition—the tri-unity is a dynamic, ever-evolving harmony that recapitulates itself at all scales throughout the cosmos. In a similar vein, BrightFlame speaks of the “nonbinary nature” of solar and lunarpunk, describing their connection “as varied and changeable, not fixed like a molecular bond,” that they “don’t just touch one another, they overlap.” Her characterization is reminiscent of how many have described the Chinese yin-yang which features an interpenetration of light and darkness, one that is more suggestive of a dynamic tri-unity than a static, binary opposition.

An animated Yin and Yang. They are circling each other at a 90˚ angle. The dots go through the hole on the other piece as it spins around.

The same intuition of threefoldness manifests itself in the Celtic triquetra. Indeed, a trinity in some shape or form shows up in the symbol systems of many ancient cultures across the globe, a fact which may be taken to suggest that the harmony of three was an obvious feature of the natural world for our ancestors. But between now and then our thinking—especially when it comes to number—has become woefully abstract. The emergence of lunarpunk in wake of solarpunk bespeaks the potential each imaginary has for overcoming this abstractness through a reattunement the meaningfulness of the more-than-human world. That this is already happening is evident in the sequence of their articulation: given that we are beings of the Earth—cradled between the weaving of Sun and Moon—it was inevitable that a genre inspired by the light of day would be followed by the darkness of night. The two constitute a polarity, a rhythm—a dynamic relationship undergirded unity (i.e. harmony). Aesthetic sensitivity to the natural world expresses itself as a creative continuation of this polar rhythm. We see this in the first characterizations of both genres, but particularly in the effort to articulate the essence of lunarpunk always in relation to solarpunk. As Justine Norton-Kertson writes, “Lunarpunk is to Solarpunk as flowers are to fungi”—a very apt transposition of this polarity, for most flowers do open to greet the daylight, whereas mushrooms tend to thrive in the damp breath of shadows.

If cyberpunk serves to warn us of the destructive potential that human hubris writ large spells for the future, solar and lunarpunk—taken together—enjoin human beings to become capable of comprehending the speaking world once more. This renewal of cosmic spirituality is what we need to offset the damage that has been and will continue to be wrought by technologies concocted by alienated anthropocentrism. Only a spirituality that flows from a recognition of our cosmic context will know how to wield the power of technology responsibly. Though we cannot separate solar and lunarpunk, we can and must distinguish them to better understand the task ahead. Sol ignites the salvific light of optimism, reattunes science and technology to the primacy of Life, and perceives the wholeness of humanity and the Earth community; Luna reminds us that we’re already in the midst of a dystopian cyberpunk story, that we can skillfully negotiate the decay of empire by receding into the dark forest of a parallel cypherspace-economy, and that this technology can help to safeguard the freedoms necessary, though not sufficient for, human actualization. Most of all, Luna reminds us that the latter—the actualization of human potential—can only be achieved at the individual level as we each work inwardly to transform ourselves into ethical beings who are capable of partaking in the spiritual anarchy of the future by striving to live up to it in the present.

A celtic knotwork combination of the Tree of Life and a Triqutra, presumably made of copper or bronze with blacked out background. The GIF distorts the image in a disturbing manner.

An AI-generated avatar of the author. The appearance is of a man with sideburns and spikey hair and traces of facial hair. He has green earings and various green, pink, and blue devices around his temples, forehead, and beneath his eyes.

Ashton K. Arnoldy is a Ph.D. candidate in the Philosophy, Cosmology, and Consciousness program at the California Institute of Integral Studies; his dissertation is focused on the evolution of consciousness as presented by Owen Barfield. Ashton doubles as Aʅʂσ Kɳσɯɳ Aʂ, a multimedia avatar dedicated to fostering anthropogenesis and cosmological orientation. For more, check out the multimedia lunarpunk series Lunar Return, the blog/podcast MicroKosm, and the weekly Calendar of the Soul livestream.

Seeds For the Swarm – A Review

A young woman with freckled skin and red hair wearing black goggles looking up at three green cicadas with red eyes circling the book title, "Seeds for the Swarm."

Glowing yellow/white particles waft upward from the bottom of the background which looks like a watercolor of red/orange evocative of fire.

Listen to this review on the If This Goes On (Don’t Panic) podcast

Seeds for the Swarm by Sim Kern takes us on a journey of the near future where warming has continued and much of the United States is now barely habitable. People from the “Dust States” try to emigrate through a tightly-controlled border to the “Lush States” or muddle through with that rugged individualism we take so much pride in here in the United States.

This feels like a very likely future with continued exploitation of oil and corporate/government collusion leading to huge sacrifice zones where people work hard in polluting industries that are choking their communities so they can put food on the table for their families. Rylla, our protagonist, wants desperately to go to college, but doesn’t have much hope of getting out of the Dust States even though she’s in the top of her nationwide virtual high school.

When she finds out the oil company in her hometown plans to destroy the watershed that provides what meager water is available to her region and is the last thing to give her hope, she gets a ride to speak to the state legislature committee in charge. Despite an impassioned speech, her entreaties fall on distracted ears beholden to corporate overlords and gadget addictions. One viral, embarrassing remix of her speech later, she gets recruited as a scholarship student at a university in the Lush States.

Starting with her interaction with the elected representatives, Rylla does a lot of growing up in the course of this book. It felt like Kern took everything I learned during the course of my twenties and made Rylla face these hard truths all in the course of a single year. During her many misadventures, I identified with Rylla’s tendency to get swept up in the ideology of the groups she would spend time with before becoming disillusioned when she found they didn’t have the answers she needed.

This future has glimmers of hope, but the carcass of our current world is still the dominant society. While there are a variety of themes explored, I think the most important is how the protagonists push against eco-fascism being the only solution to solving the climate crisis regardless of who is promoting it. I think it really fits into what Andrew Dana Hudson said when he was interviewed by Solarpunk Magazine:

a solarpunk future is one in which the climate crisis is escalating, institutions are failing, late capitalism is getting even more precarious and putrid, and while technologies of sustainability might be becoming ubiquitous, we haven’t yet managed to fully phase out the toxic old for the green new. It’s a future (slash present!!) in which we need a movement of solarpunks to shove us onto a better path

Our Shared Storm: An Interview with Andrew Dana Hudson

As someone who is an engineer, I really love the interactions between Rylla, a humanities major, and all of her engineering/scientist friends. They’re preoccupied with how to get their projects to work the way they want them to without necessarily thinking about what secondary or tertiary effects the technology might have on the world. They are often dismissive of Rylla’s legitimate concerns and only later realize that she was right in being worried. The Ian Malcolm quote from Jurassic Park comes to mind of “Your scientists were so preoccupied with whether they could, they didn’t stop to think if they should.”

An image of Jeff Goldblum in black glasses and a leather coat with the text "Your scientists were so preoccupied with whether they could, they didn't stop to think if they should."

Rylla’s other main companions are her fellow humanities majors including her previous public school rival from another Dust State and her nonbinary roommate who literally smashes the patriarchy. As one might expect, it’s up to Rylla to join the forces of science and the humanities to defeat the eco-fascist Big Bad at the end of the book. I do feel like this book is a little better about explaining why the kids have to be so instrumental in saving the day compared to most other YA novels where it seems the adults just really needed to go on vacation that week.

There are plenty of mishaps, victories, death, and embarrassments to go around in this story, making it a solid entry into the YA genre. I could’ve done without the love triangle, but I know that’s a hard trope to kill. Rylla and the other characters feel like real, messy humans who are doing their best to make it in an imperfectly hopeful world.

Thanks to Stelliform Press for providing an ARC in exchange for my honest review.


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Tidalpunk Food – Fishing and Farming the Sea

The camera looks up at a school of fish from below. They appear to be swimming in a circle around the center of the image.
Photo by Harrison Haines on Pexels.com

Dr. Sylvia Earl says we need to stop commercial fishing if we want to keep our oceans healthy. Over-fishing and pollution are driving many species to the brink, not to mention the harm of increased ocean temperatures and acidity brought on by climate change. For those of us not in societies where fishing provides subsistence, is there a better way to get our fix of fish?

On the horizon, and already on some store shelves, plant-based seafood could prove to be a way to get that taste of the sea without the environmental and human toll. This is good news since beyond the environmental toll, industrial seafood also has more than its share of human rights abuses. Current faux fish focuses on staples that are more about what you do with them than the underlying flavor of the meat. Crab cakes, shrimp, and canned tuna substitutes are the leaders of the pack here. While lab-grown seafood is getting a lot of investment, it is still nascent at best like lab-grown meats. Unsurprisingly, it takes a lot of work to grow cells outside of a living organism.

A diagram showing a boat on the surface of the ocean over seaweed on a line and oyster, mussel, scallop, and clam cages.

The image describes the advantages of this "polyculture farming system:"
-High yields of shellfish and seaweed
-Small footprint
-Low barrier to entry
-20 acres, a boat, and $20-50k
-Carbon and nitrogen sink
-Zero inputs: no fresh water, fertilizers, or feed
-Storm surge protection
-Rebuilds marine ecosystems
GreenWave’s Aquacultural Model

The real rock star when it comes to aquaculture and sustainability is seaweed. Able to sequester carbon, serve as a protein source, reduce emissions from cattle, and provide oil for biofuels, kelp is truly the wonder algae. One of the best primers on the potential of seaweed to help in the climate fight is the two-part podcast on kelp farming from “How To Save a Planet.” These episodes center on the efforts of GreenWave, a non-profit developing a 3D “polyculture” system for growing kelp and shellfish in the ocean. Since kelp and shellfish don’t require agricultural inputs (fertilizer, fresh water, etc.), this form of aquaculture is both eco-friendly and economical. Plus, with all the co-benefits to shoreline and marine communities, this is a great example of multi-solving.

Unfortunately, a lot of the ocean-related technologies being developed right now are from big governments or big corporations. GreenWave is focused on building a network of small holding ocean farms instead of replicating terrestrial agriculture’s industrial model though. They’re putting the punk in tidalpunk!

If you have ideas on how to bring these emerging technologies into the commons, let us know below!


This is Part 2 in our feature on tidalpunk for August. See Part 1: Can Maritime Shipping Go Tidalpunk?, Part 3: Tidalpunk Energy – Offshore Wind in the US, and Part 4: Plastics – A Tidalpunk Antagonist.

Rewiring America – A review

Saul Griffith wants to point out something that we in the science and engineering community have known for awhile: we already have the technology to solve climate change, we just lack the political will. Griffith’s new book, Rewiring America, is a deep dive into one course of action that would eliminate most fossil fuels from the American economy by 2035 and save households bundles of cash in the process.

I started engineering school in 2005, and while there was a growing amount of research into alternative energy at the time, we already had a pretty good idea of what would be needed to transition our economy away from carbon-heavy resources: electrify everything. Fifteen years later, the costs of solar, wind, and electric vehicle technologies have fallen exponentially. The best time to start investing in electrifying everything was during the 70s oil crisis. The next best time is now. As atmospheric carbon concentrations grow, we need to accelerate our efforts to decarbonize. Griffith and OtherLab‘s extensive analysis of US energy distribution shows the gains that can be made quickly by electrification.

One thing often ignored by opponents of climate action, but thoroughly explored in Rewiring America, is that electric motors and generation systems have a much higher overall efficiency than systems dependent on fossil fuels. Just by switching our current lifestyle to all electric, our overall energy consumption would drop by half in the United States.

An old meme from The Onion

Most of my quibbles with this book are because I’m not the target audience of the book. I don’t need convincing that climate change is serious and that we have to do something about it. I’m incredulous about Griffith’s claims that we don’t have to change our lifestyle or his handwaving with regard to the availability of certain critical materials, but Griffith is trying to reach out to the people on the fence who’ve been told by deniers that climate change is either a hoax or is too expensive to tackle. These climate delayers are a bigger problem than climate deniers, since the vehement denial of climate change is coming from a very small segment of the population. Most people agree that there is a problem, but don’t want to take action because they don’t believe it will affect them personally. Griffith skirts around equity and monopoly power while pouring on a heavy coating of patriotism to appeal to this audience that is on the fence about taking action on climate change.

One of the least appealing parts of the book was the incessant call for a war effort and lauding American exceptionalism. Griffith certainly isn’t the first to use this language, but it is getting a little old, not just for me. The book is US-centric, with only occasional references to what could happen worldwide, but we’re also the only country with a major political party that denies the science of climate change. We need this book more than anyone else right now.

Solar Farm by Michael Mees via a CC BY 2.0
Solar Farm by Michael Mees via a CC BY 2.0

Most people want the same basic things, but in the current polarized political environment we don’t even speak the same language. I think Griffith is doing a good job of trying to bridge this gap by focusing on the no-compromises parts of the energy transition: cleaner air, quieter cities, and more comfortable living. As a solarpunk, I don’t think we can ignore the equity or the structural problems that lead to the climate crisis to begin with, but Griffith’s plan gives us a starting point to have an honest conversation about climate action.

Have you read Rewiring America? Do you think it has the potential to kick people off the sidelines of climate action?

Bikes for a better tomorrow

gray commuter bike parked on road beside sea

Photo by Adam Dubec on Pexels.com

If you’ve been reading this blog for long, you’ll know I have a special place in my heart for the bicycle. I wasn’t really into biking as a kid since I grew up on a hilly farm without any safe paved areas nearby, but in college my roommate got me hooked when I joined him and a couple friends on a bike tour of the Katy Trail in Missouri.

I don’t tour anymore, but I do still use my bicycle for transportation, and it’s one of the reasons I moved close to downtown even though it required a bit of downsizing. Being able to run errands on foot or bike is a big plus for me, although I’ll admit that still having a car means I don’t bike or walk as much as I’d like.

For me, a solarpunk future is one where people have what they need a short walk or bike ride away. Biking, walking, and other forms of active transportation are a surefire way to reduce road congestion, clean the air, and reduce carbon emissions in our cities. There will likely be a place for the private automobile in rural areas for the foreseeable future, but the American Dream of suburbia is hopefully coming to a close. Don’t get me wrong, automobiles are a really impressive piece of technology, but as Peter Walker says in How Cycling Can Save the World, “they’re used far too often and frequently for the wrong sort of trips.”

This spring, I joined the city’s Bicycle and Pedestrian Advisory Committee to see what could be done to improve “alternative” modes of transport in the city. This lets me use all the years of reading transportation and urban planning blogs in a place where it might actually have an effect. While some cities like NYC push for lower speed limits and more protected bike lanes, most cities in the United States are still deep in the throes of car culture, a modern day death cult. The first step is to remove parking minimums from zoning codes. Donald Shoup estimates free parking amounts to a $500 billion subsidy for car owners, or 50 cents of public money for every dollar spent by the individual car owner. While some local business owners say that removing parking will kill their business, in most cases, better bicycling and pedestrian facilities actually are better for local businesses. If the parking doesn’t go in to begin with, then you don’t have to worry about the inevitable battle to remove it later.

photo of smiling woman in white dress and brown boots posing in multicolored glass house

Photo by Jeremy Bishop on Pexels.com

Solarpunk is about building a truly equitable and sustainable future. Much of the current environmental conversation is about what you can’t do to make a sustainable future – you can’t drive a personal vehicle, you can’t take long showers, etc. For me, solarpunk paints a picture of what we gain when we do the right thing. Being more connected to your community and taking time to enjoy the little nooks and crannies that make our cities so interesting may sound quaint, but it can bring real happiness. Being trapped in a metal box breathing the noxious fumes while at a standstill does not spark joy.

In addition, the design choices that making cycling and walking better also improve accessibility for disabled individuals when coupled with ADA guidelines. A well designed sidewalk is pleasant to walk down but is also a lot better for someone in a wheelchair to navigate than the side of the road with a gravel or grass shoulder. There’s no shortage of concern trolls who crop up when people start suggesting that the current dominance of cars on the streets isn’t the natural order of things. There are people with some disabilities for whom personal automobiles are a great blessing. Many disabled individuals do cycle or catch a ride on a bike, and organizations like Wheels for Wellbeing or Cycling Without Age help cycling reach groups that are often disenfranchised by current transportation options. Moving people out of their cars and onto bikes can only help those who are dependent on vehicles for mobility.

At first, I assumed that even if we eliminated the need for private automobiles in city centers, we’d surely still need delivery trucks for goods. Surely we need to buy things, and all those things must be moved by a big truck! With the realization that many of the fatal vehicle/cyclist crashes in the last year have involved supposedly-professional drivers, I’m a lot less convinced. While some people think drones will be the delivery service of the future, I’m betting on the e-cargo bike. There’s still the potential for crashes, yes, but when the cargo bike is 10x lighter than a box truck and going at a lower speed, physics dictates you’ll have a lot fewer injuries and deaths from a cargo bike wreck. As anyone who bikes knows, UPS and FedEx are already used to being in the bike lane, so it will be a small adjustment for their drivers anyway. There’s also the possibility that there will be less consumption in a solarpunk future which would reduce the overall amount of deliveries necessary.

FedEx in the Bike Lane

FedEx truck parked in bike lane in Philadelphia by Phila. Bikes via a CC BY-SA 2.0

So, in the end, how do we get more people on bikes and reduce the number of single occupancy vehicle trips in our cities? One idea is to pay people to bike. This might seem weird at first, but when you take into account the public health benefits and cuts to both road maintenance and congestion created by pulling people out of cars it starts making sense. For something with precedent in the US, the government could offer tax credits for ebikes instead of electric cars. Ebikes have all the benefits of a regular bike, and for that $7,500 tax credit electric car buyers are getting, you could buy several entire ebikes. I suspect a lot of car owners would opt to use an ebike for the 48% of trips that are less than 3 miles when they see how much more fun it is to bike than drive. Long term, denser multiuse zoning and land use would do a great deal to make neighborhoods more walkable and bikeable.

Active transportation isn’t just better for your health and for reducing congestion in the city, it also helps improve the social fabric. It’s a lot easier to stop and talk to a friend or check out a new coffee shop when you’re on a bike or walking. I can recommend reading Just Ride for tips on the essentials of cycling for transport (hint – it’s not spandex). The more people riding, the safer the streets get for those of us using “alternate” transportation.

For more on bikes and urbanism, I’d suggest the War on Cars podcast and the book, Bikenomics. Bikenomics a really good book for interfacing with local business and government officials since economics is a more important driver of policy than human safety or happiness.

Do you cycle or walk for transportation? How does your area handle bicycle, pedestrian, and micromobility users?


Disclaimer: I may receive a small commission from affiliate links to books on this site.

Tidalpunk, logistics, and degrowth

Grist recently ran an article about a Costa Rican project to build a carbon neutral shipping fleet using traditional wooden boat building techniques including sails as the primary means of propulsion. Maria Gallucci writes that the worldwide commercial shipping industry moves 10.7 billion tonnes of material every year, predominantly by diesel powered megaships.

This seems particularly problematic when we look at the 262 million tonnes of municipal waste generated in the US alone every year. The article about the Costa Rican fleet said sailing vessels wouldn’t be able to make up a large proportion of the shipping fleet, but the question I had was, “Do we really need to be shipping this much stuff?”

While capitalism is based on unending, cancerous growth, there is a growing community of people around the world investigating how dialing back the economy could be better for people and the planet. When coupled with a circular economy, the degrowth movement points toward a brighter, greener future like that envisioned in solarpunk. Decentralized, local production of goods using recycled technical and biological nutrients would lead to a more resilient and less energy-intensive supply chain.

Some front-line communities are already leading the charge against climate change by developing solutions that are much more relevant to their local environment than the one-size-fits-all techno-solutionism often argued for in the US and other western countries.

What do you think? Should we just find “sustainable” ways to keep consumption at it’s current levels, or should we reevaluate our relationships with material goods? Let us know below!

Rethinking batteries

close up photo of batteries

Photo by Hilary Halliwell on Pexels.com

As an engineer, I’m always thinking of how to make the objects around me work better. After rereading Cradle to Cradle this year, I’ve also been considering how to balance the needs of the present and the end of an object’s life.

When I was an undergrad, I did research in energy materials, so my interest was piqued when I saw the Volta Battery concept by Koraldo Kajanaku that won the Cradle to Cradle Product Design Challenge. Designed to be easily disassembled and made with materials that can easily be returned to technical or biological cycles, the battery is an excellent example of everyday objects that could be made better through thoughtful design.

The current ways in which we build batteries, solar panels, and wind turbines can’t get us all the way to a 100% renewable, solarpunk future. Elements such as the lithium used in cellphone batteries are rare and have some hurdles to true recyclability. Lead acid batteries, while more easily recycled, contain materials that are very hazardous to human health when not properly contained. Lithium batteries are an amazing technology, but we should be finding more readily recyclable alternatives for applications that don’t absolutely require the high energy density that a lithium chemistry affords. Aluminum, iron, nickel, and zinc could use a little more love when it comes to research and development. Nickel iron cells, for example, are likely the most robust chemistry available. They are quite heavy at the moment, but they might be one of the best options for grid backups since they don’t require the coddling that other technologies do. For the tidalpunks out there, you might want to check out ocean batteries.

More diversity of battery chemistries could lead to more energy democracy in energy storage. Communities could build the chemistry that uses the most local resources to back up their renewables. When paired with more sustainably designed windmills or solar thermal plants, we could do a lot more with a lot fewer rare earth minerals. Mechanical approaches to energy storage are also an attractive option. As is often the refrain with sustainable design, there is no silver bullet, we need many different solutions to fit the many different use-cases in existence. The 20th century was concerned with trying to shoehorn all our problems into a fossil fuel-shaped hole. The 21st will be defined by a diverse and beautiful ecosystem of solutions.

Is there an everyday object that you wish was designed more thoughtfully? Let us know below!

Tidalpunk: Come Home to the Sea

Many think life on Earth started in the oceans, and while there is scientific debate on that front, there’s no denying that humans have been drawn to the water since before we built the first city on the banks of the Euphrates. With an estimated 80% of the world’s population living within 100 km (~60 mi) of a coastline, it’s no surprise that solarpunk has a sibling that brings this love of the water front and center – tidalpunk.

Tidalpunk takes the environmental consciousness and appropriate technology of solarpunk to the high seas. Sailing ships, autonomous seasteads, and cities flooded by the rising waters of climate change populate visions of a tidalpunk future. I suspect that due to the Moon’s influence on the tides, tidalpunk and lunarpunk will find some interesting synergies.

Return of the Sail

boat classic clouds cruise
Photo by Inge Wallumrød on Pexels.com

The shipping industry currently accounts for 2.3% of carbon emissions, and the industry is targeting a 50% reduction in emissions by 2050. Most cargo ships run on diesel now, but we once sailed the seas using the renewable power of the wind. While having a backup propulsion method available would be prudent, when the wind is blowing, cargo could move without the use of fossil fuels. Low Tech Magazine has written several articles about the potential of bringing back sailing ships as cargo vessels. Our current cargo fleet could even be retrofitted with tethered, kite-like sails.

Seasteading

An artificial island in a rough c-shape. It is covered in grass and has several berths for boats.
Proposed artificial Island in French Polynesia by Blue Frontiers

Seasteading covers a variety of concepts for humans to make their home in the sea. Proponents of seasteading point to overcrowding and a lack of social innovation on land as reasons to move seaward. Some projects that could be considered under this umbrella are Sealand, various underwater habitats, and aircraft carriers.

delta_printer_1-8419da34982ad3af20046088872ca1c7cedbd1d9abd347586fdab267be6a52a1
A member of Project Entropy demonstrating a delta-style 3D printer

Project Entropy is a solarpunk makerspace flotilla with the aim to address plastic waste in the ocean and convert it into useful objects. The self-described micronation is also experimenting with distributed governance while it expands the frontiers of distributed manufacturing. While the Seasteading Institute and Blue Frontiers have interesting visions of the future, Project Entropy is making it real right now. Another project already on the water is the Flipiflopi, a boat built entirely from plastic recovered from the ocean and roadsides in Kenya.

A muli-colored sailboat sits in shallow water just off a white, sandy beach. Many people are on the boat and the shore. A Kenyan flag flies high above the solar panel on the boat.
The Flipiflopi recycled boat

The SeaOrbiter science vessel is one of the most exciting projects happening in the space. Planned as a full-time, ocean-going science vessel, the SeaOrbiter will have on-board laboratories and allow extended observation of the ocean. Parts of the ship will be kept at higher pressure to allow scientists to dive more often than would be possible from a surface vessel due to decompression issues like the bends.

A profile view of the SeaOrbiter science vessel. It has a large mast which pokes 27 m above the waterline. Another 31 m of the vessel are below the waterline. The vessel has various living quarters, laboratories, and is powered by wind and solar.
A profile view of the SeaOrbiter

Flooded Cities

boat near to dock
Photo by Daniel Frank on Pexels.com

Venice is the most well known flooded city in the world, but rising seas will soon give the world a number of similar locales. Even Venice is preparing for rising floodwaters with the MOSE Project, a giant flood gate designed to mitigate the worst tides from the Adriatic. NOAA has built an Interactive Sea Level Rise Map to show what areas will be most impacted by different sea level rise scenarios. In the US, Miami is particularly vulnerable since it’s geology precludes a flood gate or wall system like MOSE.

Where to Start

If tidalpunk sounds like something you’d like to investigate further, here are some resources to check out:

Do you have any experiences with tidalpunk? Let us know below or send us a comment on Sunbeam City. Thanks for coming aboard!

The Upcycle — A Review

UpcycleCoverSpiral1-2

The Upcycle by William McDonough and Michael Braungart is the followup to Cradle to Cradle. Written in 2013, it brings a decade’s worth of new information and experience to the concept of Cradle to Cradle design thinking.

If you’re interested in the circular economy and can only read one book – this is it. There is a short section at the front that recaps the underlying principles of Cradle to Cradle systems in case you haven’t read the first book. While Cradle to Cradle was groundbreaking for the concept that we should design human industry to be a positive good for the environment, The Upcycle contains many more specific examples of projects where the authors were able to achieve these ends.

For example, in the book there is a story of Dan Juhl who pairs farmers with investors for building renewables on their land. The investors get a guaranteed return on their investment for ten years, and the energy generation equipment reverts to the farmers after this period. More renewables end up on the grid, and families get an additional source of income by owning the means of energy production.

The physical book itself is a nice counterpoint to the design of Cradle to Cradle. While Cradle to Cradle was designed to be reusable in technical nutrient cycles, The Upcycle is designed with biodegradable inks and paper so that it can become a biological nutrient again. One of the main ideas of Cradle to Cradle design is that things should be delineated into two separate nutrient streams: biological and technical. Wood, paper, and things of this nature can be reused as they would be in nature by returning to the land while technical materials like plastics and metals should be reclaimed for infinite technical cycles. Preventing the creation of “monstrous hybrids” is an important goal of the Cradle to Cradle design process. These materials are amalgamations of material that are difficult, if not impossible to separate and reuse. This is particularly harmful if the materials in these hybrids are toxic in nature. The book quotes McDonough, “Let’s put the filters in our heads and not at the end of pipes.”

The Upcycle is a breath of fresh air. McDonough and Braungart show how we can rethink the way we design everyday objects to fit into the constant cycles of Mother Nature and end the insanity of cradle-to-grave mentality. Cradle-to-Cradle design is definitely the way we should be thinking  when we design technologies and objects for our solarpunk future.

Do you use any Cradle to Cradle products in your life? What has your experience been? Let us know below!