In the edginess of our predicament, violences of the -isms (capitalism, colonialism, imperialism) impact life: ecological degradation and inequalities are some matters of concern and care, regionally and planetary. Such crisis accentuates the call for relational education, a worlding process emerging within and being immanent to practice, probing power-relations, decentring the human and highlighting the enmeshment of peoples and environment. Wilding pedagogies is one way of responding to such call. This contribution, a postqualitative assemblage, attends to the formation of wild as a philosophical concept emerging in-practice working the relationality of theory, artmaking and storying. It defamiliarizes domesticated visions of education by mapping the movement of practices of peoples and conditions of life in (and beyond) Southeast Mediterranean. In so doing, it problematises new materialist, Deleuzoguattarian and indigenous philosophies and cosmologies and suggests such frictions crucial for environmental education. I re-visit and re-enliven — in Karen Barad’s discussion — projects with children, communities, and the more-than-human world in Southeast Mediterranean through artistic (urban sketching) and teaching-pedagogical practice probing wildings as dynamic, unfolding process refuting isolation and fixity. Wildings emerges as differentiating process reworking ethical relations, intensifying and nuancing wild pedagogies and re-imagining environmental education.

We resonated with the idea that dreaming is important, and that climate fiction is a way of dreaming with environmental educators. A well of resistance lives in art collaborations around the world which harness the power of the collective to face terrible realities and twist, bend, and dance them into alternative hopeful pasts, presents and futures. Engaging with other people and more-than-human lives, through creative collaborations have led us to understand complex and unfamiliar perspectives in ways that are unreachable alone, regardless of how much academic study we do. This story emerged from online meetings that crossed time zones and oceans: Vancouver to Istanbul. Our climate fiction surfaced from improvised, spontaneous story creation. It was as if the story was waiting for us to find her, if we acted with care and love while facing directly our own dark shadows and fears about climate catastrophe. This story of Cassandra, alongside our interpretations of its emergence, invites the reader to draw from any evoked confusion or other feelings as well as their own learnings to reflect on burdens of knowledge not acted upon. Leaning into confusion is a way to open up to the power of uncertainty for environmental education.

This article explores what we identify as two forms of intuition. The first is a form called teacher-intuition, which is described as expertise-based, rational, and individualised. The second form, relational-intuition, is inspired by Intuitive Interspecies Communication and presented as an embodied, reflexive, and connected way of being with/in the more-than-human world. Guided by hermeneutic methodology, anecdotes and research vignettes aid in understanding the ontological and epistemological differences of these two intuitions. We consider how teacher-intuition might unduly limit the possibilities available for ecologically minded pedagogies, especially in comparison to relational-intuition, which opens more ontologically diverse ways to be teacher — thereby expanding one’s options for interacting with students and creating space for ecological connection. Wild Pedagogies (Jickling et al., 2018) is drawn upon to help situate relational-intuition. We conclude with questions that educators may consider with regards to the form and range of their own intuitions, with a view to perhaps bringing forward more relational forms.

This paper presents a pedagogical experiment in the form of a fictional podcast episode that “aired” in January 2025, featuring Tim Winton’s climate fiction novel Juice (2024). Emerging from a dialogical reading collaboration between three interdisciplinary “scholars, resisters and ordinary grafters” (Winton, 2024, p.116) — Rumen Rachev, Jo Pollitt, and Emma Nicoletti — the paper and podcast operate together through a method we term papercast, centring on three key themes: clouds, atmospheric frictions, and the significance of critically engaging with climate fiction, specifically Juice, amid ongoing climate instability. Simultaneously paper and podcast (papercast), we invite the reader to “listen” visually to the printed material that follows. Through discussion and excerpts from Clouds Running Out of Juice, a creative non-fiction episode of the fictional Ecosophic Generator podcast, the work incorporates AI-generated responses from “listeners” who inhabit the liminal space between present imaginings and future realities. This papercast emerged through asynchronous reading practices and collaborative dialogue, culminating in a three-way conversation that traverses multiple theoretical terrains. Rachev’s investigation as an atmospheric economist into the future-proofing of clouds, Pollitt’s choreographic exploration of everyday weather and experiences of weathering instability, and Nicoletti’s examination of human-atmospheric binaries collectively generate productive tensions between scientific knowledge and creative uncertainty.

This paper describes how four rural schools on the mid-north coast of NSW pushed back against the current indoor classroom education model, instead prioritising the importance of ecologising learning beyond the school gate. While there has been considerable attention paid to Aboriginal and/or Torres Strait Islander practices associated with food systems and geographical domains in Australian school curricula, less attention has been paid to the natural Lore of the land and the underlying knowledge and practices shaping and maintaining sustainable land management. Here the authors recount the crucial role of the Gumbaynggirr people’s historical and contemporary cultural knowledge systems that acted as a cornerstone for school students to build their learning about Climate Change authentically with/within nature. Aboriginal knowledge systems derive from a deep relationship between plants and animals, entwined with spiritual practices. However, despite the potential significance of their contributions, Aboriginal and/or Torres Strait Islander people have not been adequately represented in the national discussions about Climate Change (HEAL Network & CRE-STRIDE (2021). Discussion Paper, Lowitja Institute, Melbourne, doi:10.48455/bthg-aj15.). This research found that when representatives from the local Aboriginal community lead teachers in Climate Change education, overwhelmingly student learning is enriched when it occurs in settings enabling a deep relationality with nature and Culture.

Climate change impacts and stresses young people and although their pro-environmental behaviours have been studied their perspectives have not been widely heard. This creative output is a lo-fi comic engaging with themes of imagined alternative futures in climate fiction. It was constructed to provide an example of a multimodal text with a low barrier to entry for use in the classroom, to complement the study of solar punk texts. The methodology of an autoethnographic art provides a tool for reflection and provides a suitably rebellious outlet for their perspectives, a departure from factual poster assignments on environmental issues. This particular perzine discusses the challenges faced by young people in addressing environmental issues and sustainable practice with limited personal agency.

In the context of climate emergency and growing mistrust in knowledge institutions, both science and documentary practice have often been positioned as neutral authorities. Yet the knowledge they produce is shaped by political, social, and material conditions. This paper presents a creative practice research project that uses speculative documentary to trouble dominant narratives of truth and objectivity. Rather than rejecting science, it critiques the authority of singular truth claims in both scientific and documentary domains, asking how knowledge is constructed and maintained. The analysis centres on It Will Not Be Pure, a multi-channel video installation created as a form of climate fiction. Set in a near-future where soil is scarce and arable land is gated for the privileged, the work follows a researcher documenting life beyond these enclosures. Fiction and documentary language are blended to examine environmental collapse, purity politics, and socio-economic exclusion. Accompanied by video documentation, this paper reflects on speculative documentary as both aesthetic strategy and research method. Within environmental education, such approaches offer critical ways of engaging with uncertainty and imagining otherwise. The work draws on feminist, queer, and anti-colonial scholarship to explore interdependence and alternative futures.

This research explores concertinaing past, present and future interventional creative and pedagogical practices to address the challenges of the Post-Anthropocene era. We argue that the Post-Anthropocene is marked by biotechnological entanglements, environmental violence and digital overstimulation. The discussions herein critique a hyperattentive achievement society characterised by a scattering of attention, a near-constant screen-mediated stream of digital material and tasks and the commodification of leisure time. Enlisting Byung-Chul Han’s concept of hyperattention and themes and motifs from David Cronenberg’s films, the authors propose “FUTURE PROOF re(image)ining” as a collaborative Cli-Fi narrative concept. The project reimagines objects from an initial art installation with a diffusion-based machine learning model. By drawing on a constellation of Taoist philosophical practices, Zen garden design, scholars’ rocks and Cronenbergian themes, the authors propose an exhibition featuring reimagined cave-like gongshi rock structures and objects. A triangulation of spaces for FUTURE PROOF participants to inhabit facilitates an unfolding contemplative-creative trajectory. The concept includes a sensory deprivation cave, a View-Master cave for focused stereoscopic image viewing and a haiku/soundscape cave to initiate experiences. FUTURE PROOF aims to promote deep contemplation, challenging some of the deleterious aspects of Western digital-algorithmic screen culture and cultivating relationality with an always more-than-human world.