- CO2GLE & DEFOOOOOOOOOOOOOOOOOOOOOREST
SESSION D: New Materialisms and Infrastructures
Day 3. Saturday, 29th October.
12:00 – 14:00
Venue: ASM: Arts Santa Mònica
CO2GLE  and DEFOOOOOOOOOOOOOOOOOOOOOREST  are two net based pieces that speculate on the material impact of the Internet on the ecosystems. While CO2GLE displays the amount of CO2 generated by the global visits to google.com every second, DEFOOOOOOOOOOOOOOOOOOOOOREST shows the number of trees needed to absorb the amount of CO2 derived from the overall visits to the search engine per second.
This project has been created with the aim to explore visual strategies able to trigger thoughts and actions capable to highlight the invisible connections between actions and consequences when using digital communication technologies.
Although it is intensively engaged in the logic of networks, the networked society has so far failed to transpose the logic of networking into daily life. We lazily assume that “everything is connected”, but in fact we must remember that “everything is not connected”, as Graham Harman stated. While humans are becoming increasingly machinelike and dependent on data, the connection between humans and their life giving natural habitats, is hastily fading away. We seem to have withdrawn into a machinic vacuum of reality which blinds us to the complexities of the world. Therefore, it is necessary to continuously trace the connections that exist between things in order to acquire a complex understanding of the world.
Google.com is the most visited site on the Internet. The site has an average of 52.000 visits per second  and weights around 2MB, resulting into an estimated amount of 500kg of CO2 emissions every second . On average a tree can absorb 21,77kg of CO2 per year . Thus, in order to counteract the amount of CO2 emissions derived by the global visits to google.com, every second, we would need an approximate amount of 23 trees/second.
The actual configuration of technology reinforces cultural dynamics (rituals) that stress disconnectedness. In our contemporary algorithmic decision-making society, ecosystems are being increasingly considered as mere economic externalities. How can we rearticulate our relationship with the world if we are unable to see the actual impact of our actions in the concrete world? What can be the role of media art in the reinforcement of such process? What fundamental shifts need to occur in the sphere of art in order to reveal the connections between actions and consequences, especially when those actions are mediated by technology? I believe it is crucial to set the environment as a main political agent within the networked society art discourse and to create mechanisms that might stimulate and re-appropriate subjectivity, an essential process in the generation of critical thought about the true nature of technology, and in the imagination of alternative techno-paradigms which may coherently respond to our environmental and human conditions.
HANGAR /VIT Lab in Vic, Barcelona
Joana Moll is an artist and researcher. Her work critically explores the way post-capitalist narratives affect the alphabetization of machines, humans and ecosystems. Her main research topics include communication technologies and CO2 emissions, virtual civil surveillance and language. She has presented her work in several venues and publications around the world. Furthermore, she is a member of the transdisciplinary research project Antiatlas des Frontières and co-founder of The Institute for the Advancement of popular automatisms. She has collaborated with several art-science research projects at IMÉRA, Aix-Marseille Université and Universitat Pompeu Fabra amongst others. Currently she is a researcher in residence at HANGAR and a visiting lecturer at VIT lab in Vic, Barcelona. Her work is available at http://www.janavirgin.com.
INTERNATIONAL CONFERENCE 2016
Department of Art History
Universitat de Barcelona
c/ Montalegre 6-8.
The images for the Art and Speculative Futures conferences are generously provided by artist Regina de Miguel from her video Una Historia Nunca Contada desde Abajo (2016).