commit 647e1e1edb25ff7b71b5ac75bc198a3a4de0c5a1
parent 863fd6481a7647599541fb5167670cb78cde574a
Author: ugrnm <ugrnm@web>
Date: Mon, 20 Jun 2022 19:14:03 +0200
empty web commit
Diffstat:
1 file changed, 1 insertion(+), 1 deletion(-)
diff --git a/permacomputing_in_the_arts.mdwn b/permacomputing_in_the_arts.mdwn
@@ -9,7 +9,7 @@ The permacomputing in the arts workshop series is part of a postdoc research fro
Problem
-------
-For the past decades, art academies have expanded their curricula from traditional fine art practices, such as painting and sculpture, to work with computer technology. It can take the form of an installation, a performance, a graphic design, a data visualisation, and will often use computer technology for the making, publishing, and circulation of the work. However, artists and designers are not educated to assess to which degree their practice is environmentally problematic and extractive. This is an issue by itself and gets worse once entering both speculative and applied practices that have the ambition to engage with environmental issues.
+For the past decades, art academies have expanded their curricula from traditional fine art practices, such as painting and sculpture, to work with computer technology. It can take the form of an installation, a performance, a graphic design, a data visualisation, and will often use computer technology for the making, publishing, and circulation of the work. However, artists and designers are not educated to assess to which degree their practice could be environmentally problematic and extractive. This is an issue by itself and gets worse once entering both speculative and applied practices that have the ambition to engage with environmental issues.
For instance, a graphic designer can be commissioned to program an interactive website to explain the energy impact of digital media. If the website is programmed in a way that requires resource-intensive computing in data centres and drains the batteries of the visitor's phone or laptop, then instead of being an exemplary and innovative contribution, it risks to remain symbolic, or in a performative contradiction to its stated goal. At worst, it may even be an alibi for environmentally harmful practices and technologies. This is a problem because it seriously weakens and undermines the interdependent relation between the cultural sector, art and design education, and policymaking. It is also a missed opportunity to showcase forward-looking practices that could be both creative and more sustainable.
