The colonial, racial, and patriarchal regimes of space, time, and visual representation constituting capitalist modernity as an imperial enterprise are today manifested within the extractive modes of futurity via predictive algorithms, financial speculation, and end-of-the-world narratives. In contrast to these totalizing, techno-deterministic projections of risk and hope, ‘counter-futuring’ invests in forms and networks of praxis that reconfigure the material conditions and normative formations. This historicity of the medium also acts as a witness to its contested character. Expanding upon Kodwo Eshun’s call for counter futures, Özgün Eylül İşcen’s keynote explores art, design, and world-making practices that develop techniques and infrastructures of imagining and commoning otherwise while engaging with decolonial, feminist, queer, migrant, and anti-racist struggles, spanning from the United States to the Middle East. Ultimately, it seeks to reclaim the aesthetic and political potentials of computing by recuperating the archive, information, and speculation.