rheomode

a research practice led by dr jon goodbun, working at the intersection of architecture, technology, art and ecological pedagogy. based in athens and london

most of my published papers can be found at https://rca.academia.edu/JonGoodbun

x/insta: @jongoodbun email: jon.goodbun@rca.ac.uk

  • The Phenomena is a Trickster

    It is a curious honour to host what I believe is the first event on UFOs – or UAPs – Unidentified Anomalous Phenomena – at the Royal College of Art in London today.

    In fact the first two events. The morning started with a presentation to the emerging RCA _SPACE group while in the afternoon I led a seminar with the MA Environmental Architecture students.

    This was the poster text for the events:

    _
    SPACE Research Seminars 2026


    We operate at the intersection of art and aerospace, working towards the democratization of space exploration by asserting the role of the arts beyond terrestrial sites and traditions.

    The _SPACE Research Group plans to hold 3 research seminars at the RCA across the academic term 2025-26. Below are details of the first.


    18 March 2026 UAP Studies Day: The Phenomena is a Trickster
    18 March 2026, 11am-1pm Room: STE003


    RCA _SPACE Group meeting: UAP Studies Briefing: The Phenomena is a Trickster


    Dr Jon Goodbun will give a briefing on the emerging field of UAP (formerly UFO!) Studies, and the politics, rabbit holes and significant recent developments in the global ‘disclosure’ movement. He will also give an introduction to his own research interests in the field, and a scoping of a possible wider RCA project on the entire UAP field, including studies of media, new materials research, and in relation to more speculative research elsewhere such as electro-gravitics and zero-point and plasma fusion energy research, non-local consciousness studies and the implications for science and technology studies, and indigenous knowledge studies.

    Goodbun draws on his ongoing work with Gregory Bateson’s ecological cybernetics – particularly Bateson’s insistence that mind is not contained within the skull, but is immanent within ecological systems of all kinds, which constitute ‘eco-mental systems’: circuits of perception, communication, and feedback that our ‘selves’ emerge from, empathise with, plug into and extend through. From this perspective, UFO and UAP reports can be read as environmental registers as much as “objects”: events entangled with sensing systems, media infrastructures, attention economies, and the atmospheres (literal and cultural) in which observation takes place. Goodbun takes his recent work on Bateson’s ‘ecological aesthetics’ methods to engage UAP material, thinking across perception, pattern, non-human intelligence, and the politics of the “real.”

    2pm Room: DAR801
    MA Environmental Architecture seminar: The Ecological Aesthetics of UAP/UFOs.

    Jon Goodbun will lead his usual weekly seminar for the MA Environmental Architecture students, this week presenting a seminar on The Environmental Architectures of UAP. (This seminar may be open to any interested members of the RCA Space group.)

    We will ask: What becomes possible when the discourse around UFOs, and the broader category of UAP: Unidentified Anomalous Phenomena, is approached not primarily as a question of physical fact (“are they real?”), but as a question of semiotic meaning and value: ecological, political, cybernetic, aesthetic, and epistemological. We ask: What kinds of environments—material, institutional, psychic, atmospheric—produce the conditions under which “the phenomenon” appears, is experienced, is recorded, is narrated, and then typically, is ridiculed, stigmatised and denied?

    The fact is, both the phenomena, and the legitimacy of overwhelming
    quantities of testimony from ‘experiencers’ and witnesses from around the planet, are real. However, the meaning of the frequent high strangeness of the phenomena, is exceptionally obscure. The pre-eminent ufologist Jaques Vallée (who was played by Francois Truffaut in Speilberg’s Close Encounters), has repeatedly observed that “the phenomena is absurd,” and directly connects contemporary phenomena to folk stories such as fairies, nature spirits, duendes and jinn from around the planet: “The Phenomena is a Trickster.”

    Independent researchers in the field have amassed and archived recordings, testimony and historical material from cultures around the planet, and they typically argue that the evidence shows that the phenomena, whatever it is, has been with us on Earth for many thousands of years at a minimum. But what is it? What is our relationship to it? What, if anything, does it want? Around these questions has grown a rich and diverse weave of competing and complimentary narratives, cosmologies and worldbuilding speculations. Into this web of genuine testimony there has also of course also been inserted all kinds of deliberate fabulations and misinformation of various kinds. But even these deliberate fictions constitute some kind of data, and even demand a certain kind of research.

    There are patterns which connect the phenomena that are currently being reported from our atmospheres and ocean, and indeed from orbital space. One hypothesis proposed to explain some data, is that our upper atmospheres sustains ecologies that we are barely aware of, possibly including plasma-based life forms resembling jellyfish, orbs and other organic forms. Many researchers argue that the evidence suggests that we have been in some way (this can cover many hypotheses!) sharing the planet for millennia with other, complex and technological intelligences. One popular observation is that the oceans of our planet are still largely unmapped and may be hiding a great deal. Of course, there is the possibility – most commonly imagined in popular science fiction – that we are visited by entities from beyond our planet and solar system. However it is worth noting that the ‘ET in a spaceship’ is generally seen in the UAP field as far too simple an explanation for a= lot of the phenomena, and there are many who argue that perhaps it is not so much other planets we are interacting with, as other Earths. In the UAP field, the ‘pluriversal’ and ‘many-worlds’ thesis – which many of us have taken from South American anthropology and worked with as an epistemology – is instead proposed as an ontological reality. Perhaps we need to imagine an ecology of Earths, loosely connected inter dimensionally or inter-temporaly, some hypotheses seem to imply.

    Finally, we need to confront how to think about the overwhelming and constantly growing evidence and testimony that the USA and other governments not only have conducted extensive classified research into the phenomena and know a great deal more than they are letting on, but in addition, they have recovered multiple non-human origin craft. Some craft are said to have been recovered from archeological sites. Some are said to be so large that buildings have been built over them. Alarmingly, multiple military witnesses claim that the US has used weapons to bring craft down. Others have been described as ‘gifts.’ The range of US military whistleblowers from the so-called ‘legacy’ programmes is by now quite remarkable and covering all ranks from Admirals down. The claims made, on record to the US Congress, are equally astonishing, including (disputed) suggestions of success in retro-engineering recovered technologies by the military contractors who have been given the recovered craft, including most commonly Lockheed Martin, Raytheon and Northrop Grumman. It is for example, regularly suggested that some of these contractors have been sitting on clean free energy technology (and plasma based cold fusion tech startups are now starting to emerge) which could have eliminated fossil fuel use decades ago.

    Of course it is possible that ALL of this military testimony is an elaborate CIA disinformation programme (some of it certainly is), but at this point, this would be worthy of study in itself, and would constitute, amongst other things, one of the most extraordinary works of artifice of all time. (It is also worth noting that given the wider crisis of legitimation engulfing the US government and military post- Epstein and post-Iran, there are strong rumours that President Trump will initiate some kind of UAP disclosure as distraction in the coming months.)

    Thus we will address the field’s hazards head-on: misinformation and sensationalism, US-centrism, racialised mythologies, and the labour realities of militarised knowledge (NDAs, whistleblowing, and worker precarity). We will situate these questions alongside the emerging institutional and research landscape — including novel institutions such as the Sol Foundation, and their convening of policy and research conversations around UAP. Without endorsing any single explanatory frame, we will map competing narratives—statesecrecy and “disclosure” claims, private-sector compartmentalisation, and the blurred border between military R&D, corporate IP, and public knowledge—as a way to ask how authority and evidence are produced and withheld. We will close by asking what a non-military, demilitarised research programme into anomalous phenomena might look like—and what responsibilities architectural and environmental thought might carry when “the heavens” are treated as an inhabited, contested, co-evolving and semiotic medium and a commons, rather than empty space awaiting enclosure, privatization and militarization.

  • Sol Foundation Symposium Italy

    It was a fascinating pleasure to attend the third Sol Foundation symposium in Baveno, Italy which ran October 24-27 2025. The Sol Foundation is led by the anthropologist Peter Skafish – who translated Eduardo Viveiros de Castro’s classic ‘Cannibal Metaphysics’ which has been a constant on our MA Environmental Architecture reading lists – and Stanford Professor Garry Nolan, a world leading cancer research specialist. The Sol Foundation was established to bring the field of UFO and UAP studies into the academic mainstream, as evidence of the reality of the phenomena becomes ever more overwhelming, and as the global Disclosure Movement – which calls upon governments around the world to release currently classified files on the subject – continues to grow.

    The symposium brought together world-leading researchers in the field and an impressive array of whistleblowers from government and military, and experiencers of all kinds.

    My own research in the field continues to grow. Many experiencers of the phenomena report receiving ecological messages or experiences of some kind, and I am working on a cybernetic Batesonian interpretation of the environmental architectures and ecological aesthetics of UFO/UAP. The politics surrounding the field are also rich and complex, with the military-industrial-entertainment complex deeply implicated in cover-ups, dis-information and all kinds of complex involvements.

    The dialogue between Peter Skafish and US military whistleblower Jeff Nuccitelli closed the event, and brings together the complexity of the field.

  • Αστική Εξάτμιση Ψύξης και η Οικολογική Σημειωτική της Θερμότητας και της Ρύπανσης στην Αθήνα

    Here is the edit of the documentary film ‘Urban Evaporative Cooling and the Ecological Semiotics of Heat and Pollution in Athens’ made for the Venice Architecture Biennale 2025 with Greek subtitles

  • Evaporative Cooling in Athens at Venice Architecture Biennale 2025

    An exhibition installation featuring a wooden display with images and texts on panels, illuminated in a dimly lit room with a brick wall background. One panel shows a person working on a structure, while another displays a colorful city scene and text overlay.

    Although I wasn’t happy initially with the difference between my proposed layout and the actual installation (screens too low, drawing too small, cramped space blah blah ..), I made my peace with it, and even liked it by the end :)As @godofredo_enes reviewed: ‘it’s not bad!’

    It is nice to note that Phineas Harper favourably mentioned us and our fellow travellers Vessel in his review https://artreview.com/venice-architecture-biennale-2025-review-a-tech-bro-fever-dream-phineas-harper/


    The two films we made are wonderful (thanks again to @linnphyllisseeger and @gemmariggsfilm) and we’ll be exhibiting them again this summer at Rheomode Athens (and maybe in London), and will make them available online very soon (at www.towersofwinds.org and here). Thanks to the team Aran Chadwick (Atelier One), Flora McLean (RCA Fashion), Rosa Schiano-Phan and Juan Vallejo (University of Westminster) and Dimitra Vlami (Rheomode Athens) and the support of Royal College of Art (esp Adrian Lahoud and the School of Architecture) and many friends and allies inc @jamesbridle and @latraacskatecafe @enacting_eco_aesthetics and many others #labiennaledivenezia

  • Three new papers on Gregory Bateson and eco-mental systems

    Hopefully I will have time to finish three new (or mostly new) papers for the final deliverable from our Bateson research project (https://www.enactingecologicalaesthetics.com), which will I think be a significant new collective contribution positioning some of Gregory Bateson’s thinking in relation to contemporary questions regarding the challenges facing ecological design, strategy and planning in an era of extreme socio-ecological uncertainty. The abstracts of my three papers:

    Goodbun – Bateson Book Chapters

    Gregory Bateson and the Political

    This paper below has evolved out of an introductory paper of the same name, written for a dialogue panel led by the author with Phillip Gudemmi and Fred Turner, hosted by Systemic Design Association at the RSD11 conference in 2022, and which can be found online. The original paper was thus written before the start of the research project which this book is a product of. However, this paper provided a significant framing for some research questions that were taken on, including a repositioning of Gregory Bateson, not as the a-political figure that he is so often presented and received as, but instead, as someone rather more complex, who moved through a series of distinct situated practices which had significant political aspects. 

    I argue in this paper that there are two periods of quite significant political engagement, where Bateson directly reflected upon, and made real contributions to, significant strategic and meta-political (not a-political) questions (many of which contain significance for design and planning today). The approximate chronology I proposed defines a younger period from the mid thirties until the end of the war in 1945, and a second period which really gets going with his participation in the Dialectics of Liberation Congress in 1967, until his death in 1980. 

    Importantly, this paper also brought into focus as a new area of Bateson research, the significance of his reflection upon the ‘lack of a theory of action’ found in the widely overlooked and then out-of-print paper from what was considered to be his ‘failed’ 1969 Wenner Gren symposium on the ‘The Moral and Aesthetic Structure of Human Adaptation’. I use the framing of ‘-action’ to name the three distinct periods outlined above: Naive Action, Actionless-Action, and Wise Action.

    In this revised and extended paper, I have expanded upon some of the key contributions of the paper noted above, and I have removed some sections – such as the cross reading with Felix Guattari’s work – which whilst relevant, are now dealt with in another chapter in this book.

    The Two Orders of the Three Ecologies – 

    An Introduction to Gregory Bateson and the Double Binds of Design 

    In this paper I try to answer the question: Why should we read Bateson today? I give an overview of both Bateson’s own trajectory, and his influence upon many of the environmental humanities thinkers who are so important to us today. Noting that Bateson is both everywhere yet strangely absent, I suggest that it is perhaps his critical extensions and revisions to all three of the great intellectual patriarchs of western modernity: Marx, Darwin and Freud, which has made him both easy and difficult to consume. Building on arguments introduced in ‘GB and the Political’, I further unpack Bateson’s position by exploring what I call his ‘Three Ecologies’ period, in particular through a reading of his 1969 paper ‘Pathologies of Epistemology’, and the cosmology of ‘eco-mental systems’ which he proposes therein. I suggest that the call to action (!) to the therapist community that he concludes the paper with, was heard by at least one activist-therapist – Felix Guattari – and I spend some time in a close parallel reading of Bateson’s and Guattari’s three ecologies. I ask, with Bateson and Guattari, how ‘selves’ are produced transversally across three systemic ‘types’ or ‘scales’ – individual organisms, social organisations, and environmental worlds – and how these must all be understood in relation to a quite different ecological dualism that Bateson reveals, between the material-energetic and the informational-semiotic (hence ‘the two orders of the three ecologies’). I conclude with Bateson that some kind of ‘ecological therapy’ is needed (for both ecological disciplines, the ecosystems that are their subject matter, and anyone with goals to act in such contexts), and I wonder in passing if this might also be a way of reimagining what ‘design’ is? In closing, I suggest that ‘Surrealism,’ which historically positioned itself as a synthesis of Marx and Freud, might provide the basis for a new ecological project across the two orders of the three ecologies: an ecological surrealism, this time based in a Batesonian rather than Freudian unconscious. 

    The Ecological Aesthetics of Empathy and Alienation

    ‘So by ‘aesthetics’ I mean responsiveness to the pattern which connects. The pattern which connects is a meta-pattern. It is a pattern of patterns. It is that meta-pattern which defines the vast generalisation that indeed it is patterns which connect.’ 

    Gregory Bateson

    ‘The senses become theoreticians in their immediate practice’

    Karl Marx

    Building upon my conclusions in ‘The Two Orders of the Three Ecologies’, in this paper I suggest that we can indeed define a Batesonian ‘ecological aesthetic’, but that this is not a style guide, or a design tool or anything like that. Rather, it takes as its basis a totemistic/animistic empathy or mimetic metaphor, as the core semiotic process of acting-perceiving organisms engaging with a world which is always their unconscious. As such, a Batesonian ecological aesthetic is also the basis of what we might call a Batesonian science – or a Batesonian re-imagining of the project of science.

    For Bateson, the concept of empathy was key to the ethico-aesthetic practice of perceiving patterns that connect. This in turn was central to the possibility of learning how to act-with-wisdom within ecological and systemic complexity. It is not clear to what extent Bateson knew the etymology and history of the word ‘empathy’, but in this paper I explore that history, and the surprising connections between the concept of empathy and firstly, the concept of space in a particular tradition of architectural aesthetics, and some recent returns to that, via the neuroscience of spatial perception. Secondly, between Marxian conceptions of alienation and mimesis.

    I use these readings to approach three very different case studies. Firstly, with the help of one of Bateson’s favourite references – Carl Jung – I consider the ecological aesthetics of the phenomena of UFO/UAPs. Secondly, I find some empathy building tools in some of the props and diagrams that Bateson used in his teaching practice. Finally, I consider the implications of an ecological aesthetics of totemistic empathy with damaged eco-mental systems in relation to a particular situated design research project on Urban Evaporative Cooling and the Ecological Semiotics of Heat and Pollution in Athens.

  • Towers of Winds at Venice Biennale 2025

    We’re busy nearing completion of material for our small installation of two film pieces in dialogue – one channelling the eco-mental systems of Athena by Linn Phyllis Seeger, and the other a documentary of our research-in-progress by Gemma Riggs – for the Venice Biennale 2025 curated by Carlo Ratti on the theme Intelligens. Natural. Artificial. Collective

    Infographic explaining urban evaporative cooling and the ecological semiotics of heat and pollution in Athens, illustrating air quality improvements and how the system functions.
  • Steps Around a Theory of Action: Notes on Seven Bateson Conferences

    I’m really happy to see the online publication of a joint piece that I’ve been collaborating on with the ‘archive team’ (myself, Dulmini Perera, Simon Sadler and Ben Sweeting) from our ‘Enacting Gregory Bateson’s Ecological Aesthetics in Architecture and Design’ AHRC-DFG funded research project (which also includes Joanna Boehnert and Marie Davidova). This piece was conceived and led by Dulmini, who also worked with Leonie Link, Florian Tudzierez, and later Paola Ferrari and Stefanie Huthoefer on the associated interactive graphic component. See: https://www.enactingecologicalaesthetics.com/batesons-cosmos/

    The piece draws upon previously unpublished archival material around a series of conferences that Gregoray Bateson was involved in through the late 60s and early 70s and provides a series of framings which help to make this period of Bateson’s thinking available to us today, as we continue to confront the practical and political questions around the possible forms (social, political, spatial) of human adaptation within a context of multi-scalar ecological complexity.

    Dulmini gives an introductory text to the project. I contribute short texts concerning two conferences, the 1967 Dialectics of Liberation Congress, and the 1968 Conscious Purpose and Human Adaptation. There then follows a series of brilliant short texts by Ben Sweeting, Dulmini Perera and Simon Sadler.

    Digital graphic depicting the title 'Gregory Bateson's Cosmos c. 1968' with a timeline and reference to various Bateson conferences, illustrating key dates and associated texts.
    Screenshot
  • ‘Urban Evaporative Cooling and the Ecological Semiotics of Heat and Pollution in Athens’ research-in-progress to be exhibited at Venice Biennale 2025

    Very happy to announce, after several months of discussions, that our work on evaporative cooling, heat and pollution in Athens, will be exhibited at this year’s Venice Biennale.

    The curator Carlo Ratti has set the theme Intelligens. Natural. Artificial. Collective., which connects well with the ‘eco-mental’ and semiotic framing I have given our broader urban evaporative cooling research…

    The curators asked if it was possible to construct a full scale tower, which would have been amazing, but which would not have worked well without complete reimagining, as Venice is already evaporatively cooled by the canals and lagoon!

    Instead, we are enjoying working on a two screen film installation piece which will be presented in the ‘Artificial Intelligens’ section, in the Corderie building of the Arsenale, in one of the curator Carlo Ratti’s main curated spaces on ‘Intelligens’.

    The core project team is myself as Project Lead and P-I (at both RCA and Rheomode, where Dimitra Vlami is helping to project manage), Aran Chadwick from Atelier One structural engineers, Flora McLean, also from RCA (Fashion and textiles), and Rosa Schiano-Phan and Juan Vallejo from University of Westminster. In addition we are working collaboratively with the filmmakers Gemma Riggs and Linn Phyllis Seeger on producing material for the installation and online.

    Many thanks to the Royal College of Art – both the Research Office and the School of Architecture in particular – for supporting this project, and to the University of Westminster and Atelier One for additional support.

    Many thanks also to the support of local allies such as Latraac Skate Bar and Urban Garden and Zachos Varfis, artist-writer James Bridle, the Municipality of Athen Heat Officer Elissavet Bargianni and UN Habitat Heat Officer Eleni Myrivili.

    Filmed at Latraac Athens during pre-prototype testing July 2024
  • Dry Stone Wall volunteer repair and training on Amorgos

    Spent 21-26th October 2024 on Amorgos with Dimitra participating in the third Mitato dry stone wall repair and building training workshop and volunteer labour programme, led by the excellent https://mitato-amorgos.com/en/

    We worked on repairing several hundred meters of the main foot-donkey path near Potamos on Amorgos

    Some essential dry stone walls theory classes in the evenings…

    And discussion around their and other groups organising on and around these landscapes.

    I have several hundred meters of terraces and dry stone walls that need repair and maintenance at Rheomode Ikaria, so this was invaluable for that work…

  • RCA research fund award for The Ecological Semiotics of Heat and Pollution in Athens!

    Happy to announce that I’ve been given seed funding from the Royal College of Art London RKE Research Development Fund to develop various aspects of the The Ecological Semiotics of Heat and Pollution in Athens/New Towers of Winds/Evaporative Cooling and Urban Air Conditioning research project that I have been developing in recent years with Aran Chadwick of Atelier One structural engineers, Rosa Shiano-Phan and Juan Vallejo from the University of Westminster. The seed funding is supporting design development with Atelier One to provide reliable costings for a 3 year prototyping programme, material fabric development and model testing with Flora McLean from fashion and textiles at RCA (and House of Flora), and to support the construction and testing of a pre-prototype this summer at the Latraac Skate Bar and Urban garden in Athens. All in support of a major funding application that we aim to submit to the AHRC in early 2025.

    The prototype studies which we tested at Latraac through the last week of July 2024 were a great success, and we achieved cooling of the space below the fabric device of 10 degrees Celcius, using zero energy and only some water.

    Many thanks in particular to the support of Dimitra Vlami, Zachos Varfis and Latraac, and the artist and writer James Bridle, who has supported the project and who joined us for a day to help to erect the octagonal second prototype and to test (pictured below).