Fiction Feeling Frame

This research collective operates through fiction, feeling and frame. These terms are topics and methods that open up a discussion about multiple and contradictory realities through combative modes of architectural practice including performance, earth-writing, policy engagement, critical gardening, conflict resolution, short fiction film, scenography, curation and photography, practices of abolition, transmutation and figuration. 
We are interested in feeling as emotional geographies, tying them to affective economies such as election campaigns, protest movements, the experience of shared grief and loss in times such as the current pandemic, the optimism of meritocracy, or the monotony of the domestic. We consider how emotions – amplified through media, architecture and the urban – not only move us but move the world. Approaching emotions through the speculative, the fabulated and the structure of new forms of narration, or through interruptions, glitches and ruptured registers we aim to reveal how architecture and design shapes our social interactions, intergenerational relations and equalities. 

We aim to expand on the framing of time beyond the linear triadic frame of past, present, future. As an evolving and collaborative theme, we invoke and involve situated mediations of image, of stone and bronze, of waste, of stories and feeds and posts and walls, and task concern with how these are made, unmade and remade. If fiction is a form of combat, what new terrains of struggle are invoked? If to engage in fiction is to make or produce, what critical practices are crafted in the act of fictioneering, making-up as making-with? 
The FFF research collective opens up a discussion about multiple and contradictory realities of lived, digitised, mediated, speculated and contested spatial lives through the lenses, literatures, entrapments, directions, and false ends of fiction, feeling, and frame.

Adam Kaasa, Thandi Loewenson, David Burns

Contact FFF

At the 2019 Likumbi lya Mize , there was a Telecommunications tower which was in the form of a
likishi and named Kaposhi. According to the Vaka Chinyama tradition, all the things(living or non-living) surrounding their communities have the possibility of being a likishi during the resurrection of makishi at the Mize day and behave a certain way.

Breath is Invisible, Khadija Saye (photo by Jeff Moore)


The Forest and the Zoo: An Interview with Johnny "Mbizo" Dyani, Aryan Kaganof





Honor Gavin





Touching My Father, Song Dong











Maralingite, David Burns (2018-19)

From "Woomera" (Australian Broadcasting Corporation - 1988)




Dance of the Likishi Lya Mwana Pwevo


Maralinga Tjarutja man Mervyn Day (“Secrets in the Sands” BBC/Discovery Channel, 1991)

Apex House

Dialogues with Dust




Link to "The commons: Infrastructures for troubling times*", Lauren Berlant



Link to Broken English, Janet Rogers



Link to Black W/Holes: A Brief History of Time, M. NourbeSe Philip

Wayne Solomon, Untitled, King and Queen Competition/Lamport Stadium, 2005. Gelatin silver print. Courtesy of the artist.



American newsreel of V-2 No. 13, with feature about Clyde Holliday