▒  Permacomputing as a practice

This project explores the application of Permacomputing principles in graphic design. Permacomputing represents a concept and community dedicated to promoting a more sustainable use of computer and network technology. The design principles of permacomputing, their origins and significance serve as a practical theoretical framework.

▒   Permacomputing is a combination of the words permaculture and computing. Inspired by the principles of permaculture, it signifies the integration of these principles with computer technology.

Permaculture is a method for agriculture and settlement design inspired by natural ecosystems. Developed in 1978 as a counter to industrial agriculture, it promotes sustainable practices. Permacomputing applies these principles to computing and technology, aiming to foster sustainable solutions.

The concept was created to enable a more sustainable approach to computer and network technology and to raise awareness about it. It operates in the space between technology, cultural work, environmental research, and activism. The concept and community embrace limitations and constraints within computer culture as something positive.

The mission of permacomputing is to provide an alternative to digital practices that promote consumption and a throwaway mentality. It seeks to inspire a more sustainable alternative to current computer culture and offers reflections on the ecological impact of computer technology and infrastructure in the cultural sector.

Permacomputing works serve as a starting point to make a specific intention in the creative process visible and understandable.

▒   Maximalism means technological progress, which is always associated with quantitative growth. From this growth, computing becomes more accessible, affordable, and ubiquitous, just as the related digital aesthetics become ever-present. However, this growth and the everyday presence of computing also lead to increased energy consumption and rising environmental impact due to the use of digital devices.

Maximalism can be observed, for example, in images and videos that increasingly contain more pixels, colors, and details. The increase in bandwidth on social media is also particularly noticeable, exemplified by the development from text posts to image-based posts to video posts. A similar maximization of bandwidth can be seen in chat options, evolving from text chats to video chats and streaming.

This pursuit of continuous growth in the IT world often manifests as maximalism. The definition of maximalism addressed by the permacomputing scene distinguishes itself from the artistic or political concept and solely describes the idealization of infinite economic growth. Maximalism refers to the mindset that quantitative growth is an inherently good and desirable ideal. It glorifies a maximally data-intensive reality, particularly in the context of the size of systems and the amount of resources such systems consume. This results in increasingly larger file sizes and computing capacities. Simultaneously, more users are spending time on data-intensive platforms.

▒   Virtualism is another phenomenon related to maximalism. It refers to the ideal where the internal workings of a system are hidden and obscured. Quantitative growth often accompanies an increase in complexity. To build and operate increasingly complex systems, there must be a way to manage this complexity.

A typical approach in the IT sector is to hide complexity behind layers of abstraction, making everything appear much simpler than it actually is. The internet, for example, presents many layers of web pages without a physical location, rather than as a globally distributed series of interconnected servers.

This virtualism and maximalism are pervasive in our society and reinforce each other.

▒   Maximalist Techno-Aesthetics describe an aesthetic of the current manifestation of technology, guided by the myth of eternal growth and inexhaustible resources.

The phenomenon of increasing complexity and growing resource consumption of digital devices plays a role in defining this aesthetic. Maximalist Techno-Aesthetics do not reflect any notion of limits and constraints. It is an aesthetic that constantly pushes the boundaries of what is possible. This can be seen, for example, in ever-higher resolution, greater bandwidth, and the constant pursuit of photorealistic results.

This aesthetic plays a significant role in the ongoing environmental changes and is the main reason sustainable computing movements, such as permacomputing, are emerging.

In the context of design and art, Maximalist Techno-Aesthetics translate into a constant pressure to adopt, learn, and use new tools and techniques. Simultaneously, emerging discourses that criticize the aesthetics of these new tools and techniques are often avoided.

▒   Subcultures in sustainable computing should be more closely looked at and included as a source of inspiration to address the problems mentioned earlier. Many opportunities, paths, or inspirations to advance sustainable computing lie particularly within the subcultures of computing.

A subcultural character allows for the development of its own aesthetic foundation that contrasts with the mainstream. This independence from the mainstream also allows for freer movement away from the growing consumer frenzy. This is an advantage for subcultures, as they can operate more independently from the tools they use, their environment, and the influences of industrial mainstream culture.

Sustainable computing scenes also include: computing within limits, small technology, salvage computing, low-tech, and solarpunk.

▒   What does Permacomputing have to do with graphic design? From the perspective of Permacomputing, aesthetics are not merely the visual quality of a design work. Rather, it focuses on how relationships and connections emerge in the creative process while dealing with the constraints of computer technology.

In graphic design, this entails integrating sustainability and environmental conservation beyond formal aesthetics. Within the design process guided by Permacomputing principles, the question arises about the aesthetics of graphics.

How can sustainability and environmental conservation be translated beyond formal aesthetics?

A first step towards reintroducing critical and sustainable aesthetics in graphic design can be achieved by celebrating unconventional interfaces that acknowledge the abundance of underlying constraints found in media, tools, and interactions.

▒   The Design Principles of Permacomputing provide a set of principles modeled after permaculture, aiming to assist in the reuse of existing resources and educate about the creation of new software and hardware.

The community encourages redesigning these principles, voicing criticism, and adding thoughts. These design principles include practices that utilize material constraints to reflect ecological and cultural values.

One of the key principles of Permacomputing is keeping projects small. Designers prioritize simplicity and functionality over complexity, thereby reducing the environmental footprint associated with the production and disposal of hardware and software. By emphasizing minimalist design, Permacomputing aims to optimize performance while minimizing resource consumption.

Another core principle is adaptability. Permacomputing encourages the reuse and recycling of existing technologies instead of discarding them when newer models become available. This approach not only reduces electronic waste but also fosters creativity in finding innovative uses for older hardware and software.

Additionally, Permacomputing relies on open source and collaborative frameworks. By using open-source software and sharing knowledge within communities, Permacomputing promotes transparency, accessibility, and collective problem-solving.

▒   Limits and Constraints are often perceived negatively as they essentially represent a restriction. The irony of limits lies in their ability to foster great diversity.

Constraints can be something embraced or appreciated as healthy boundaries. They influence the creative process and consequently the resulting aesthetics. Therefore, the principles of Permacomputing in graphic design and the application of limits in projects should be viewed as playful and creative. They reveal obstacles and constraints, thereby highlighting contemporary issues that should not be ignored in the creative process. Moreover, embracing constraints is resource-efficient and environmentally friendly.

In the context of permacomputing, there is a distinction between self-imposed limits and externally imposed limits. Self-imposed limits often arise from the philosophy of "less is more." These set boundaries can be quite formal and minimalist, such as in minimalism, art, or conceptual writing.

They can also be related to the chosen technology, like using old and limited hardware platforms. Additionally, limits can stem from the materials chosen for a project, such as using "inferior" materials like industrial waste or scrap metal. In this context, self-imposed limits can function as amplifiers of creativity while simultaneously focusing on the process behind the work.

However, there is another category of limits that also shape the art world, arising from less privileged situations. Externally imposed limits can have political origins when artists are forced to operate outside galleries and public spaces. They can also involve restrictive copyright laws, uncertain legal statuses, or socioeconomic factors. These externally imposed limits exist outside the creative process and are driven by the external circumstances that less privileged artists must adapt to.

Permacomputing exists at the intersection of these two previously defined types of limits. Externally imposed limits encompass both the struggle for climate justice and the resistance to maximalist techno-aesthetic. There is no acute urgency in this regard. Neither the geographical location nor the economic situation in which permacomputing practices are applied and discussed are disadvantaged, nor do they have a life-threatening necessity.

▒   Transparency in design according to the principles of permacomputing is crucial to ensure that no waste is concealed. This involves avoiding unreliable dependencies by ensuring that the designed graphics or design tool is supported across multiple target platforms.

In design, everything should be disclosed. Design processes, experiences, and one's own design philosophy should be shared openly.

In contrast to traditional computer paradigms that often favor proprietary technologies and closed systems, Permacomputing emphasizes openness and accessibility in its practices.

At its core, transparency in Permacomputing means that processes, methods, and technologies are made openly accessible and understandable to all participants. This openness allows individuals and communities to examine and understand the environmental impacts, resource consumption, and ethical considerations associated with digital practices. It promotes informed decision-making and empowers users to make choices aligned with sustainability goals.

Moreover, transparency encourages collaboration and knowledge exchange among different communities. Through open sharing of insights, best practices, and innovations, Permacomputing communities can collectively advance sustainable computing solutions.

▒   Compression is an important activity when it comes to designing with permacomputing principles. Design and resulting files should be kept small to support minimal hardware and energy requirements. This approach enhances design clarity and accessibility.

Simplicity is beautiful. In graphic design, this means challenging the notion that high quality equals high resolution and bitrate. Ideally, designs should be crafted so that they can be fully understood by a single individual.

Scalability is also a crucial design variable that requires a compelling rationale when expanding within the context of Permacomputing. Often, scalability downwards is more significant.

Unlike mainstream computing paradigms that prefer high-resolution images, videos, and complex applications contributing to digital bloat and energy consumption, Permacomputing values minimalism and efficiency. Small file sizes play a crucial role in reducing the environmental impact of digital activities by conserving bandwidth, storage space, and energy.

By optimizing smaller files, Permacomputing promotes practices aligned with sustainable principles. This approach not only reduces the CO2 footprint associated with data storage and transmission but also enhances accessibility. It encourages designers to prioritize content quality over file size and find innovative ways to create impactful digital experiences without compromising on usability or functionality.

Furthermore, small file sizes enable faster loading times and smoother user experiences across various devices and under different network conditions. They promote longevity in digital content by ensuring compatibility with older hardware and reducing the need for frequent upgrades.

▒   Flexibility should be present in projects. A project designed with Permacomputing principles should be flexible enough to serve multiple purposes, even those not initially intended. Modern design can thrive on old hardware, just as old software can be used for current design needs.

The flexibility of permacomputing is a cornerstone of its concept for sustainable digital practices. Unlike traditional computer paradigms that rely on constant upgrades and obsolescence, permacomputing embraces the adaptability and longevity of existing technology. This ethos encourages the reuse of older hardware and the creative extension of its lifespan through innovative applications and configurations.

At its core, permacomputing's flexibility is about resilience and resourcefulness. It recognizes that technology can be used for multiple purposes beyond its original conception and promotes a mindset where constraints are viewed not as limitations but as opportunities for innovation. By utilizing adaptable software solutions and open-source platforms, permacomputing not only reduces electronic waste but also democratizes access to technology.

Furthermore, flexibility in permacomputing extends beyond hardware and software. It encompasses various methods and approaches to problem-solving in digital design and data processing. This flexibility encourages experimentation with minimalist designs, efficient coding practices, and collaborative frameworks that prioritize sustainability and community engagement.

▒   Community is a big part of the process. Design projects should be approached with a local and present mindset. The ethical foundation of Permacomputing draws from permacultural principles of caring for the Earth and people. It is important to use natural materials designed to reflect local, regional, and subcultural aesthetics and materials.

The community aspect of Permacomputing is fundamental to sustainable digital practices. In contrast to traditional technological communities that focus solely on innovation and progress, Permacomputing emphasizes collaboration, knowledge sharing, and promoting resilience to ecological challenges.

At the core of the Permacomputing community is the belief that technology should serve both human needs and ecological sustainability. This community comprises a wide range of professionals, including technologists, designers, environmentalists, and activists, who come together to explore ways to reduce electronic waste, promote energy efficiency, and rethink the lifecycle of digital devices.

Community engagement in Permacomputing involves not only the exchange of ideas and practices but also collective efforts to develop and promote alternative technological paradigms. Through open-source development, do-it-yourself projects, and educational initiatives, the Permacomputing community aims to democratize access to sustainable technology solutions and empower individuals to make informed decisions about their digital footprint.

Furthermore, the community serves as a platform for critical reflection on the socio-economic impacts of technology consumption and production. Permacomputing challenges conventional notions of technological progress and consumption-driven innovation, advocating for a more mindful and ethical approach to technology use.

▒   Nothing is truly universal. Even computers, designed as versatile tools, carry cultural quirks from their creators. Every system is just a small part of a vast spectrum of possibilities.

It's important to embrace diversity and avoid monocultures. Even seemingly useless things have value. No technology is outdated or irrelevant. Technology is a flexible, branching network, not just a linear path of progress. Both slow and fast processes have their place. Permacomputing emphasizes the importance of intentionality and mindfulness in the use and organization of digital resources. This principle advocates for a conscious and thoughtful approach to computing, ensuring that every component, whether hardware or software, reaches its full potential and is not wasted.

▒   Amplifying awareness is essential in permacomputing. Originally, computers were invented to support cognitive processes with the goal of "intelligence amplification." However, intelligence can be applied narrowly and blindly, making it more advantageous to focus on amplifying awareness instead.

Awareness involves understanding the current state of the world and the environment and knowing how things function within their various contexts—cultural, historical, biological, and more. This means not only observing and understanding but also situating technologies within a broader context.

By emphasizing awareness, permacomputing fosters a deeper connection between technology and its surroundings, promoting sustainable and context-sensitive practices. This mindful approach ensures that technology serves broader, more meaningful purposes beyond mere functionality.

▒   Obsolete Hardware should continue to be used. Additionally, the aim is to maximize the lifespan of hardware components to counteract energy consumption in the manufacturing of new computer hardware.

When designing with older technology, there should be an acceptance of the quirks and peculiarities of the technology being used. Hardware can and should be acquired second-hand or borrowed locally to avoid purchasing unnecessary materials.

Permacomputing emphasizes sustainability and longevity. By reusing and extending the lifespan of obsolete devices, this approach reduces electronic waste and promotes resource efficiency.

While obsolete devices may no longer meet current performance standards for common tasks, they still possess functional capabilities that can be effectively utilized in various ways. They contribute to a more sustainable digital ecosystem by minimizing the environmental impact associated with manufacturing new devices and disposing of old ones.

Furthermore, using obsolete devices aligns with the principles of resilience in permacomputing. It encourages creative problem-solving and innovation to adapt these devices for new purposes or integrate them into alternative computing environments. This mindset not only conserves resources but also enhances understanding of technology's lifecycle and promotes responsible usage practices.

▒   But is it nostalgia? When it comes to experimenting with and reusing existing technology, the following question arises: Is the aesthetics of permacomputing a form of nostalgia?

We currently live in a society where new technology is constantly introduced and economic growth is idealized. Consequently, it is difficult to separate the relationship between time and consumerism. The perception of time is determined by industries and economic cycles. Therefore, any use of "outdated" things is labeled as nostalgic because they have exhausted their time of maximum economic value. From the perspective of constant production and consumption, using these things doesn't make sense: In a society where consumption, modernity, and identity are closely intertwined, outdated things can only refer to a past self, a bygone era. From the perspective of permacomputing, it is impossible to yearn for and romanticize a time when computer technology was better because such a time never existed. The moment when the economic life cycle of a computer ends is celebrated. This is when its socio-economic context can be reclaimed.

The question of nostalgia in permacomputing aesthetics is entirely valid; however, permacomputing argues for a more reflective nostalgia, within which experimentation, playful combination, and critical thinking occur. It is about seeing computer devices as tools waiting to be rediscovered and reused. The focus is not on longing for the past. Instead, the argument is rational and based on the constraints of environmental change. Rather than nostalgia, the emphasis is on the practicality and tangibility of the simplicity of projects and media.

▒   Permacomputing is an emerging concept and community practice. There are many issues currently being contemplated and discussed within this community. The abundance of combining old and new media and methods can lead to a blurring of increasing dependencies. Such practices are heavily reliant on growing consumerism, which permacomputing seeks to address. An even larger question is whether permacomputing is a genuine transition and transformation process or not.

The creation of art and creative works, whether rooted in professional settings, art, or the history of craftsmanship, remains an activity that cannot be detached from questions of class and privilege. In the Global North, an alternative lifestyle and way of living are signs of privilege and remain inaccessible to the vast majority. This should in no way be understood as an excuse for extractivism and wasteful practices. Rather, it means that permacomputing requires thorough consideration to prevent it from becoming a hobby for the privileged or glorifying and aestheticizing poverty.

The perspective of permacomputing is partly biased and prejudiced. Permacomputing continuously questions itself in its philosophy and is keenly aware of its somewhat peculiar practice. Permacomputing works serve more as a starting point to make a particular intention visible and understandable in the creative process.

░  The principle behind designing with Permacomputing principles is that there is a place for everything. No tools or design practices are superfluous or irrelevant. There is room for both slow and fast, for incremental and one-off processes.

These principles allow us to rethink technological relationships and aesthetic ideals. However, this also entails incorporating boundaries and limitations into the design process and thus into the resulting aesthetics.

▓  for digital Graphic Design

This project uses the principles of Permacomputing as creative design tools and applies them to graphic design. The intention of this work is to explore new, sustainable approaches to graphic design through Permacomputing. Experiments demonstrate how possibilities in graphic design can be expanded to achieve environmentally conscious results.

▓   exp – epub explores an unconventional publishing medium, investigating how an e-book reader can be utilized as a design tool.
E-book readers with E-Ink screens are highly energy-efficient, consuming power only when flipping pages, not when displaying a page. Additionally, they contribute to reducing physical waste since no physical books need to be produced, transported, or disposed of.

The e-book reader used here was purchased second-hand, promoting material reuse.
Working with unconventional publishing media highlights curiosity and joy in repurposing hardware for purposes it was not originally designed for.

E-book readers are optimized for displaying text and simple graphics, requiring less computing power and storage space. They are therefore a tool for small and efficient publications. E-book readers with E-Ink technology are often more robust with longer battery life. They can also be used offline, making them more resilient against network failures.

The EPUB file stored on the device is styled using HTML and CSS, making it compact. EPUB is a highly compressed format specifically optimized for displaying text and embedded media, minimizing storage requirements and reducing the computational power needed to render content.

In implementing this experiment, I referred to the handbook From Print to Ebooks: A Hybrid Publishing Toolkit for the Arts and used it to create an Epub poster with HTML and CSS in VS Code. Particularly intriguing was the familiar flickering of E-book readers when flipping pages, which I used to create an animation.

I then filmed this animation to make it digitally playable. The E-Ink display also brings its own unique aesthetic that can be further explored and utilized.

▓   exp – cross-stitch explores the intersection of typography and traditional handicraft.
The experiment is inspired by the Low-Tech Magazine, which emphasizes that past and often forgotten knowledge and technologies hold great potential for shaping a sustainable society.

Traditional embroidery requires relatively few resources: needle, thread, and fabric. It shows remarkable durability, with the oldest known embroideries dating back to the tomb of Egyptian King Tutankhamun, who died around 1323 BC.

Embroidery is performed locally, minimizing transportation costs and associated emissions. The practice preserves and promotes traditional knowledge and techniques, aligning with the principles of Permacomputing to conserve and transmit knowledge, contributing to cultural sustainability.

Embroidery also embraces limitations and boundaries. It is constrained by the frame, the number of holes in the fabric, and the length of the thread.

Moreover, embroidery is a consciously slow and meditative process that focuses on a single task, promoting mindful design and emphasizing resource-conscious practices and sustainable work ethics.

To merge traditional technique and materials with modern design, I embroidered letters onto fabric. For this three-part series, I chose one letter for each piece and represented it in various iterations.

Initially, I created a template using an 8-pixel grid and designed each letter as a pixel graphic within a 376 x 376 pixel area. I opted for the cross-stitch method for execution, as it aesthetically resembles pixels and is often associated with pixel graphics. Each letter varies in the density of cross-stitches and the type of thread used. Eventually, I scanned the embroidered letters to digitize them.

▓   exp – reused-material focuses on using pre-existing graphic materials in graphic design.
Reuse requires less energy than recycling and can be effectively utilized in graphic design. Reusing code is common. Why not reuse visual elements such as symbols, images, and layouts?

Using pre-existing graphic materials promotes efficient and sustainable resource utilization. A small-scale poster requires less material, significantly reducing resource consumption and ecological footprint.

Existing materials constrain the design process. However, constraints can foster creativity and diversity.

Each design contains creative knowledge that can be shared, reused, and contextualized anew. As designers, we generate a lot of waste through numerous designs. Even these designs can be repurposed. Everything has its place.

For this experiment, I searched within my university for discarded printed paper from copiers, scanners, and the print workshop. This material, deemed waste, was collected for reuse.

Initially, I curated the found material based on its design potential and scanned the documents. I then used these scans to create posters, exploring various approaches:

Firstly, I enlarged existing material to reinterpret depicted colors and shapes in a new context. Secondly, I cut out material and reassembled it. Additionally, I combined various scans.

▓   exp – digital-diary explores design using obsolete devices.
By utilizing used digital hardware typically deemed obsolete, the device's lifecycle is actively extended. This contributes to reducing electronic waste and promotes sustainable use of existing resources.

Designing with text is often minimalist and simple, using basic characters and requiring minimal resources such as storage or processing power.

On the device, thoughts on Permacomputing from the Mastodon platform are displayed. Collecting and typographically presenting thoughts from the Permacomputing community on Mastodon emphasizes the connection and exchange within this community, highlighting the importance of collaborative knowledge sharing.

Interaction within a community can facilitate the exchange of ideas and resources, provide mutual support, and contribute to resilience. Communities offer a space for experimentation, new approaches, and continuous improvement in practice.

For this project, I purchased a used digital diary from CASIO, which I used as a small storage device to collect Mastodon blog posts. I utilized the diary's memo tool to record the posts.

The unique aspect of this device is its limited storage capacity of only 128 KB, which is minimal compared to today's standards. This limitation was particularly intriguing and challenging. Each note also had a character limit, which significantly influenced my selection of blog posts. Additionally, I used the loading animation of lines during scrolling as a graphical animation and incorporated ASCII elements to make the text visually appealing and graphically interesting.

▓   exp – small-file-poster demonstrates that small file sizes can be aesthetically appealing without pixelation.
Due to limited space, attention is focused on essential information, proving that minimal resource use can still achieve meaningful results.
Small posters are flexible, easily adaptable, distributed, and displayed across various platforms.

When exported as PDFs, these posters can scale to any format without compromising readability.
Transparently showcasing file sizes and minimal resource consumption promotes awareness of sustainable design practices.
Additionally, small posters can be readily documented and accessible to diverse user groups.
So why do designers regularly create posters with huge file sizes when small file sizes can achieve equally engaging visual effects?

In this experiment, I created a very small poster with a resolution of 24 x 34 pixels to demonstrate that designers do not necessarily require large file sizes for their designs.
I designed these posters using a vector-based program because pixel-based programs offer little design value and result in posters that are illegible and uniformly pixelated at such small file sizes.

To counter the assumption that small file sizes inevitably mean pixelated posters, I exported the posters as PDFs from the vector program, with each file not exceeding 600 KB after export.
Initially, I experimented with typography and found that the small file size was highly legible when printed on A3, thanks to the vector export of the fonts.

Next, I added a drop shadow to the text, which was converted to pixels and created blocks behind the text when printed.

Eventually, I began adding motifs and made deliberate design decisions about which elements should be pixel-based and which should be vector-based. This allowed me to intentionally influence the visual hierarchy of the design.

▓   exp – compression-artefacts explores the aesthetics and significance of compression artifacts in video formats for design.
Compression artifacts in video formats inherently contribute to keeping file sizes very small, thus conserving resources.

Given that video streaming is one of the most data-intensive activities on the internet, it is crucial to address video compression to explore sustainable approaches to manage this vast amount of data.

This aligns with the mission of the Small File Media Festival, which aims to raise awareness about the high carbon footprint of streaming media consumption. The festival proposes alternative solutions for media practices and new perspectives in media theory.

Local community involvement was used for collecting video material.
Collecting graphic materials promotes exchange among diverse designers and strengthens community bonds. Moreover, integrating local graphic materials into design practices can incorporate cultural elements and identities.

For this experiment, I compressed the collected video material using the open-source software Handbrake. In Handbrake, compression and resulting artifacts can be deliberately influenced and integrated into design. While Permacomputing often aims to avoid complexity, in this experiment, I aimed to make complexity visible. I translated the underlying and often hidden data structures of the videos onto the screen's surface, making them visible through compression artifacts. What is typically seen as compression errors here functions as a distinct aesthetic that exposes the nature of digital artifacts. I accepted and utilized errors as a form of design. 

▓   exp – txt demonstrates how to create designs using text as minimal means and resources.
Text is a constant element on most digital devices. Utilizing text as a design element offers numerous advantages: it is highly accessible and provides a wide array of design materials.

Since text editors are available on nearly all digital devices without additional costs or technical requirements, design with text can be accessed by almost anyone, thereby reducing energy consumption and the need for complex software and hardware.

ASCII art is also a popular design tool when working with text. ASCII art involves using letters, numbers, and special characters from a non-proportional typeface to create small pictograms or entire images. This technique utilizes the ASCII character set, which is available on nearly all computer systems worldwide.

Before the advent of computers, text art, known as Typewriter Art, existed where images were created using typewriters or teleprinters. ASCII art often fosters an open and collaborative culture, where designs and techniques are freely shared and developed further.

For the implementation of this experiment, I chose the text editor to create posters exclusively using text. With the help of ASCII art, I was able to depict images, display fonts, and graphics. Numerous websites provide fonts and graphics, and allow converting personal images and graphics into ASCII art online. The file sizes of text-only designed files were extremely small, typically not exceeding 10 KB.

▓   exp – led explores the depiction of posters on an LED panel.
LED panels are a sustainable way to display content, with low power consumption, minimal heat generation, and high durability due to the absence of filaments, making them less open to damage.

Adjusting brightness, size, and color further enhances energy efficiency. Compared to incandescent bulbs, LEDs convert over 90% of electrical energy into light, making them significantly more energy-efficient. They are often resilient to environmental factors and have a long lifespan, making them a stable choice for sustainable displays. LED panels are flexible, existing in various sizes and formats adaptable to different applications.

LED panels are commonly used as advertising surfaces and are integral to the lifecycle of advertising products in the commercial context. Therefore, I populated the LED panel with excerpts from advertisements by major German technology providers, intentionally placing it in an environment not typically used for advertising.

The code written in Processing for displaying animations is highly adaptable and suitable for a wide range of projects, from simple graphics to complex interactive installations. Its modular structure allows for easy addition or modification of individual components.

Using Processing, I programmed various sketches played on the 64x64 px resolution panel. This resolution posed significant design constraints. Choosing red and green LEDs for their low energy consumption, I based my sketches on these colors. The experiment demonstrates how unconventional and existing hardware can be creatively repurposed, even for purposes not originally intended.

░  Permacomputing as a practice for digital Graphic Design does not find a definitive end in this work. Instead, it opens up numerous further opportunities to explore permacomputing in graphic design.

Beyond permacomputing, there is a wide range of sustainable design possibilities for designers. Emphasizing sustainability is crucial, especially in a field heavily reliant on resources, particularly digital ones.

It is important that measures are taken to save resources and broaden the perspective on sustainable design in the creative industry. Permacomputing serves as an attempt to find ways to apply sustainable principles in graphic design. Although this can be challenging in the daily work environment of designers, where time is often limited, it remains of great importance to engage with these concepts.