PØST-DIGITΔL ≠ AFTER ᗡIGITAL "‘post-digital’ is arguably more than just a sloppy descriptor for a contemporary (and possibly nostalgic) cultural trend. It is an objective███fact that the age in which we now live is not a post-digital age,"██"the prefix ‘post’ as well as the notion█of‘digital’.████The prefix ‘post’ should not██████be understood here in the same sense as postmodernism and post-histoire, but rather in the sense of post-punk (a continuation of punk culture in ways which are somehow still punk, yet █ ███████████████████████████████████████also beyond████ punk)"█████████████████████████████.NEW MEDIA - CRITIQUE= TECHNOLOGICAL DEVELOPMENTS "‘Post-digital’ describes a perspective on digital information technology which no longer focuses on technical innovation███████████████████████████████████████ or improvement, but instead rejects the kind of techno-positivist█████████████████████innovation narratives exemplified by media such as Wired magazine.""Neo-analogue hybrid practices refuse traditional dichotomies of old and new media. They explore analogue media devices and offline manifestations and, as Cramer suggests, they “can only be meaningfully called█████‘post-digital’██████when they do not merely revive older media technologies, but functionally repurpose them in relation to digital media technologies”(Cramer 2014,)" POST-DIGITAL=(DIY×CONTEXT)÷(DIGITISATION)"███The everyday colloquial█████ definition of ‘digital’''' embraces the fiction (((((or rather::██████████ the abstraction) of the disembodied nature ██████████████of digital information processing.""‘post-digital’ is arguably more than just a sloppy descriptor for a contemporary (and possibly nostalgic) cultural trend........... Itt iss ann objectivee factt thatt thee agee inn whichh wwe nnow llive iis nn0t aa ppost_dDigital ag3,,,,,,, neither in terms of technological developments ---— with no end in sight to the trend towards further digitisation and computerisation – nor from a historico-philosophical perspective██████████."PAST × FUTURE = NOW² ≠ NEW ≠ DIGITAL" ̶I̶t̶ ̶i̶s̶ ̶a̶n̶ ̶o̶b̶j̶e̶c̶t̶i̶v̶e̶ ̶f̶a̶c̶t̶ ̶t̶h̶a̶t̶ ̶t̶h̶e̶ ̶a̶g̶e̶ ̶i̶n̶ ̶w̶h̶i̶c̶h̶ we now live is not a post-digital age"" ̶I̶f̶ ̶w̶e̶ ̶t̶u̶r̶n̶ ̶t̶h̶i̶s̶ ̶v̶i̶e̶w̶ ̶a̶r̶o̶u̶n̶d̶,̶ʍǝ ɔɐu sǝǝ that the web is !NOT! the vanishing point ◉ of ♪multimedia♪, but that ♪♪♪multimedia can be seen as a vanishing p◉int ◉f what net culture could have been:̶ ̶a̶n̶t̶i̶-̶c̶o̶n̶s̶u̶m̶e̶r̶i̶s̶t̶,̶ ̶p̶l̶a̶y̶f̶u̶l̶l̶y̶ ̶ ̶u̶s̶e̶r̶-̶ ̶u̶n̶f̶r̶i̶e̶n̶d̶l̶y̶,̶ ̶s̶e̶l̶e̶c̶t̶i̶v̶e̶l̶y̶ ̶o̶n̶l̶i̶n̶e̶,̶ ̶a̶n̶d̶ ̶a̶ ̶v̶e̶h̶i̶c̶l̶e̶ ̶f̶o̶r̶ ̶th̶o̶u̶g̶h̶t̶p̶r̶o̶v̶o̶k̶i̶n̶g̶ ̶ ̶f̶o̶r̶m̶s̶ ̶o̶f̶ ̶n̶a̶r̶r̶a̶t̶i̶v̶e̶ ̶a̶n̶d̶ ̶i̶n̶t̶e̶r̶a̶c̶t̶i̶o̶n̶.̶" ,,˙ʇsɐd ǝɥʇ puɐʇsɹǝpun ǝʍ ʍoɥ sǝƃuɐɥɔ ʇuǝsǝɹd ǝɥʇ ɟo sᴉsʎlɐuɐ uɐ puɐ 'ʇuǝsǝɹd ǝɥʇ ǝǝs ǝʍ ʍoɥ sǝƃuɐɥɔ ʇsɐd ǝɥʇ ƃuᴉpɐǝɹ,,←←←← TECHNOLOGY+IMAGINATION=LOOP≠OBSOLETE PRACTICES "Instead,░░░seemingly░░░ Ob$0l3te practice$ reǝmergǝ likǝ zinǝ culturǝ and analog printing techniquǝs,,,,,---a̶s̶ ̶A̶l̶e̶s̶s̶a̶n̶d̶r̶o̶ ̶L̶u̶d̶o̶v̶i̶c̶o̶ ̶ ̶w̶r̶i̶t̶e̶s̶ ̶a̶b̶o̶u̶t̶ ̶i̶n̶ ̶h̶i̶s̶ ̶e̶s̶s̶a̶y̶ ̶f̶o̶r̶ ̶t̶h̶e̶ ̶“̶I̶m̶a̶g̶i̶n̶a̶r̶i̶e̶s̶”̶ ̶s̶e̶c̶t̶i̶o̶n̶ ̶a̶n̶d̶ ̶t̶h̶e̶ ̶ ̶d̶i̶g̶i̶t̶a̶l̶ ̶i̶t̶s̶e̶l̶f̶ ̶i̶s̶ ̶b̶e̶i̶n̶g̶ ̶q̶u̶e̶s̶t̶i̶o̶n̶e̶d̶ ̶i̶n̶ ̶n̶e̶w̶,̶ ̶c̶r̶i̶t̶i̶c̶a̶l̶ ̶w̶a̶y̶s̶,̶ ̶e̶v̶e̶n̶ ̶i̶n̶ ̶ ̶m̶a̶i̶n̶s̶t̶r̶e̶a̶m̶ ̶c̶u̶l̶t̶u̶r̶e̶.̶"̶"The standard stories of technological development, progress, and determinism often foreclose imaginaries that postdigital interventions critique and overturn. ̶T̶h̶e̶ ̶p̶o̶s̶t̶-̶d̶i̶g̶i̶t̶a̶l̶ ̶b̶e̶c̶o̶m̶e̶s̶ ̶a̶ ̶f̶i̶e̶l̶d̶ ̶f̶o̶r̶ ̶m̶a̶t̶e̶r̶i̶a̶l̶ ̶b̶u̶t̶ ̶a̶l̶s̶o̶ ̶i̶m̶a̶g̶i̶n̶a̶r̶y̶,̶ ̶a̶l̶t̶e̶r̶n̶a̶t̶i̶v̶e̶ ̶p̶r̶a̶c̶t̶i̶c̶e̶s̶ ̶t̶h̶a̶t̶ ̶a̶f̶f̶e̶c̶t̶ ̶t̶h̶e̶ ̶s̶e̶n̶s̶e̶ ̶o̶f̶ ̶t̶h̶e̶ ̶c̶o̶n̶t̶e̶m̶p̶o̶r̶a̶r̶y̶.̶""Post-digital thinking and production serves as a kind of violence against chronological time" SUBVERSION = SYSTEM × ANTISYSTEM (mod SYSTEM)"Disillusionment with technology in the post-digital era has undoubtedly affected our understandings and expectations for subversive practices in art or, more broadly, artistic resistance." " ̶W̶h̶i̶l̶e̶ ̶t̶h̶e̶s̶e̶ ̶q̶u̶e̶s̶t̶i̶o̶n̶s̶ ̶a̶r̶e̶ ̶s̶t̶i̶l̶l̶ ̶o̶p̶e̶n̶,̶ ̶t̶h̶e̶ ̶(̶a̶b̶)̶u̶s̶e̶ ̶o̶f̶ ̶s̶u̶b̶v̶e̶r̶s̶i̶v̶e̶ ̶ ̶s̶t̶r̶a̶t̶e̶g̶i̶e̶s̶ ̶i̶s̶ ̶n̶o̶t̶ ̶u̶n̶e̶x̶p̶e̶c̶t̶e̶d̶ ̶o̶r̶ ̶n̶e̶w̶.̶ Ẃ̴̫̱ĥ̷̹͇i̵̩̍l̵̲̗̽̂e̸̡̜̓ ̴͍͒͝t̶̛̟́h̸̹̑è̷͎͌s̸͔̕͝e̴͈̿̕͜ ̷̮̐q̶͔͇̆͐ù̷͇̞ē̸̱͠s̵̫̒t̸̨̩̽͝i̴͜͠o̵̺̖͒̍n̶̡͓̂̈s̵̺͇͌͌ ̸̫̜̍a̸̧͒r̸̪͎̓̊ẹ̷̺͝ ̶̡͚̽s̵̛͚t̷̛͉̓i̵̭̫͊̅l̵̩̏͐l̴̞̈́ ̶̩́o̸̧̥̊p̵̡͙̋͛e̸͔̔̌n̷̪̙̎,̵̬͍̆͘ ̸̜̏̊t̶̠̎͂h̶̻̟̏é̷̻ ̶͎͑̕(̷̹͂ä̴̤́̎b̵͉̩̒)̵̲̮̓͝ú̷̯͠s̸͙̈͝e̴̗̊̈́ ̶̩̄̀o̸̧̬̒f̶̹̽ ̶̹͉̀̀s̷͔̑̐u̷̝̬̅b̸͖̅̆ȩ̴̹͋̀r̷̡͐s̷̨̱͛́i̶̝̔̀v̴͍̑̐é̶̺ ̴̤̊́s̷̗̫̀͆t̸̪͔̒̇r̷̞̎̀ä̶͉t̴̖͈͒e̵̞̬͂g̵̞̻̕ḯ̵̩͆ẽ̸̬̩͌s̵̙̲͑ ̴̢́͊͜ī̸̖͔s̸̗̙͐ ̴̺̈́n̸̯͝o̵̹̊t̴̥̮̍̐ ̷̜͇̀ư̶͈͊n̵̹͌e̷͙̯̓x̵͔̍̒p̵̝͒e̶̳͗͝ċ̸̟ͅẗ̸̪̼e̸͕̓ḍ̸͕̈́̑ ̴̞̞̇ǫ̴̫̎͆r̶̥̋ ̵̹̍̉n̷̺͋ȅ̷̘̞ẁ̵̜͉͘While these questions are still open, the (ab)use of subersive strategies is not unexpected or new. Since the 1960s and the 1970s the logic of subversion has been used not only against power, buut allsso by thhoosse in coonnttrrool, wiitth thhe “organizational and technological structures of CAPITALISM” ̶o̶f̶t̶e̶n̶ ̶s̶u̶b̶s̶u̶m̶i̶n̶g̶ ̶t̶h̶e̶ ̶i̶n̶v̶e̶n̶t̶i̶o̶n̶s̶ ̶o̶f̶ ̶r̶e̶s̶i̶s̶t̶a̶n̶c̶e̶" "In the era of connectivity, interventions, disruptions, and exploits are not only the attributes of hacking, art, and media activism. On the contrary, as the existence of 'back doors' to platforms and operating systems has shown, subversive strategies have been put to use in order to control, regulate, and predict user behavior." "Does it still make sense to talk about artistic subversion today? Or does 'subversion' sound outdated or even inappropriate when it comes to art?"DOES IT STILL MAKE SENSE TO TALK ABOUT ARTISTIC SUBVERSION TODAY? OR DOES 'SUBVERSION' SOUND OUTDATED OR EVEN INAPPROPRIATE WHEN IT COMES TO ART?¿⊥ᴚ∀ O⊥ SƎWOƆ ⊥I NƎHM Ǝ⊥∀IᴚԀOᴚԀԀ∀NI NƎΛƎ ᴚO ᗡƎ⊥∀ᗡ⊥∩O ᗡN∩OS ,NOISᴚƎΛᙠ∩S, SƎOᗡ ᴚO ¿⅄∀ᗡO⊥ NOISᴚƎΛᙠ∩S ƆI⊥SI⊥ᴚ∀ ⊥∩Oᙠ∀ ⋊˥∀⊥ O⊥ ƎSNƎS Ǝ⋊∀W ˥˥I⊥S ⊥I SƎOᗡ„"̸̺̈D̶̹̥͂̕Ȯ̵̫̼̐E̸̝̿S̵̟͔̈́̉ ̸̤͐͝Í̵̛͇T̵͓̚ ̴̥̤͋Ṡ̷̙̆T̷̡̮͌Ḯ̷̜͜L̵̗̙̿̌Ḻ̶͉͘ ̴͍̉M̶̢̳̊A̷͈͑̈́K̶̡͚̿Ȩ̵̹̚ ̷̤̩́͊S̷̲̎̔E̴̦̊Ǹ̷̰̊S̷̺̘͐E̷̥̊̌ ̷͖̓͋T̸̮́̍Ó̷͓ͅ ̵̧̓̎Ț̵͆Ȧ̴̀ͅL̵̻͕̃K̶̺̭̑ ̴͇͖͊̌À̴̫̒B̷͔́Ö̶̱́U̴̧͚̍T̴̥̞̐̓ ̷̧̇A̷̟͓̕͝R̶̳̀́Ṱ̷̺̈́Ǐ̸̤̞͠S̷̜̾T̶͍̀I̶̫͎̋͒C̶̪̺̐̽ ̴̼̈́ͅS̵͔̳͋Û̷̺̃B̴̳͌ͅV̸͇͝Ė̵͎̍R̷͕̼̃͊S̸̫̠͝Ȋ̴̳̝͠Ọ̸͘Ṋ̸̋ ̶͇̱̏͆T̵̪͚̅̄Ő̵̫Ď̵̞̫A̴̢̱̾Y̸̯͗̈́?̴̫̎̃ ̴̩̉Ó̶͎ͅR̷̪̽ͅ ̶̗͗̍D̷̦̍͘O̶͇͘E̸̮̮̒̇S̶̥̀ͅ ̴͇̏͗'̷͖͇̍S̸̬͖̅̓U̶̮͗Ḅ̷́͝V̸̢͖̐E̵̞̔R̴̠̪͗̍S̵̘̀͗Ỉ̶̥̚Ọ̶͒͜N̴̰̏͝'̷̧̅͒ ̵͖̋͋S̵̹͎̿O̸̪̔͛Ū̷͚͖̕N̷̨̋̋ͅD̷̲̣̑ ̶̫̄ ̸̨̐̕Ǫ̵̙͂͠Ǘ̶̺T̶̖̈́͠D̸̯͙͋A̵̱̾̽͜Ţ̸̳̅́E̵̫͑Ḋ̴̜ ̷͙̼̏͠Ŏ̷̠̍Ṙ̴̡͙ ̷̡́E̵̠̮̓V̶̼̜̈́E̴̻̋Ṅ̷ͅ ̸̘͒Ì̴̟̔N̴̲̪̓̃A̵͗͜P̷͖͕̚P̴͇̍R̸̤̽̀O̷̲̐͗P̷̊͜͠Ŕ̴̻Ï̵̢̭A̶̐̂ͅT̶͔̈́̇E̸̞̐ ̶̥̰͊W̶̞̣͐Ȟ̵̨̱͗E̴̢̖͠N̴̢͚̍̓ ̶̣̿̈́I̶̦͔̒̇Ț̷̟͠ ̶̡̹̔C̷̜̗͗̈́O̷͔̎͜M̸̙̦͋̕Ȩ̵͕̾̅S̵̫̀͘ͅ ̵̧̤͐̄Ṭ̷̬̊O̷̺͈͂̃ ̵̮͘͝Ä̸̧R̴̡̦̓̾Ṫ̸̢̳̈́?̴͎͍̎""In the post-digital era, the notion of subversion has become more complex and multifaceted, as it ↓ is intertwined with the very structures it →aims← to challenge.↑↑↑"SUSTAINABILITY = [(RESISTANCE × REPAIR) + CHOICE – DEFAULT⁰ – EFFICIENCY + ETHICS] ÷ SPEED "Wh@t !$ nǝǝdǝd !n th€ p0st-digit4l 4gǝ is @ thorough reflection on the contradictions within societal and political environments in which specific technologies and artistic practices are situated.""DIGIƬΛᄂ MΣDIΛ relies on the long experience of print in the fields of layout and content management.""Participation and connection have become compulsive to the extent that going offline is now a privilege and may even become a necessity to protect critical infrastructures ｉｎ ████ ｔｈｅ ████ ｐｏｓｔ－ｄｉｇｉｔａｌ．" ████████ ＆"Ｎｅｏ－ａｎａｌｏｇｕｅ ████████████ ｈｙｂｒｉｄ ｐｒａｃｔｉｃｅｓ ｒｅｆｕｓｅ ｔｒａｄｉｔｉｏｎａｌ ｄｉｃｈｏｔｏｍｉｅｓ ｏｆ ｏｌｄ ａｎｄ ｎｅｗ ｍｅｄｉａ．""“Ｐｒｉｎｔ ｈａｓ ｂｅｃｏｍｅ ａ ｒａｒｅ ｅｘｃｅｐｔｉｏｎ… Ｉｔ███ｂｅｌｏｎｇｓ ｔｏ ██ ｔｈｅ ██████ ｖｉｓｉｂｌｅ █████ ｍａｔｅｒｉａｌ ｓｐａｃｅ █ｏｆ█ ｉｎｆｏｒｍａｔｉｏｎ ｔｈａｔ ｃａｎ ｂｅ ｔｏｕｃｈｅｄ ａｎｄ ██ｒｅａｄ ｄｉｒｅｃｔｌｙ ███████████████████████ ａｔ ｔｈｅ ｓａｍｅ ｔｉｍｅ．”"“Ｔｈｉｓ ｉｓ ａ PEERRFFEECCT ｅｘａｍｐｌｅ ｏｆ ａ ████████████ ｐｏｓｔ－ｄｉｇｉｔａｌ ｃｈｏｉｃｅ： ███████████████ ｕｓｉｎｇ ｔｈｅ █████████████████████ ｔｅｃｈｎｏｌｏｇｙ ｍｏｓｔ ｓｕｉｔａｂｌｅ █████ ｔｏ ｔｈｅ ███ ｊｏｂ， ｒａｔｈｅｒ ｔｈａｎ ａｕｔｏｍａｔｉｃａｌｌｙ ███████ ｄｅeｆfａaｕuｌlｔtｉiｎnｇ ████████████ ｔｏ ｔｈｅ ｌａｔｅｓｔ !!!!!'''''''' ‘ｎｅｗ!!!!!!███████ ｍｅｄｉａ’ ｄｅｖｉｃｅ ............．” (( POST - DIGITAL X SUSTAINABILITY )) ██████████ / / / / / / / / / / / / / / / / / / / / / / / / ████▓▓▒▒░░( PROGRESS - OBSOLESCENCE )░░▒▒▓▓█████ “‘Ԁosʇ-pᴉƃᴉʇɐl’ ʇɥns ɹǝɟǝɹs ʇo ɐ sʇɐʇǝ ᴉu ʍɥᴉɔɥ ʇɥǝ pᴉsɹndʇᴉou qɹonƃɥʇ ndou qʎ pᴉƃᴉʇɐl ᴉuɟoɹɯɐʇᴉou ʇǝɔɥuoloƃʎ ɥɐs ɐlɹǝɐpʎ oɔɔnɹɹǝp˙ ]˙˙˙[ ‘Ԁosʇ-pᴉƃᴉʇɐl’ sʇɐups ᴉu pᴉɹǝɔʇ oddosᴉʇᴉou ʇo ʇɥǝ ʌǝɹʎ uoʇᴉou oɟ ‘uǝʍ ɯǝpᴉɐ’˙”“┴ɥǝ ǝsʇɐqlᴉsɥǝp pᴉɔɥoʇoɯʎ oɟ ‘olp’ ɐup ‘uǝʍ’ ɯǝpᴉɐ ]˙˙˙[ qǝɔoɯǝs oqsolǝʇǝ' ɯɐʞᴉuƃ ʍɐʎ ɟoɹ ɐ uǝʍ pᴉɟɟǝɹǝuʇᴉɐʇᴉou: ouǝ qǝʇʍǝǝu sɥɹᴉuʞ-ʍɹɐddǝp ɔnlʇnɹǝ ɐup po-ᴉʇ-ʎonɹsǝlɟ ɔnlʇnɹǝ˙”“┴ɥᴉs ᴉs ɐ dǝɹɟǝɔʇ ǝxɐɯdlǝ oɟ ɐ dosʇ-pᴉƃᴉʇɐl ɔɥoᴉɔǝ: nsᴉuƃ ʇɥǝ ʇǝɔɥuoloƃʎ ɯosʇ snᴉʇɐqlǝ ʇo ʇɥǝ ɾoq' ɹɐʇɥǝɹ ʇɥɐu ɐnʇoɯɐʇᴉɔɐllʎ ‘pǝɟɐnlʇᴉuƃ’ ʇo ʇɥǝ lɐʇǝsʇ ‘uǝʍ ɯǝpᴉɐ’ pǝʌᴉɔǝ˙”“┴ɥǝ ǝsʇɐqlᴉsɥǝp pᴉɔɥoʇoɯʎ oɟ ‘olp’ ɐup ‘uǝʍ’ ɯǝpᴉɐ ]˙˙˙[ qǝɔoɯǝs oqsolǝʇǝ' ɯɐʞᴉuƃ ʍɐʎ ɟoɹ ɐ uǝʍ pᴉɟɟǝɹǝuʇᴉɐʇᴉou: ouǝ qǝʇʍǝǝu sɥɹᴉuʞ-ʍɹɐddǝp ɔnlʇnɹǝ ɐup po-ᴉʇ-ʎonɹsǝlɟ ɔnlʇnɹǝ˙”

ABOUT In the light of a society saturated by digital technologies – often invisible, but deeply rooted in everyday life – the Lo-fi As Resistance manifesto proposes a critical reflection on the ecological impact of the ubiquity of computing infrastructures that permeate our daily lives. The project consists of a website built on the principles of digital sustainability, which adopts a minimalist logic and promotes a reduction in energy consumption by eliminating superfluous elements, as well as enhancing performance, readability and accessibility. In terms of content, it is an essay based on Florian Cramer's text What is post-digital? which explores the critical attitudes of creative practices in relation to the connotations of the term digital. More than a critique or solution, this online manifesto proposes a reflection on the possibility of responsible digital construction, both on a technical, conceptual and aesthetic level, based on restraint and ecological responsibility. Lo-fi As Resistance thus invites us to imagine more sustainable online spaces that can reorient a shared and desirable future.

Cramer, F. (2014). What is ‘Post-digital’? In Palgrave ㅤㅤㅤㅤㅤㅤㅤㅤMacmillan UK eBooks (pp. 12–24). https://doi.org/10.1057/9781137437204_2