This article presents a novel approach—Ontological Future Making—that prioritizes transformative action. Rather than considering distant possibilities and consequences of futures, this approach engages with the negotiation of futures in the present. It is based on a review of existing work from the field of design anthropology. The article describes three steps of Ontological Future Making: to understand the future orientations of actors involved, engage with the immediate tensions that arise from their negotiation, and transform the ontological conditions that constrain future possibilities. We illustrate the approach with empirical data from a local energy transition project in Amsterdam Southeast. In this empirical account, we describe the future orientations of project partners and local residents and identify tensions related to extractive research and disciplinary differences. We describe the actions taken to address these tensions and describe our collaboration with residents to establish a local energy community. We characterize this initiative as transformative action as it served to enable shared futures for the project. We discuss the implications of these findings, arguing that future making should be more direct, political, and relational.

Against the background of continuous calls to democratize futures research and practice, this paper reports the results of a systematic literature review of the involvement of publics in participatory futuring processes. The paper considers three key research questions: Who participates in public futuring processes? Why are publics included in these processes? And what roles do they occupy? By considering practices of participation in futuring, we aim to build a comprehensive picture of the participatory futuring landscape and highlight elements of process design that may enhance or diminish a process's democratic potential. We conclude by suggesting directions for possible future research that could serve the field's continuing desire to democratize and further integrate participatory and critical approaches to futuring.

This article discusses historical and anthropological approaches to the life of social science. After presenting the thematic of social science concepts that figure as found object in cultural anthropology, this review briefly introduces the domain of history of social science (HSS). It then examines HSS studies that could enrich anthropological encounters with social science concepts, both methodologically and through the vivid social histories of relevant concepts, categories, and methods. I complement my review of these approaches in HSS with a discussion of anthropological studies of social science concepts. I review both the historical and the anthropological literature with the same key questions, focused on the analytical tools that each approach brings to the study of social science: what conditions of emergence of these social imaginaries are incorporated in the analyses, what contexts and processes relevant to their appropriation and travel are presented, and how these enquiries examine the effects on the worlds in which they circulate. In my conclusion, I point out how cultural anthropology can uniquely contribute to the domain of HSS.

While often seen as an elitist practice found only in artistic and academic circles, speculative design has grown in popularity and is now practiced in more diverse contexts and with a variety of participants. In order to gain a better understanding of this ostensible 'participatory turn', this paper presents an initial exploration of participatory speculative design based on a pilot survey of recent projects. Using a sample of projects we develop an 8-step hierarchical taxonomy of participation in speculative design that moves from 'spectatorship' to 'reflection', 'inspiration', 'generative reflection', 'shared creativity', 'shared authorship', 'initiative' and, finally, 'ownership'. The taxonomy helps to raise important questions about the character and outcomes of participatory speculative design processes and the role played by designers as agents of the public imagination.