# Welcome ## Info and resources for sustainable NIME research To support sustainable practices within and beyond NIME as outlined in the [NIME Conference Environmental Statement](https://www.nime.org/environment/), we have created this repository of information and green resources for environmental issues in NIME research. The repository is regularly updated with new entries, ideas, and suggestions for how we can lessen the ecological footprint of our individual and institutional practices. It is softly curated by the environmental officers, and we highly encourage everyone to [submit requests](/contribute-to-eco_nime/contribute) for additions and edits. We hope that this will become a resource, not only for evaluating our own environmental impact, but also to spawn new ideas, designs, sonic works, and collaborations, with the potential for impact beyond the boundaries of NIME research as well. > For more information on sustainable NIME research and practice, please see our 2021 NIME paper: > > * Raul Masu, Adam Pultz Melbye, John Sullivan, and Alexander Refsum Jensenius. 2021. [NIME and the Environment: Toward a More Sustainable NIME Practice](https://www.nime.org/proc/nime21_24/). Proceedings of the International Conference on New Interfaces for Musical Expression. DOI: [10.21428/92fbeb44.5725ad8f](https://doi.org/10.21428/92fbeb44.5725ad8f) *** ### Entries #### Digital tools and techniques * [Machine learning](/digital-tools-and-techniques/machine_learning) * [Open source CAD for TUIs](/digital-tools-and-techniques/open_source_cad_for_tuis) * [Open standards and interoperability](/digital-tools-and-techniques/open_standards_and_interoperability) #### Services * [Chat and collaboration (Slack alternatives)](/services/chat_collaboration_tools) * [Video conferencing (Zoom alternatives)](/services/video_conferencing) * [Web hosting](https://github.com/NIME-conference/ECO_NIME/blob/main/web_hosting.md) * [Music streaming (English)](/services/streaming_and_download) * [Music streaming (Italian)](/services/ita_streaming_and_download_di_musica) #### Hardware * [3D printing with PLA](/hardware/3d_printing_pla) * [3D printing: sustainable practices](/hardware/3d_printing_sustainable_practices) * [Circuits](/hardware/circuits) * [CNC milling](/hardware/cnc_milling) * [Hardware Optimization and Durability](/hardware/hardware_optimization_and_durability) * [Laser cutting](/hardware/laser_cutting) ### Calls and Related Projects * [Related Projects](/calls-and-related-projects/related_projects) * Projeto: Cerrado - Anésio Neto \[[English](/calls-and-related-projects/cerrado_en)] \[[Portuguese](/calls-and-related-projects/cerrado_ps)] * Project: Aeolis - Lior Arbel \[[English](/calls-and-related-projects/aeolis_en)] \[[Hebrew](/calls-and-related-projects/aeolis_he)] * [Call for Submissions: DACA 2022](/calls-and-related-projects/data_art_for_climate_action_daca_2022) ### Book Club / Discussion Group * [Information](/book-club-discussion-group/book_club) * [1: The Great Animal Orchestra](/book-club-discussion-group/meeting_1_krauss_the_great_animal_orchestra) * [2: There's No App For That](/book-club-discussion-group/meeting_2_heinberg_theres_no_app_for_that) *** ## Contact Questions and comments can be directed to the NIME environmental officers: * [John Sullivan](mailto:johnny@johnnyvenom.com) * [Raul Masu](mailto:raul@raulmasu.org) * [Adam Pultz Melbye](mailto:mail@adampultz.com) # Machine learning ## Summary of issue Machine learning has become a major tool and area of research in NIME, however in many forms it is extremely computationally intensive and uses large amounts of energy resources. This may contribute to a very large carbon footprint for ML-based research. ## Questions Raised 1. What is the carbon footprint for NIME-related machine learning tasks? 2. Can green energy sources be used? What are they, and how can they be accessed by NIME researchers? 3. How can researchers using machine learning optimize their work to reduce energy consumption and minimize emissions? ## Information and recommendations (TL;DR) Researchers have estimated the carbon emissions for training one large data set to exceed that of 5 cars in their lifetimes \[1]. To evaluate the potential environmental impact of a machine learning task, use the [Carbon Emissions Calculator](https://mlco2.github.io/impact/) developed by Lacoste, et al. \[2]. Consider energy efficient alternatives for ML algorithms. When using cloud computing providers for rendering, look for those who actively use and promote renewable energy sources. *** ## Notes Despite being inspired by the human brain, which is an incredibly energy-efficient system, the computation resources required for machine learning research have a surprisingly large carbon footprint. A paper \[1] on energy demands of NLP (natural language processing) tasks showed that the energy used to train one complex data set emitted more CO2 than 5 gas-powered cars in their lifetimes (see Fig. below). Much of the high energy cost in their example was attributed to a late stage tuning step called neural architecture search (NAS), an automated trial and error process of designing the most optimized neural network. However, these exponentially energy intensive and time-consuming optimizations may add little performance benefit to an ML task and may not be necessary in many applications. *** | Consumption | CO2e (lbs) | | ------------------------------- | ---------: | | Air travel, 1 person, NY <-> SF | 1984 | | Human life, avg, 1 year | 11,023 | | American life, avg, 1 year | 36,156 | | Car, avg incl. fuel, 1 lifetime | 126,000 | | **Training one model (GPU)** | CO2e (lbs) | | ---------------------------- | ---------: | | NLP pipeline (parsing, SRL) | 39 | | - w/ tuning & experiments | 78,468 | | Transformer (big) | 192 | | - w/ neural arch. search | 626,155 | **Fig. 1:** CO2 emission comparison. Reproduced from \[1] *** In a more typical research scenario, the authors also point out that the full process of designing and evaluating an appropriate ML model is highly iterative, contributing to a high rate of energy consumption as well: a previous six-month study required training 4,789 models, amounting to emissions of 78,468 lbs. of CO2, roughly equivalent to 40 air flights. Another issue raised by \[1] is the availability of adequate computational resources for researchers in academia. Trends in AI research favor ever larger datasets and complex ML pipelines, which may only be feasible for researchers in industry, potentially leading to privatization of the most cutting edge research. An alternative lies in utilizing cloud computing for rendering tasks, with paid services available from providers like Amazon and Google. While this may benefit academic researchers, it doesn't necessarily reduce energy demands and instead suggests the investigation of renewable energy sources used by the providers. See information about [Amazon Web Services](https://sustainability.aboutamazon.com/environment/the-cloud) and [Google Cloud](https://www.google.com/about/datacenters/efficiency/) with the provided links. Furthermore, researchers are urged to consider additional ethical aspects that may be associated with non-academic tools and resources. To address these issues, authors provide three recommendations: 1. Authors should report training time and sensitivity to hyperparameters, to facilitate accurate cost-benefit analyses and comparisons. \[2] proposes a number of standardized efficiency parameters that could be reported, including: carbon emission, electricity usage, elapsed real time, number of parameters, FPO (number of Floating Point Operations). 2. Academic researchers need equitable access to computation resources. Where dedicated institutional resources are inadequate, cloud computing may be an option, however there are potential tradeoffs around sustainability (third party services commitment to renewable energy sources) and ethics (privacy, financial access) 3. Researchers should prioritize computationally efficient hardware and algorithms. While certain efficient algorithms exist, they may not be optimized for popular ML frameworks (such as TensorFlow or Pytorch), making them less accessible to non-ML-specialist researchers. Another important resource for evaluating the environmental impact of ML tasks is the [Carbon Emissions Calculator](https://mlco2.github.io/impact/) for researchers, created by Lacoste, et al. \[3]. The tool can estimate emissions based on four factors of environmental impact: * location of server used for training * energy grid used * length of training procedure * make and mode of hardware used ## External Links and References * MIT Technology Review: [Training a single AI model can emit as much carbon as five cars in their lifetimes](https://www.technologyreview.com/2019/06/06/239031/training-a-single-ai-model-can-emit-as-much-carbon-as-five-cars-in-their-lifetimes/) * Adobe XD Ideas: [Yes, AI Has a Carbon Footprint – So How Do We Deal With It?](https://xd.adobe.com/ideas/principles/emerging-technology/ai-impact-on-climate-environment/) * The Outline: [How to train artificial intelligence that won’t destroy the environment](https://theoutline.com/post/8186/artificial-intelligence-destroy-environment) * The New Stack: [Check Your ML Carbon Footprint with the Machine Learning Emissions Calculator](https://thenewstack.io/check-your-ml-carbon-footprint-with-the-machine-learning-emissions-calculator/) 1. Strubell, E., Ganesh, A., & McCallum, A. (2019). Energy and Policy Considerations for Deep Learning in {NLP}. In Proceedings of the 57th Annual Meeting of the Association for Computational Linguistics (pp. 3645–3650). Florence, Italy: Association for Computational Linguistics. 2. Ai, G., Dodge, J., Smith, N. A., & Ai, R. (2019). Green AI. Retrieved from 3. Lacoste, A., Luccioni, A., Schmidt, V., & Dandres, T. (2019). Quantifying the Carbon Emissions of Machine Learning. ArXiv Preprint. Retrieved from *** ## Contributor(s) * [John Sullivan](mailto:johnny@johnnyvenom.com) # Open source CAD for TUIs ## Summary of Issue In many of the pages presented on the ECO NIME WIKI, we stress the fact that is advisable to use open source CAD software to develop DMIs. In the following paragraphs we will focus specifically on this particular sustainable strategy. Computer-Aided Design (CAD) software is a powerful tool that can aid the NIME community in the development of projects, as it enables the creation of digital models of physical objects. However, **much of the CAD software available today is proprietary and can be costly, limiting accessibility and potentially leading to obsolescence** if the owning company decides to discontinue support. Fortunately, open-source CAD software offers a valid alternative that can help the NIME community develop projects in a more sustainable way. **Open-source software is built by a community of developers who share their code freely, allowing users to access and modify it as needed**. This approach not only makes software more accessible but also promotes collaboration and innovation within the community. In this chapter of the wiki, **we will describe some open-source CAD software that can be used by the NIME community in their projects**. By utilizing open-source CAD software, the NIME community can develop their projects in a more sustainable, accessible, and collaborative manner. ## Questions Raised 1. Is the software available for a wide number of people? 2. Does the software I’m using risk being dismissed any soon? 3. How difficult for me or other members of the community will be to work with my files in the future? ## Information and recommendations (TL;DR) 1. Try to use the following software * **3D Modeling** * Freecad (Part and Part Design Workbenches) * OpenScad * Blender * **2D Vector Graphics** * Inkscape * LibreCAD * FreeCAD (Draft and Sketcher Workbenches) * **PCB Design** * KiCAD 2. Document your project and provide source files *** ## Notes A unique recommendation to answer the questions above is the following: **Use open source software to develop your projects and provide the community with the source files you developed** so, here is a list of specific software that can be used in TUI development, and the means to . ### Open Source CAD [**FreeCAD**](https://www.freecad.org/) is a free and open-source 3D CAD software that allows users to create and edit parametric 3D models with a comprehensive set of tools and a user-friendly interface. - here, you can find a series of tutorials to get familiar with this software \[[2](https://www.youtube.com/playlist?list=PLWuyJLVUNtc0UszswD0oD5q4VeWTrK7JC)]. ![3D model in FreeCAD](/files/YLgoSmA56rSg07gtH6V1) ![3D printed shells from FreeCAD 3D model](/files/VSDRDk0wgvz8NsYtyMGB) **OpenSCAD** \[[3](https://openscad.org/)] is a free and open-source script-based 3D CAD software that allows users to create and modify complex solid objects using a programming language. - here, you can find a series of tutorials to get familiar with this software \[[4](https://www.youtube.com/watch?v=dx06_gcdMck\&list=PL3by7evD3F51u-17hoepe7IduGkfp2Fu6)] **Blender** \[[5](https://www.blender.org/)] is a free and open-source 3D creation software that allows users to create and animate 3D models, scenes, and visual effects for films, video games, and other media. - here, you can find a series of tutorials to get familiar with this software \[[6](https://www.youtube.com/watch?v=6FaLHFJ2kKI\&list=PL3GeP3YLZn5ixsnIOIx9tB4v6s-rsw48X)] **Inkscape** \[[7](https://inkscape.org/)] is a free and open-source vector graphics editor software that allows users to create and edit scalable vector graphics (SVG) and other graphics formats for illustrations, logos, and other graphic design projects. - here, you can find a series of tutorials to get familiar with this software \[[8](https://www.youtube.com/watch?v=XFFZXgBtNlg\&list=PLynG8gQD-n8AB8eeoRuae-Pm0koebv9iC)] ![Texture Research conductied in Inkscape](/files/uztnAGAs0XyzPDoDUHO4) **LibreCAD** \[[9](https://librecad.org/)] is a free and open-source 2D CAD software that allows users to create and edit technical drawings, schematics, and diagrams for architectural, mechanical, and engineering projects. - here, you can find a series of tutorials to get familiar with this software \[[10](https://www.youtube.com/playlist?list=PLh1Mh_dB_MNHxafvJwpw86QvHT0KWsb5s)] **KiCAD** \[[11](https://www.kicad.org/)] is a free and open-source software suite used for electronic design automation (EDA) that allows users to design printed circuit boards (PCBs), schematics, and electrical diagrams for electronic projects. - here, you can find a series of tutorials to get familiar with this software \[[12](https://www.youtube.com/watch?v=vaCVh2SAZY4\&list=PL3bNyZYHcRSUhUXUt51W6nKvxx2ORvUQB)] ![Circuit Schematice designed in KiCAD](/files/pMx7YZ2dpyD6JZaGLu52) ![PCB Design in KiCAD](/files/YKuxvL5WZzuA05rVunxc) ![Circuit Produced from external Manufacturer](/files/2FrOb2bz84JXNHlLRKuW) ![Circuit with components soldered on it](/files/n59s2k51nMbjrWMI9JV7) It is also worth mentioning that the software above can all interact with each other, and offer very interesting possibilities, for example, a FreeCAD addon named **KiCAD StepUp** \[[13](https://www.kicad.org/external-tools/stepup/)] can be used to draw very easily the border of your cisrcuit so that it perfectly fits with the casing designed in **FreeCAD** \[[14](https://www.youtube.com/watch?v=JFpKwWf0n68)] ![PCB outline designed with KiCADStepUp Addon](/files/y7U6jX5C3BQN0oFpYFbq) ### Documentation It is advisable to share the source files of your project in a repository and, if you want to be really extreme, you can include there the version of the software you are using (since is opens source that's completely legal). On top of that, **Inkscape** can be a very powerful instrument to produce very accurate documentation. ## External Links and References ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # Open standards and interoperability ## Summary of Issue This part of the wiki focuses on the importance of Open Standards and interoperability in NIME projects. In essence, this means that a NIME project should be based on components and protocols that do not require specialized or expensive equipment to work. This approach **ensures that NIME projects are accessible and affordable for a wider range of workers**, rather than being limited to those with specialized technical knowledge or resources, or worse, only the ones that developed the project. **Adopting these practices not only ensures that NIME projects are accessible to a wider range of people, but also fosters collaboration and innovation within the NIME community.** By utilizing open standards and interoperable protocols, NIME practitioners can more easily share their work and collaborate with others, leading to the development of more advanced and sophisticated NIME projects. In summary, prioritizing open standards and interoperability in NIME projects can lead to a more inclusive, collaborative, and sustainable NIME community. ## Questions Raised When designing a device it is advisable to ask yourself the following questions 1. Are the components used in the project widely used by the community and compatible with most systems? 2. Are Those components affordable and easily accessible? 3. Are those components going to be obsolete any time soon? 4. Am I using largely used protocols in my projects? 5. Can a user easily hack or setup the interface I designed? ## Information and recommendations (TL;DR) 1. Incorporate Regulatory Compliance for Seamless Integration (es. USB C cable for power) 2. Exploit the power of comprehensive online documentation 3. Leverage widely accepted protocols for community engagement 4. Produce documentation that explains how the project works *** ## Notes ### Incorporating Regulatory Compliance for Seamless Integration Adherence to regulations is paramount to ensure both safety and compatibility. Prior to embarking on any project, it is prudent to examine whether there exist regulations or standards \[\[1]] that provide guidelines for specific components or interfaces. For instance, consider the example of a USB-C cable for power supply. The adoption of USB-C as a universal charging standard \[\[2]] has led to the formulation of regulatory standards that outline the specifications and requirements for USB-C cables and connectors. Integrating such compliant components into your project not only ensures seamless compatibility but also reflects a commitment to user safety and convenience. Adhering to regulations not only prevents potential hazards but also contributes to the overall user experience by allowing easy and hassle-free interactions with the device . ### Leveraging the Power of Comprehensive Online Documentation In today's interconnected world, access to information is key. As you embark on the journey of designing a project, it's essential to consider the availability of comprehensive documentation online. The availability of resources can significantly enhance the usability of your creation. Platforms like Arduino and ESP32 have garnered immense popularity due to their open-source nature and robust community support \[\[3]] \[\[4]]. A wide array of tutorials, guides, and forums are readily accessible, offering both beginners and experts the information they need to interact with and understand your project. By leveraging these established platforms, you not only tap into a wealth of information but also contribute to a collaborative ecosystem where knowledge is freely shared and cultivated. ### Leveraging Widely Accepted Protocols for Community Engagement The choice of protocols is the very language through which your device communicates with the world. In your design journey, selecting protocols that are widely diffused within the community carries immense advantages. Take, for instance, the Open Sound Control (OSC) \[\[5]] \[\[6]] and Musical Instrument Digital Interface (MIDI) \[\[7]] \[\[8]] \[\[9]] protocols. These have become the lingua franca of electronic music and multimedia communication. By integrating protocols like OSC and MIDI, you're facilitating cross-platform compatibility and fostering an environment where your creation can seamlessly communicate with a diverse array of devices and software tools. This choice isn't just about functionality; it's about ensuring your project becomes part of a larger conversation within the tech community. ### Crafting Clear and Insightful Project Documentation In the process of designing a project, one of the most valuable assets you can offer to users is clear and insightful documentation \[\[10]]. Documenting how the project works, its core functionalities, and how users can effectively engage with it serves as a bridge between the creator's intentions and the end-users' experience. Detailed documentation not only helps users understand the project's purpose and intricacies but also empowers them to troubleshoot issues and explore the project's potential for customization. By providing step-by-step instructions, diagrams, and explanations, you enable users to unlock the full potential of your creation, fostering a sense of ownership and engagement. Whether it's the underlying code, the wiring schematic, or the fundamental principles behind the project, comprehensive documentation transforms your design from a mere concept to a tangible and accessible reality. ## External Links and References \[\[1]] \[\[2]] \[\[3]] \[\[4]] \[\[5]] \[\[6]] \[\[7]] \[\[8]] \[\[9]] \[\[10]] ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # Chat and collaboration (Slack alternatives) [Slack](https://slack.com/) is a dominant workplace communication platform that was used with great results at the online NIME 2020 conference. Previous discussions have highlighted certain issues that may limit its viability for future conferences (10k message storage limit, prohibitively expensive premium licence, potential privacy concerns). In addition to these, we examine whether there are environmental costs associated with Slack that could be reduced by using an alternate platform. ### Questions Raised 1. Are there significant environmental costs associated with Slack that would be reduced by switching to another platform? 2. What are the sustainability practices of Slack Technologies? 3. Are there alternative platforms that are tested, reliable, and scalable to accommodate the NIME conference? ### Notes Little is found online about the environmental practices of Slack Technologies. They are, however, part of a 21-company alliance entitled [***Step Up Declaration***](https://stepupdeclaration.org/), "dedicated to harnessing the power of the fourth industrial revolution to help reduce greenhouse gas emissions across all economic sectors and ensure a climate turning point by 2020". Step Up Declaration is in turn part of an initiative called [Mission 2020](https://mission2020.global/). In their [statement](https://stepupdeclaration.org/slack), Slack announced the following commitments to environmental action: * become fully carbon neutral by 2030 * eliminate single-use placstics from buildings by 2030 * support regenerative and sustainable agriculture through purchasing * champion inclusive communities According to [this article](https://www.ethicalconsumer.org/technology/shopping-guide/video-conferencing?fbclid=IwAR1cfsoJGGcgypD0mktU6q-eNeDbcNR8P8c2cazyYxK5MKhjJpn22AP65lM), the paid version of Slack relies on Amazon Web Services. Additionally, the article claims that Slack is involved with tax avoidance and excessive enumeration of executives. More research is needed. Some alternatives to Slack have been proposed: * [Rocket Chat](https://rocket.chat/) * [Mattermost](https://mattermost.com/) Both options can be self-hosted which, depending on host server, may provide sustainability benefits. More research is necessary to evaluate potential advantages of these alternatives over Slack. Also it is unclear if similar limitations exist for these platforms (eg. message limits on free tiers, subscription costs for 'pro' features) ### External Links and References * [ethicalconsumer.org guide to video conferencing](https://www.ethicalconsumer.org/technology/shopping-guide/video-conferencing?fbclid=IwAR1cfsoJGGcgypD0mktU6q-eNeDbcNR8P8c2cazyYxK5MKhjJpn22AP65lM) (*paid subscription required to view full article*) ### Contributor(s) * [John Sullivan](mailto:johnny@johnnyvenom.com) # Video conferencing (Zoom alternatives) ## Summary of issue With NIME moving to a hybrid format, video conferencing and communication will be essential for the conference. Additionally, the spread of COVID-19 has meant that the already established practice of everyday video conference calls has increased manyfold. While the carbon footprint of video calls is often significantly lower than that of non-local in-person meetings, a number of parameters can be considered in choosing the least polluting technologies and practices. Additionally, there have been a few privacy concerns related to Zoom in the past \[8]. ## Questions Raised 1. What is the carbon footprint of a video call? 2. What parameters determine the footprint of video calls? 3. What are the different alternatives for video calls? 4. How does the footprint of video calls relate to that of travel? *** ## Notes ### Carbon footprint of a video call * The energy efficiency of the internet has been roughly doubling every two years \[1]. * Video calls use 250 MB - 1.3 GB of data per participant per hour, depending on the quality \[3]. * The most recent reputable peer- reviewed estimate of the energy intensity of the internet found an average of 0.06 kWh per GB for 2015. Assuming that it is still halving every 2 years, it would now be around 0.015 kWh/ GB \[3]. * The German grid carbon footprint is (2018) 0.4690 kgCO2e per kWh \[5]. Use link \[5] to find the footprint of most countries. * One hour of video conferencing, then, is between 0.0018 and 0.0091 kgCO2e per hour of video conferencing. Based on these numbers, a rough calculation of the relationship between virtual and physical attendance for one person from Berlin for NIME 2021 in Shanghai: | Attendance | Usage | Estimated CO2 footprint | | ---------- | ------------------------------------------------------- | ----------------------- | | Virtual | Videoconference 8hr a day for 4 days (8 \* 4 \* 0.0091) | 0.292 kg of CO2e | | Physical | Flight from Berlin to Shanghai | 2.53 tonnes of CO2e | ### Video call sustainability parameters **Self-hosting:** By self-hosting the conference tools for NIME, we can choose a green provider rather than relying on servers beyond our control. * [Jitsi](https://meet.jit.si/): Jitsi offers self-hosting. Environmental statement for 8x8 (the company owning Jitis) [here](https://investors.8x8.com/corporate-responsibility/environment-policy/default.aspx). \[3] raises ethical concerns regarding excessive enumerations of executives. * [Jami](https://jami.net/#): Recieves a high envorinmental score in \[3] but seems to be in its infancy and may not be reliable enough for NIME. Another positive aspect of Savoir-faire Linux, (the company developing Jami) is a general Commitment toward a "sustainable economy based on cooperation and knowledge" \[7]. * [Kopano Meet](https://meet-app.io/): Open source peer to peer video conferencing with paid options available (paid edition provides access to a hosted turn service). The company Kopano does not provide environmental statements, but Meet is mostly implemented in Golang which provides a small memory footprint. * [Big Blue Button](https://bigbluebutton.org/): Allows for selfhosting, and has features for limiting the need for screensharing (thus limiting bandwidth) by sharing the pdf slides to each participant's computer, rather than having to screen share. ### Considerations for individuals Use optical fiber wifi rather than cellphone data: I haven't been able to find conclusive research, but \[4] suggests that watching a video on the old 3G cellular network consumes 50 times more energy than on a wifi served by optical fiber cables. Consider turning off your video when conferencing. Lower the resolution of the video. ## External Links and References 1. Paper: [Electricity Intensity of Internet Data Transmission: Untangling the Estimates](https://onlinelibrary.wiley.com/doi/full/10.1111/jiec.12630) 2. Article: [Comparison of the energy, carbon and time costs of videoconferencing and in-person meetings](https://www.researchgate.net/publication/260438994_Comparison_of_the_energy_carbon_and_time_costs_of_videoconferencing_and_in-person_meetings) 3. Article: [***Ethical consumer UK*** on video conferencing](https://www.ethicalconsumer.org/technology/shopping-guide/video-conferencing?fbclid=IwAR1cfsoJGGcgypD0mktU6q-eNeDbcNR8P8c2cazyYxK5MKhjJpn22AP65lM) 4. Article: [German article on streaming and online data transfer](https://www.deutschlandfunk.de/streaming-und-datenuebertragung-fuer-videokonferenzen-und.697.de.html?dram%3Aarticle_id=483915\&fbclid=IwAR3U8XX_dXAGY4g3Di8ncqSctSkiYMtkNZ4oauWV4J1uIrnJ-c-lGSFa0WA) 5. [Carbonfootprint.com - COUNTRY SPECIFIC ELECTRICITY GRID GREENHOUSE GAS EMISSION FACTORS](https://www.carbonfootprint.com/docs/2019_06_emissions_factors_sources_for_2019_electricity.pdf) 6. [Climate Care carbon calculator](https://climatecare.org/calculator/) 7. [Savoir-faire Linux Commitment Statement](https://savoirfairelinux.com/en/commitments) 8. [Zoom makes privacy and security fixes as millions flock to service](https://edition.cnn.com/2020/04/23/tech/zoom-update/index.html) *** ## Contributors * [Adam Pultz Melbye](mailto:mail@adampultz.com) * [Raul Masu](mailto:raul@raulmasu.org) * [Marije Baalman](mailto:sensestage@nescivi.nl) # Web hosting # Music streaming (English) ## Summary of Issue This article explores the environmental issues related to the digital streaming and download of music. While vinyl and CD sales are still a a pollutant, the recent reliance on digital online services have shifted the majority of the environmental impact to online services. Most of the article is based on Kyle Devine's book *Decomposed: the political ecology of music*. ## Questions Raised 1. What is the carbon footprint of the online digital distribution of music through streaming and download? 2. Which platforms are the most/least polluting and are there alternatives? 3. Is this being addressed in the music community and if so, how? ## Information and recommendations (TL;DR) ## Notes While CD and vinyl records are an obvious source of plastic pollution, the environmental impact of online data transfers is less obvious, yet significant. Online cultural consumption amounts to at least 5 percent of global electricity consoumption (Aslan et al. referenced in Devine 2019). Devine (2019: 157-158) notes that plastic use in the US across all recording formats peaked at 6109600 kilograms in 2000, falling to 7845200 kilograms in 2016, while carbon emissions rose from 157 million kilograms in 2000 to over 200 million kilograms by 2016. These numbers coincide with a fall in the purchase price of music as the medium has moved from vinyls and CDs to download: a CD sold for 21,59 $ in 2000, while a digital album sold for 10.24 $ in 2014. Obviously, the download industry has been more or les outcompeted by streaming services that now offer unlimited streaming for around 10 $ per month. ### Streaming Services How much data does streaming take? The different platforms have different streaming qualities with Spotify ranging between 24 kbps (free) and 320 kbps (premium), while Apple Music streams at 256 kbps. The approximate data usage is as follows: * 24 kbps = 90 MB per hour * 256 kbps = 1 GB per hour * 320 kbps = 1.2 GB per hour For calculating the CO2 emissions, see the article on videoconferencing in the NIME eco repository, where it is suggested that one GB of data amounts to 0.015 kWh, which, in Germany, would translate to roughly 0.0091 kg of CO2e. Take note, that this only applies to the immediate environmental impact on the consumer's end and not on the service provider's end. Spotify and Apple Music offer download options for offline listening. It's easy to see that it only takes a few streams of an album to exceed the data usage of the same album downloaded. ### Download services In addition to streaming-based services, platforms such as Boomkat offer downloads in a variety of formats. For lossless auido, the least polluting way would probably be to download FLAC files as they are significantly smaller than WAV. VLC is available as an app for both ios and Android and will play any audio format. ### General notes regarding streaming and download The server farms used by the individual streaming and download services will have a significant environmental impact (Greenpeace 2019). See upcoming article in this repository for an overview of the different web services. ### recommendations It is very difficult to think up sustainable alternatives for music distribution and consumption. One option is to rethink the nature of the release medium, since we are no longer tied to vinyls, CDs or casettes. Another is to prioritise repeated listening of downloaded music over the streaming of a variety of albums. Combining these considerations, we could imagine a physical item produced only to demand in order to eliminate stock. This medium could be of recycled materials and include a download code. ## External Links and References * Brennan, M., and Archibald, P. (2019): The economic cost of recorded music: findings, datasets, sources, and methods * Devine, Kyle (2019): Decomposed: the political ecology of music. MIT Press * Greenpeace (2019): Clicking Clean Virginia: The Dirty Energy Powering Data Center Alley: * University of Glasgow (2019): Music consumption has unintended economic and environmental costs: ## Contributor(s) * [Adam Pultz Melbye](https://github.com/NIME-conference/ECO_NIME/blob/main/entries/services/mail@adampultz.com) # Music streaming (Italian) ## Riepilogo del problema Questo articolo esplora questioni ambientali legate allo streaming e al download di musica. Sebbene le vendite di vinili e CD siano ancora un inquinante, il recente incemento di servizi digitali online ha spostato la maggior parte dell'impatto ambientale proprio su servizi. La maggior parte dell'articolo è basata sul libro \* Decomposed: the political ecology of music \* di Kyle Devine. ## Domande proposte 1. Qual è l'impronta di carbonio della distribuzione di musica tramite streaming e download? 2. Quali sono le piattaforme più / meno inquinanti? ci sono alternative? 3. Questo probema viene affrontato nella comunità musicale? Se sì, come? ## Informazioni e raccomandazioni ## Notes I CD e i dischi in vinile siano un'ovvia fonte di inquinamento da plastica. Sebbene l'impatto ambientale dei trasferimenti di dati online sia meno evidente, resta comunque significativo. La fruizione di contenuto culturale online ammonta ad almeno il 5% del consumo globale di elettricità (Aslan et al. Citato in Devine 2019). Devine (2019: 157-158) osserva che l'uso di plastica negli Stati Uniti in tutti i formati di registrazione ha raggiunto il picco di 6109600 chilogrammi nel 2000, scendendo a 7845200 chilogrammi nel 2016, mentre le emissioni di carbonio sono aumentate da 157 milioni di chilogrammi nel 2000 a oltre 200 milioni di chilogrammi nel 2016. Questi numeri coincidono con un calo del prezzo di acquisto della musica in quanto il supporto è passato da vinili e CD (supporto solido) al download (senza quindi la necessità di un supporto): un CD era venduto per 21,59 $ nel 2000, mentre un album digitale era venduto per 10,24 $ nel 2014. Attualmete, il settore dei download è stato più o meno superato dai servizi di streaming che offrono streaming illimitato per una cifra approssimativa di 10 $ al mese. ### Streaming Services Quanti dati richiede lo streaming? Le diverse piattaforme hanno qualità di streaming diverse. Ad esempio, Spotify offre seervizi che vanno da 24 kbps (gratuito) e 320 kbps (premium), mentre Apple Music trasmette a 256 kbps. L'utilizzo approssimativo dei dati è il seguente: * 24 kbps = 90 MB per ora * 256 kbps = 1 GB per ora * 320 kbps = 1.2 GB per ora Per il calcolo delle emissioni di CO2, consigliamo l'articolo sulla videoconferenza in questa wiki. In breve, un GB di dati corrisponde tendenzialmente a 0,015 kWh. In Germania, tale consumo si tradurrebbe in circa 0,0091 kg di CO2e. Si tenga presente che questo conto si applica solo all'impatto ambientale immediato per il consumatore e non per il fornitore di servizi. Spotify e Apple Music offrono opzioni di download per l'ascolto offline: bastano pochi stream di un album per superare l'utilizzo dei dati dello stesso album scaricato. ### Servizi di download Oltre ai servizi basati sullo streaming, piattaforme come Boomkat offrono download in una varietà di formati. Per quanto riguarda formati di compressione audio senza perdite, il modo meno inquinante sarebbe probabilmente il FLAC poiché significativamente più piccolo del formato WAV. VLC è disponibile come app sia per ios che per Android e riproduce qualsiasi formato audio. ### Note generali relative allo streaming e al download Recenti report suggeriscono che le server farm utilizzate dai singoli servizi di streaming e download hanno un impatto ambientale significativo (Greenpeace 2019). Per una panoramica dei diversi servizi web, suggeriamo l'articolo presente in questa wiki riguardante i servizi di web hosting. ### Raccomandazione È molto difficile pensare ad alternative sostenibili per la distribuzione e il consumo di musica. Un'opzione potrebbe essere ripensare la natura del supporto, dal momento che non siamo più vincolati da vinili, CD o cassette. Un'altra opzione è dare la priorità all'ascolto ripetuto della musica scaricata rispetto allo streaming di molti album diversi. Combinando queste considerazioni, potremmo immaginare un articolo fisico prodotto solo su richiesta per eliminare le scorte. Un tale supporto potrebbe essere fatto di materiali riciclati e includere un codice per il download. ## Link esterni e referenze * Brennan, M., and Archibald, P. (2019): The economic cost of recorded music: findings, datasets, sources, and methods * Devine, Kyle (2019): Decomposed: the political ecology of music. MIT Press * Greenpeace (2019): Clicking Clean Virginia: The Dirty Energy Powering Data Center Alley: * University of Glasgow (2019): Music consumption has unintended economic and environmental costs: ## Contributor(s) * Articolo originale [Adam Pultz Melbye](https://github.com/NIME-conference/ECO_NIME/blob/main/entries/services/mail@adampultz.com) * Tradotto in italiano da [Raul Masu](https://github.com/NIME-conference/ECO_NIME/blob/main/entries/services/raul@raulmasu.org) # 3D printing with PLA ## Summary of Issue PLA is the most common plastic used in 3D printing \[[1](https://www.filamentive.com/how-sustainable-is-pla/)]. Unfortunately, 3D printing is prone to waste; through failed prints and surplus material discarded once printing is complete. PLA is at times subject to a degree of greenwashing, being touted as an environmentally friendly material. It is a bioplastic, and therefore could be described as carbon-neutral and compostable. However, the reality is more complicated. ## Questions Raised 1. What is the environmental impact of PLA filament? 2. What practical measures can be taken to reduce the environmental impact of 3D-printing with PLA? 3. What PLA recycling options are available? ## Information and recommendations (TL;DR) While PLA is indeed a bioplastic, an industrial composter is required for it to biodegrade. It's challenging to recycle; therefore, PLA is a precious material that should be used with care. 1. Reduce the amount of PLA used by attending to print infill density and wall thickness settings. 2. Check mechanical tolerances with small parts before printing larger models. 3. Minimise the use of support structures. 4. Reduce print failure rate and improve print quality by storing your filament in a dry, dust-free environment. 5. Repurpose waste PLA (create plectrums, for example). 6. Buy and use recycled PLA filament. 7. Recycle waste PLA into new filament as a DIY project. An advanced but achievable project. *** ## Notes In addition to its ubiquitous use in 3D printing, PLA (Polylactic acid) is used in food packaging. Its a bioplastic, derived from renewable, plant-based materials such as corn starch. A common misconception is that as PLA is a bioplastic, it will naturally decompose; making it an environmentally-friendly choice of material. PLA is biodegradable but unfortunately, will break down exceptionally slowly without the intervention of industrial processes. The rate of decomposition is dependent on the environment the PLA is placed in. Analysts suggest that a PLA bottle could take anywhere from 100 to 1000 years to fully decompose in landfill. Conversely, when placed in an industrial composting facility (an anaerobic digestor), PLA can decompose within three months \[[2](https://www.scientificamerican.com/article/environmental-impact-of-corn-based-plastics/)]. Filamentive estimated that globally, eight thousand tons of 3D printing material would enter landfill in 2019 \[[8](https://www.filamentive.com/the-3d-printing-waste-problem/)]. Is it possible to send waste PLA, resulting from print errors, discarded support structures and old prototypes, to an industrial composting facility? Municipal waste collection programs are likely to vary geographically. In the UK, domestic compostable waste collection is commonplace, intended for food scraps. However, PLA would be seen as contamination if mixed with this. Furthermore, falling into the catch-all, Recycling Grade 7 (the higher the number, the harder to recycle) PLA cannot be recycled by municipal waste programs \[[3](https://all3dp.com/2/3d-printer-recycled-plastic-tips-for-your-waste-plastic/)]. Placing large quantities of PLA into domestic recycling would contaminate the recycling stream \[[4](https://www.theguardian.com/environment/2008/apr/26/waste.pollution)]. So where does this leave us? By attending to the familiar three R's (Reduce, Reuse & Recycle), our environmental impact can be reduced in the use of PLA. ### REDUCE There are a few practical measures that can be taken to reduce the amount of PLA filament we use. #### Infill density and wall thickness A reasonably easy adjustment is to reduce the infill density and wall thickness of a 3D print. This will, however, affect the strength of the printed object, and therefore its ability to withstand an applied load. Where strength is integral to a design, it may still be feasible to reduce the infill and wall thickness on test prints (when checking tolerances, for example). #### Tolerances It may not be necessary to print an object in its entirety to check mechanical tolerances. For example, the tolerance of a screw hole can be scrutinised in isolation, using just a small amount of filament. #### Support structures Consider the orientation and design of models to reduce the number of support structures required. All3DP has an [excellent article](https://all3dp.com/1/3d-printing-support-structures/) on this topic. As a general rule of thumb, models that overhang by 45 degrees or more will require support structures, albeit printer dependent. Reducing layer thickness can help improve your printers ability to print overhangs. While reorientating a model on the print bed may eliminate the need for specific support structures, other techniques such as chamfering can be employed to reduce overhang angles. Dual extruder 3D printers can make use of water-soluble PVA filament for support structures. However, there are some concerns that the growing use of water-soluble polymers by consumers and by industry could have a detrimental environmental impact \[[5](https://www.sciencedirect.com/science/article/pii/S0301479718310016)]. #### Storage Waste can be reduced by ensuring your filament is stored in a clean, moisture-free environment. A dusty spool of PLA is likely to cause failed prints. Once PLA has absorbed moisture, it becomes brittle, and print quality decreases. [All3DP suggest a range of storage solutions](https://all3dp.com/2/filament-spool-8-ways-to-safely-store-your-filament/), including in-situ storage for loaded filament. Furthermore, filament dust can be removed using a [clip-on filter](https://www.thingiverse.com/thing:190118). #### Spools Filament typically comes, loaded on a plastic spool intended to be discarded once the filament is spent. Consider buying filament on a more easily recycled metal/cardboard spool. In the UK, [Filamentive](https://www.filamentive.com/) is a good source of such filament: ### REUSE/RECYCLE There are ways (albeit somewhat experimental), in which makers can recycle and reuse waste PLA. #### Reuse Some creative approaches to repurposing waste filament can be found online. Of interest to guitarists might be these [plectrums](https://hackaday.com/2019/12/08/from-fail-to-wail-guitar-picks-made-from-3d-printed-waste/) cut from PLA. Another example is the [Plastic Smoothie](https://all3dp.com/weekend-project-laser-cutting-3d-printed-trash/). The filament is cut into small pieces using a food processor, melted into a sheet in a small oven then used as raw material for a laser cutter. Another interesting experiment was conducted during a study by Dew and Rosner \[[6](https://dl.acm.org/doi/10.1145/3322276.3322320)]. Waste filament was reheated to use as a fixative for printed objects, and also moulded into new items. #### Create New Filament [Filabot](https://www.filabot.com/) manufactures a system for extruding (and re-spooling) waste filament. This began as an open-source project (the Filabot Wee). The current Filabot machines are sophisticated but costly, perhaps only within the means of larger maker spaces. Alternatively, [open-source projects](https://reprap.org/wiki/RepRapable_Recyclebot:_Open_source_3-D_printable_extruder_for_converting_plastic_to_3-D_printing_filament) exist and [DIY guides](https://www.instructables.com/Build-your-own-3d-printing-filament-factory-Filame/) are available, explaining how to create extruding machines. #### Buy Recycled Filament It is possible to purchase filament made from recycled PLA. Again, Filamentive is a good source. However, bear in mind that, to retain strength, such filament is likely to be a mix of recycled PLA and virgin material. Filamentive PLA contains 55% recycled material. ## External Links and References \[[1](https://www.filamentive.com/how-sustainable-is-pla/)] \[[2](https://www.scientificamerican.com/article/environmental-impact-of-corn-based-plastics/)] \[[3](https://all3dp.com/2/3d-printer-recycled-plastic-tips-for-your-waste-plastic/)] \[[4](https://www.theguardian.com/environment/2008/apr/26/waste.pollution)] \[[5](https://www.sciencedirect.com/science/article/pii/S0301479718310016)] \[[6](https://dl.acm.org/doi/10.1145/3322276.3322320)] \[[7](https://all3dp.com/2/is-pla-recyclable/)] \[[8](https://www.filamentive.com/the-3d-printing-waste-problem/)] ## Contributor * [Alex Lucas](mailto:alucas02@qub.ac.uk) # 3D printing: sustainable practices ## Summary of Issue This section of the wiki will focus on sustainable practices within the field of 3D printing. The goal is to provide guidance and recommendations on minimizing this technology's environmental impact while benefiting from its many advantages. 3D printing is a digital fabrication technique that has revolutionized the manufacturing industry. It allows the production of complex geometries quickly and efficiently, and it has enabled the creation of customized products that were previously impossible or very expensive to produce. In particular, 3D printing has been proven to be a valuable tool in the development of Tangible User Interfaces (TUIs), which are interactive systems that allow users to interact with digital content through physical objects. Several types of 3D printers are available on the market, but the most common one is the Fused Filament Fabrication (FFF) printer. FFF printers heat and extrude thermoplastic material in thin layers to create a 3D object. However, printing can consume a significant amount of energy and often involve using non-recyclable materials, which can have negative environmental impacts. Here you will find some useful information on reducing the environmental impact of your 3D printing-related projects. ## Questions Raised When using a 3D printer, it is advisable to ask yourself the following questions: 1. Am I using software that risks being obsolete or that is hard and/or expensive to obtain? 2. Is my design optimized for 3d printing so that the support materials needed are as little as possible? 3. Is the specific 3D printing technique that I’m using sustainable? 4. Are the materials I’m using recyclable and/or sustainable? 5. Is my object positioned correctly on the building plate? ## Information and recommendations (TL;DR) 1. Use Open Source CAM software like Slic3r or Cura 2. Use machines that do not rely on proprietary software and/or support from private producers. An example of those machines are Prusa 3D printers or Creality printers, those companies do base their products on rep rap technology that (although it is obviously sold commecrialy) are open source and available for everyone. 3. Use materials that are certified as sustainable. Companies like Reflow, prusament and Closed Loop Plastics bae their business in selling filament for 3d printing obtained recycling materials. 4. If you have that option, choose FFF 3d printing technique. SLA and other technologies produce outcomes that are basically nonrecyclable as they use thermosetting polymers. 5. When making your G-code, make sure you position your part correctly so that the production does not involve the use of excessive support materials. . 6. Buy and use recycled PLA filament. 7. Recycle waste PLA into new filament as a DIY project. An advanced but achievable project. *** ## Notes In addition to its ubiquitous use in 3D printing, PLA (Polylactic acid) is used in food packaging. Its a bioplastic, derived from renewable, plant-based materials such as corn starch. A common misconception is that as PLA is a bioplastic, it will naturally decompose; making it an environmentally-friendly choice of material. PLA is biodegradable but unfortunately, will break down exceptionally slowly without the intervention of industrial processes. The rate of decomposition is dependent on the environment the PLA is placed in. Analysts suggest that a PLA bottle could take anywhere from 100 to 1000 years to fully decompose in landfill. Conversely, when placed in an industrial composting facility (an anaerobic digestor), PLA can decompose within three months \[[2](https://www.scientificamerican.com/article/environmental-impact-of-corn-based-plastics/)]. Filamentive estimated that globally, eight thousand tons of 3D printing material would enter landfill in 2019 \[[8](https://www.filamentive.com/the-3d-printing-waste-problem/)]. Is it possible to send waste PLA, resulting from print errors, discarded support structures and old prototypes, to an industrial composting facility? Municipal waste collection programs are likely to vary geographically. In the UK, domestic compostable waste collection is commonplace, intended for food scraps. However, PLA would be seen as contamination if mixed with this. Furthermore, falling into the catch-all, Recycling Grade 7 (the higher the number, the harder to recycle) PLA cannot be recycled by municipal waste programs \[[3](https://all3dp.com/2/3d-printer-recycled-plastic-tips-for-your-waste-plastic/)]. Placing large quantities of PLA into domestic recycling would contaminate the recycling stream \[[4](https://www.theguardian.com/environment/2008/apr/26/waste.pollution)]. So where does this leave us? By attending to the familiar three R's (Reduce, Reuse & Recycle), our environmental impact can be reduced in the use of PLA. ### REDUCE There are a few practical measures that can be taken to reduce the amount of PLA filament we use. #### Infill density and wall thickness A reasonably easy adjustment is to reduce the infill density and wall thickness of a 3D print. This will, however, affect the strength of the printed object, and therefore its ability to withstand an applied load. Where strength is integral to a design, it may still be feasible to reduce the infill and wall thickness on test prints (when checking tolerances, for example). #### Tolerances It may not be necessary to print an object in its entirety to check mechanical tolerances. For example, the tolerance of a screw hole can be scrutinised in isolation, using just a small amount of filament. #### Support structures Consider the orientation and design of models to reduce the number of support structures required. All3DP has an [excellent article](https://all3dp.com/1/3d-printing-support-structures/) on this topic. As a general rule of thumb, models that overhang by 45 degrees or more will require support structures, albeit printer dependent. Reducing layer thickness can help improve your printers ability to print overhangs. While reorientating a model on the print bed may eliminate the need for specific support structures, other techniques such as chamfering can be employed to reduce overhang angles. Dual extruder 3D printers can make use of water-soluble PVA filament for support structures. However, there are some concerns that the growing use of water-soluble polymers by consumers and by industry could have a detrimental environmental impact \[[5](https://www.sciencedirect.com/science/article/pii/S0301479718310016)]. #### Storage Waste can be reduced by ensuring your filament is stored in a clean, moisture-free environment. A dusty spool of PLA is likely to cause failed prints. Once PLA has absorbed moisture, it becomes brittle, and print quality decreases. [All3DP suggest a range of storage solutions](https://all3dp.com/2/filament-spool-8-ways-to-safely-store-your-filament/), including in-situ storage for loaded filament. Furthermore, filament dust can be removed using a [clip-on filter](https://www.thingiverse.com/thing:190118). #### Spools Filament typically comes, loaded on a plastic spool intended to be discarded once the filament is spent. Consider buying filament on a more easily recycled metal/cardboard spool. In the UK, [Filamentive](https://www.filamentive.com/) is a good source of such filament: ### REUSE/RECYCLE There are ways (albeit somewhat experimental), in which makers can recycle and reuse waste PLA. #### Reuse Some creative approaches to repurposing waste filament can be found online. Of interest to guitarists might be these [plectrums](https://hackaday.com/2019/12/08/from-fail-to-wail-guitar-picks-made-from-3d-printed-waste/) cut from PLA. Another example is the [Plastic Smoothie](https://all3dp.com/weekend-project-laser-cutting-3d-printed-trash/). The filament is cut into small pieces using a food processor, melted into a sheet in a small oven then used as raw material for a laser cutter. Another interesting experiment was conducted during a study by Dew and Rosner \[[6](https://dl.acm.org/doi/10.1145/3322276.3322320)]. Waste filament was reheated to use as a fixative for printed objects, and also moulded into new items. #### Create New Filament [Filabot](https://www.filabot.com/) manufactures a system for extruding (and re-spooling) waste filament. This began as an open-source project (the Filabot Wee). The current Filabot machines are sophisticated but costly, perhaps only within the means of larger maker spaces. Alternatively, [open-source projects](https://reprap.org/wiki/RepRapable_Recyclebot:_Open_source_3-D_printable_extruder_for_converting_plastic_to_3-D_printing_filament) exist and [DIY guides](https://www.instructables.com/Build-your-own-3d-printing-filament-factory-Filame/) are available, explaining how to create extruding machines. #### Buy Recycled Filament It is possible to purchase filament made from recycled PLA. Again, Filamentive is a good source. However, bear in mind that, to retain strength, such filament is likely to be a mix of recycled PLA and virgin material. Filamentive PLA contains 55% recycled material. ## External Links and References \[[1](https://www.filamentive.com/how-sustainable-is-pla/)] \[[2](https://www.scientificamerican.com/article/environmental-impact-of-corn-based-plastics/)] \[[3](https://all3dp.com/2/3d-printer-recycled-plastic-tips-for-your-waste-plastic/)] \[[4](https://www.theguardian.com/environment/2008/apr/26/waste.pollution)] \[[5](https://www.sciencedirect.com/science/article/pii/S0301479718310016)] \[[6](https://dl.acm.org/doi/10.1145/3322276.3322320)] \[[7](https://all3dp.com/2/is-pla-recyclable/)] \[[8](https://www.filamentive.com/the-3d-printing-waste-problem/)] ## Contributor * [Alex Lucas](mailto:alucas02@qub.ac.uk) # Circuits ## Summary of Issue **Circuits design and production can be a crucial aspect of NIME**. In NIME, circuits are used to create custom electronic musical instruments, controllers, and interfaces that allow musicians to perform and interact with music in new and unique ways. The circuit design and production process involves creating a circuit schematic, designing a printed circuit board (PCB), and then manufacturing the board. Developing circuits more sustainably is an essential aspect of NIME production, as it reduces the environmental impact of the manufacturing process and promotes the use of eco-friendly materials. **Circuit production is a practice that produces many pollutants. However, there are several ways to develop circuits more sustainably.** On this page of the ECO NIME WIKI, we will provide some inputs to walk a few steps in this direction. ## Questions Raised 1. Are the components used in my circuits easy to replace in case of damage? 2. Can I easily program my circuit so that it can be used in different projects? 3. Will the design circuit I made be easily accessible by myself or other members of the community in the future? 4. In circuit production, am I releasing toxic substances into the environment? ## Information and recommendations (TL;DR) 1. Use THT components or SMD components that are big enough (1206 or bigger) 2. Use components that are are aligned with the Open Standard policy 3. If possible, integrate popular development boards (Arduino etc…) to facilitate the reprogramming of the device 4. Use open-source software to design your circuits so that is easier to consult and edit them in the future 5. Upload detailed documentation of your circuit 6. Always prefer CNC milling to chemical etching to avoid toxic chemical waste. 7. When ordering PCBs from manufacturers, optimize the design production through panelization 8. When ordering PCBs from manufacturers, try to place more orders together and ship them all at once *** ## Notes We can summarize the content of this wiki page by saying that to make a circuit more sustainable; you need to **facilitate the process of fixing/hacking** your circuit, provide future users with clear **documentation and open source workflows**, and **minimize the environmental impact of the circuit’s production** #### Easy Fixing and Hacking ### Big size and standard components One of the problems that exist in the world of electronic industry, is the fact that electronic products are sometimes very hard or impossible to fix \[\[fix website]]. It is advisable that, when we design a circuit, we make sure the components we chose are easy enough to facilitate the replacement of those. THT components or SMD components that are big enough (1206 or bigger) \[\[1]] \[\[2]] do represent a valid option in this regard. ![alt text](/files/n59s2k51nMbjrWMI9JV7) ### Open Standards Another important strategy that we can follow is the one of adopting open-standards-based workflow \[\[3]], so that our interfaces do not require particular equipment to be used (es USBC for powering instead of other connectors). In this way, we will prevent obsolescence and help future users interact with our design. ### Integrate Popular Dev Boards Last but not least, In the past years, development boards such as Arduino \[\[4]] and Wemos ESP32 boards \[\[5]] have been arising in the market. Those boards are generally straightforward to re-program (using Arduino language \[\[6]] or MicroPython \[\[7]]), and very easy to get in the market. On top of that, there are plenty of resources to learn how to work with those boards. Using those boards in your design can therefore make your circuit more accessible. #### Clear Documentation and Open Source Workflow A very useful strategy to prevent the obsolescence of the circuits we make is to provide future users with accurate documentation so that, in case of need, it will be possible to understand how our circuit is designed. ### Use Open-Source Software Using open-source software such as KiCAD \[\[8]] or Fritzing can be a viable solution to ensure that people in the future will be able to redesign or reproduce our product without having to spend big amounts of money or, worse, having to get a no-longer-available version of a CAD software. ![alt text](/files/vZphJQ8VcKTyBwz9Gujt) ![alt text](/files/cz3LvIIwVgpgbInpPU8q) ### Well document your project Also, making a repository where you upload schematics, GBR files, a BOM containing all the components used, code, and so on is very advisable. Open Hardware Foundation \[\[9]] offers precious guidelines to achieve this important goal #### Minimize the Environmental Impact of the Circuit’s Production Another strategy to follow in circuit production is trying to minimize the environmental impact of the actual circuit (PCB) produced. Unfortunately, circuits are made out of substances that are not environmentally friendly (composites mostly). However, there are some options that we can choose to face this issue. ### CNC is Better than Chemical Etching Suppose you want to produce your circuit locally (generally, this can be the case if you need a small number of PCBs). In that case, it is very advisable to avoid the very popular etching technique that involves using chemicals that are very difficult to dismantle once used. Instead, CNC milling your circuit can be a valid alternative. To CNC your circuit, you need to get a material called FR (produced in several variations \[\[link FR]]), and then, by milling the upper surface of it with a very thin milling bit, you can isolate the paths of the circuit and make our circuit work \[\[link]]. This process can be carried out using an open-source software named **FlatCAM** \[10] and a CNC milling machine, a tool that can be easily found in fablabs/makerspaces. This process can also be useful to test your circuit before going for a larger production. After your circuit is done and the components are soldered, spraying them with a protective film is a good idea to prevent oxidation. ![alt text](/files/6IhOSkb7jdpwjLf7jSQn) ![alt text](/files/u4raw3O0aKBWACPGyvOZ) ![alt text](https://github.com/NIME-conference/ECO_NIME/blob/main/media/cnc2.png) ### Optimize Production Suppose you decide to commission the production of your PCB to an external manufacturer (that’s often the case when you need many circuits). In that case, it is advisable to work on the efficiency of the proses through **panelization** \[\[11]], which is a way to “attach” several copies of the circuit into a single file, so that no material is wasted. There’s a KiCAD extension that can facilitate this process \[\[12]] Also, when ordering circuits outside, try to order several designs at once and/or gang up with other designers, so that the environmental footprint of your circuits shipping is amortized. ![alt text](/files/rgCxdF9Hu68Oa0Jcb7c1) ![alt text](/files/jpGkov87eaWBvGaaawlf) ## External Links and References \[\[1]] . \[\[2]] \[\[3]] \[\[4]] \[\[5]] \[\[6]] \[\[7]] \[\[8]] \[\[9]] \[\[10]] \[\[11]] \[\[12]] ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # CNC milling ## Summary of Issue In this page of the Eco Nime WIKI, we will describe sustainable practices within the field of CNC Milling **CNC milling is a highly versatile digital fabrication technique that is commonly used in the manufacturing industry and can also be found in most makerspaces and fablabs**. The term CNC stands for Computer Numerical Control, which means that the milling machine is operated by a computer program that controls the movement of the milling tool. This allows for highly accurate and precise milling operations to be performed, making it a popular choice for a wide range of applications. **One of the key advantages of CNC milling is its ability to work with a vast array of materials**. Whether it is wood, metal, or FR4 for circuit prototyping, CNC milling is a highly effective technique for subtractive manufacturing. The ability to work with such a wide range of materials has made CNC milling a popular choice for a variety of industries, including aerospace, automotive, and medical device manufacturing. Despite its widespread use, CNC milling does have its drawbacks in terms of sustainability. However, there are a number of sustainable practices that can be adopted to reduce the environmental impact of CNC milling. These include designing parts for maximum material efficiency, minimizing waste by nesting parts in a single sheet of material, and using recycled or reclaimed materials wherever possible. ## Questions Raised 1. Am I using software that risks being obsolete or that is hard and expensive to obtain? 2. Can other users (or my future self) easily understand and eventually fix my piece? 3. Is my design optimized for CNC milling so that the amount of wasted material is as little as possible? 4. Are the materials I’m using recyclable and/or sustainable? ## Information and recommendations (TL;DR) 1. Use Open Source CAD and CAM software. 2. Produce accurate documentation of your milling process 3. Use materials that are certified as sustainable and/or recycled ones 4. Make sure you position your paths as close as possible to reduce material waste *** ## Notes We can summarize the content of this wiki page by claiming that to reduce the impact of a CNC Milling work you need to make good **documentation** and adopt **open source workflows**, **Use sustainable materials** and **optimize the production** of you CNC milled pieces. #### Documentation and Open Source Workflows ### Clear Documentation and Open Source Workflow A very useful strategy to prevent the obsolescence of CNC milling-based projects that we make is to provide future users with accurate documentation so that, in case of need, it will be possible to understand how our circuit is designed. Using open-source software such as FreeCAD\[\[1]] or LibreCAD \[2]] can be a viable solution to ensure that people in the future will be able to redesign or reproduce our product without having to spend big amounts of money or, worse, having to get a no-longer-available version of a CAD software. The same goes for CAM software. The Path Workbench that is part of FreeCAD \[\[3]], BlenderCAM \[\[4]], and FlatCAM \[\[7]] allows you to create freely the g-codes that are needed to operate the machine. ### Well document your project Also, making a repository where you upload CAD files and indications on how you milled your piece (speed, bit used etc…)is very advisable. Open Hardware Foundation \[\[6]] offers precious guidelines to achieve this important goal. \###Materials CNC milling machines can work with many different materials, and it is more than advisable that users consider the environmental consequences of using them. Materials like MDF, for instance, are very cheap but based on synthetic adhesives. MDF is not biodegradable and has no carbon offset value, so it is better not to use it \[10]]. Instead, it is advisable to go for wood (very common material for laser cutting), ensure it comes from a sustainable chain, such as FSC \[\[8]] or PEFC-certified \[\[9]] wood, Also, materials like paraffine \[\[11]] (often used to mill molds) are meltable and usable several times, so, make sure you collect the leftovers and reuse them. Milling machines do not burn materials like laser cutters. Therefore, many materials are not usable with laser cutters, but are perfect for CNC milling machines (PVC sheets, to cite one \[\[12]]). Junkyards and basements can represent a very interesting source of CNC milling-compatible materials. Before buying new materials, look around and see if you can recycle something around you. In short, do some research when choosing the materials to use in your project. \###Parts positioning Another important aspect is to position your parts correctly, keeping them close so that the machine doesn’t have to move uselessly and the wasted material is as less as possible. Also, to have a small-sized design, such as a business card, pins, gadgets etc.. to fill the gaps between parts that sometimes are unavoidable can be an idea to avoid material waste for no reason. \###Test junction, tolerances etc.. Keep in mind that due to the way a CNC milling machine works, some adjustments need to be done when crafting mechanical parts (for example, you might need to add a “Dogbone”\[\[13]] in your machinery job) If your design involves some mechanical properties that are potentially tricky, such as joints, t-slots, and other components of this kind, make sure you test them by designing specific small-sized parts and/or by cutting a portion of your design before milling the whole project. ## External Links and References \[\[1]] \[\[2]] \[\[3]] \[\[4]] \[\[6]] \[\[7]] \[\[8]] \[\[9]] \[\[10]] . \[\[11]] \[\[12]] \[\[13]] ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # Hardware Optimization and Durability ## Summary of Issue **When it comes to designing and building hardware, several crucial aspects concerning sustainability emerge**. Unfortunately, designers often overlook the numerous ways in which hardware efficiency can be improved. In this wiki page, we aim to shed light on **a few strategies that can assist members of the NIME community in optimizing the design of their interfaces in a more sustainable manner**. By embracing these practices, we can contribute to a greener and more eco-friendly future. **By prioritizing durability, designers can create hardware that is built to last, reducing the need for frequent replacements and minimizing waste**. Through this wiki page, NIME community members can gain valuable insights into sustainable design practices, enabling them to create interfaces that are both efficient and long-lasting, thus contributing to a more sustainable future in the field of hardware development. ## Questions Raised 1. Is my design optimized or does it comprehend non-needed parts and/or maretials? 2. How easily will my interface break? 3. In case of damage or malfunction, how easy is it to fix it? 4. Is my design easily upgradable and/or updatable? 5. Is my interface optimised so that it consumes the least amount of energy possible? ## Information and recommendations (TL;DR) 1. Use the least amount of parts and materials and possible, 2. Try to avoid weak parts in your design 3. Allow users (including your future self) to easily access every part of the device 4. Produce accurate documentation 5. Try to use programming languages that are diffused and available by a vast number of people 6. Implement functions such as Deep-Sleep or Hibernation Power Mode *** ## Notes ### Minimizing Materials and Fabrication Techniques A paramount approach to reducing the environmental footprint of a project is to **employ the least amount of materials** and **adhere to a singular fabrication technique.** In this context, laser cutting emerges as an eco-friendly choice. By leveraging laser cutting as the sole fabrication method, not only does it simplify the manufacturing process, but it also minimizes material waste, energy consumption, and the need for multiple resources. The efficiency and precision of laser cutting align with sustainable values, and its versatility permits the creation of intricate designs with high accuracy. Materials have many mechanical properties that are often not used. For example you can bend wood by cutting patterns with a lasercutter\[\[2]], or design bendable 3d printed aobjects \[\[3]]. You can also design snapfits that allows you to skip screws \[\[4]], and CNC mill Japanese-Joinery inspired object \[\[5]]. ### Designing for Durability and Transport Crafting a durable device that can withstand the test of time is fundamental in reducing the environmental impact of electronic projects. By avoiding design elements prone to failure, like sharp corners or fragile junctions, the device's overall lifespan increases. Furthermore, considering the device's portability is vital. Recognizing that the device will likely need to be transported or carried around, incorporating protective features to safeguard delicate components during movement can enhance longevity. ### Promoting Accessibility and Repairability The ethos of sustainability is inextricably linked with repairability \[\[1]]. To align with this principle, designing the device with easy access to all parts is pivotal. Whether it's the circuitry or the battery, enabling users, including the creator themselves, to easily disassemble and replace damaged parts fosters a culture of repair rather than replacement. This concept not only extends the device's life but also reduces electronic waste and contributes to a circular economy. ### Comprehensive Documentation for Longevity Accurate and comprehensive documentation stands as a cornerstone of sustainable design. By providing thorough documentation, troubleshooting becomes more accessible, and the creation of spare parts is streamlined. Precise instructions, clear diagrams, and detailed explanations enable users to understand the device's intricacies, facilitating both its maintenance and adaptation for new projects. This practice encourages a community of users to engage with the design and contribute to its ongoing development. This website \[\[6]] offers many insight on how to produce good documentation. ### Choosing Universally Supported Programming Languages To ensure the longevity and versatility of the device, the programming language used should be widely diffused and accessible to a broad user base. Languages like Arduino \[\[7]] and Micropython \[\[8]] have gained significant popularity due to their ease of use and comprehensive online resources. This choice allows for easy code modification and improvement without the need to reinvent the programming interface. By leveraging established languages, the device's software can evolve with changing needs, without excessive resource consumption. ### Energy Efficiency through Smart Programming Incorporating energy-efficient programming practices is crucial for reducing the device's overall power consumption. Functions such as Deep-Sleep \[\[9]] \[\[10]] or Hibernation Power Mode play a pivotal role in preventing energy wastage during periods of inactivity. By intelligently managing power states through software, the device can operate optimally while minimizing its environmental impact. This approach aligns with the broader goal of conserving resources and reducing the carbon footprint associated with electronic devices. ## External Links and References \[\[1]] \[\[2]] \[\[3]] \[\[4]] \[\[5]] \[\[6]] \[\[7]] \[\[8]] \[\[9]] \[\[10]] ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # Laser cutting ## Summary of Issue Laser cutting is a popular subtractive digital fabrication technology that has revolutionized the way we produce designs and prototypes. It is an extremely fast and precise method that uses a high-powered laser to cut through a variety of materials such as wood, cardboard, and plastics. This technology has become so accessible that most fab labs/makerspaces have a laser cutter as a standard tool. **One of the main advantages of laser cutting is its speed**. It can cut intricate designs with high precision at a much faster rate than other traditional methods. Additionally, it can work with a wide range of materials, which makes it a versatile tool for many applications. Laser cutting has become increasingly popular in the DIY community, and its accessibility has made it an affordable option for small businesses and hobbyists alike. **While laser cutting has its benefits, it is important to note that it does come with some environmental concerns**. The production of the laser cutters themselves can have a high carbon footprint, and the materials used for laser cutting can contribute to waste. However, there are sustainable practices that can be adopted when designing for and using a laser cutter ## Questions Raised When using a Laser cutting, it is advisable to ask yourself the following questions: 1. Am I using software that risks being obsolete or that is hard and expensive to obtain? 2. Is my design optimized for Laser Cutting so that the amount of wasted material is as little as possible? 3. Am I optimizing the timing of the machine, or can my design be made faster? 4. Are the materials I’m using recyclable and/or sustainable? ## Information and recommendations (TL;DR) 1. Use parametric open-source CAD software to design your objrìects 2. Avoid big engraving works because they take a long time. 3. Use machines that do not rely on proprietary software and/or support from private producers. 4. In general, the laser cutter burns materials. Try to avoid materials that release toxic fumes, such as MDF or Acrylic (keep an eye on the operator’s health…) *** ## Notes We can summarise the sustainable strategies presented by saying that if you want to use a laser cutter in a more sustainable way, you need to make sure that your design does not fall into obsolescence’s doom by making your files **open and available for future users** (including your future self), as **fast** as you can, **not waste materials** and use sustainable ones. #### Open and Available Files A few practical measures can be taken to ensure your project does not become obsolete in a few years. ### Open Source CAD and CAM Softwares like **FreeCAD** \[\[1]], **Inkscape** \[\[2]], and **LibreCAD** \[\[3]] are completely free, open source and cross-platform, which means that virtually anyone can use them without having to pay any license. This practice breaks a thick barrier and allows you and future users to easily produce spare parts and/or edit your project without starting from scratch, saving time and resources. Same principle can be applied to the CAM software that is used to generate the gcode, there are some open source applications \[\[4]] \[\[5]] that can be use instead of commercial ones. ### Documentation Also, it can be a very good idea to organize your files into a well-structured directory where you document the steps that are necessary to rebuild your piece. In this regard, it might be useful to consult the guideline of the **open hardware foundation** \[\[6]], where they explain in details how this task can be accomplished. #### Being fast When using a laser cutter, it’s quite important that you make sure your pieces are made in the fastest way possible, so that the energy consumed for the production is as low as possible, and the machine is not overstressed and therefore lasts longer ### Low power cuts instead of engraving The tasks that a laser cutter does are basically two: cutting and engraving. The first one is the fastest as the machine moves to cut a single line, while in the second, the machine acts as a plotter and moves and fires a lot in order to engrave an area. A good practice that can spare your machine a lot of work can be engraving the contour of a given area and using textures made out of lines instead of engraving a whole area, using the same setting as cutting but using an amount of power that is not enough to cut through the surface. ### Parts Positioning Another important aspect is to position your parts correctly, keeping them well close so that the machine doesn’t have to move uselessly and the material wasted is as less as possible. Also, to have a small-sized design, such as a business card, pins, gadgets etc.. for filling the gaps between parts that sometimes are unavoidable can be an idea to avoid material waste for no reason. ### Test Junctions, Tolerances etc.. If your design involves some mechanical properties that are potentially tricky, such as joints, t-slots, and other components of this kind, make sure you test them by designing specific small-sized parts and/or by cutting a portion of your design before laser-cutting the whole project #### Materials Laser cutters can cut many different materials, and it is more than advisable that users consider the environmental consequences of using them. Materials like MDF \[\[9]], for instance, are very cheap but based on synthetic adhesives. MDF is not biodegradable and has no carbon offset value, so it is better not to use it. Also, keep in mind that a lasercutter basically **burns** a material to cut it, and because of this, there are many materials that are not usable with those machines due to the toxic emissions that they provoke when burning (for example PVC, but the list is quite long \[\[13]]). Instead, it is advisable to go for cardboard, which is extremely easy to get, carry around, and recycle. Also, when working with wood (very common material for laser cutting), ensure it comes from a sustainable chain, such as FSC \[\[7]] or PEFC \[\[8]]-certified wood. When working with textiles as well, materials like felt are preferable to synthetic materials such as nylon and neoprene \[\[10]]. In short, try to do some research when choosing the materials to use in your project, institutions like the European Union \[\[11]]. and the United Nation \[\[12]] do provide resources in this regard. ## External Links and References \[\[1]] \[\[2]] \[\[3]] \[\[4]] \[\[5]] \[\[6]] \[\[7]] \[\[8]] \[\[9]] . \[\[10]] . \[\[11]] \[\[12]] \[\[13]] ## Contributor * [Nicolò Nerendino (aka "Chi ha ucciso Il Conte?")](https://chihauccisoilconte.eu/) # Related Projects In the last years, environmental awareness is increasingly growing. Consequently, a number of artistic and music initiatives, as well as HCI projects related to the need of battling the effects of climate change has emerged. In this page, we decided to start listing them. In this page, we aim to give visibility and try to track the various project. Moreover, these projects can be an inspiration for the work within the NIME community. This page is the result of volunteer work, and therefore cannot be an exhaustive list of all the existing projects. We are committed to keep this page update and keep adding projects. If you think that your project should be included or you know a project that should be listed below, please contact us. ## Questions Raised 1. What music and artistic projects that tackle environmental issues exist? 2. How can we be inspired to create environmentally sustainable music and artistic projects ## Information ### Special Issue "Sustainable Human-Computer Interaction Development" This Special Issue aim to contribute to an integrated understanding of the relevance of HCI methodologies and practices contribute to the development of sustainable infrastructures and tools, an how HCI practitioners and researchers can be involved in critical initiatives fostering sustainable development. Contributors from different fields are invited to submit their articles on reflecting on how HCI can contribute to develop sustainability. Deadline for manuscript submissions: 31 December 2020. More information: ### **Climate. Sound. Change.** Climate. Sound. Change. is an call orginized by [Sound and Music](https://soundandmusic.org/), and the [British Music Collection](https://britishmusiccollection.org.uk/) that aim to " create space for composers whose work engages with and seeks to address current social issues". The project offer 3 £500 grants for musicians whose work is meant to respond to the climate emergency. More information: ## Contributor * [Raul Masu](mailto:raul@raulmasu.org) # Project: Aeolis - Lior Arbel (English) **Lior Arbel**\ \_\*\* [***lior.e.arbel@gmail.com***](mailto:lior.e.arbel@gmail.com) ![Aeolis](/files/CPknOQlOpFafRxGoNnF5) **\[**[**Video**](https://www.youtube.com/watch?v=Fj9xhr2w3yU\&t=3s)**]** ### Aeolis: A Virtual Instrument Producing Pitched Tones With Soundscape Timbres Soundscapes and amebient sounds are the fundamental building blocks of soundscape composition. Aeolis is a software instrument which uses soundscapes to produce pitched tones. The instrument is driven with a real-time or a prerecorded input signal of a broadband soundscape, such as the sound of breaking waves or highway traffic. The instrument processes the input signal and generates tones that have a perceived pitch while retaining the identifiable raw texture, timbre and dynamics of the input sound. In simple terms, given input sounds of waves breaking on a beach – Aeolis becomes a synthesizer of sorts which sounds like the same breaking waves, with a perceived pitched. The inspiration for this project was found in everyday soundscapes and environments, such as passing cars, breaking beach waves and rustling leaves. The project’s purpose is to create a convincing anthropomorphic sensation in which the environment itself (beach, forest, highway) is perceived to be ‘coming alive’ and producing music. The sensation is ideally created in a live Aeolis concert taking place at a vivid outdoor environment, such as beach, a roadside, or a nature reserve. The soundscape – the totality of sounds existing in the scene – is captured by a microphone and used as the instrument’s input. The instrument is operated by MIDI to generate pitched tones like a standard synthesizer. Tone generation is achieved by way of subtractive synthesis, amplifying the harmonic series corresponding to the desired notes and attenuating all other frequencies. This results in tones that preserve the real-time sonic cues and characteristics of the soundscape. For instance, an exceptionally loud and reverberating breaking wave will produce an exceptionally loud and reverberating pitched tone, with only minimal latency. The tones are projected via loudspeakers, or live-streamed to the audience’s headphones. As the audience is present at the audience, it gets to experience all aspects of the environment such as the visuals, the weather and even the smells. Aeolis compliments this experience with music, drawing attention to the sonic component of the environment. It is envisioned that Aeolis would be used to celebrate the existence of natural soundscapes and to promote the overall significance of soundscapes: the importance of soundscape preservation, the exacerbating problems of noise pollution and the use of soundscapes as an indicator of natural environment health. # Project: Aeolis - Lior Arbel (Hebrew) [**ליאור ארבל**](https://www.liorarbel.com/) ![Aeolis](/files/CPknOQlOpFafRxGoNnF5) [**סרטון יוטיוב**](https://www.youtube.com/watch?v=Fj9xhr2w3yU\&t=3s) ### אֵאוֹליס: כלי נגינה וירטואלי המפיק צלילים מכוונים בעלי גוון של נוף קולי נופים קוליים הם אבני הבניין היסודיות של הלחנה באמצעות נוף קולי. אֵאוֹליס הוא כלי תכנה אשר משתמש בנופים קוליים להפקת צלילים מכוונים. הכלי מופעל באמצעות אות חשמלי אשר הוקלט מראש או משודר בזמן אמת. האות מכיל צלילי נוף קולי רחב סרט, כגון צליל גלי ים נשברים או צליל מכוניות על כביש מהיר. הכלי מעבד את האות ויוצר צלילים בעלי גובה מובחן, אשר משמרים את הגוון, את הטקסטורה הגולמית ואת השינויים הזמניים של אות הכניסה. בניסוח פשוט, בהנתן צלילי כניסה של גלים הנשברים על החוף – אֵאוֹליס הופך למעיין סינטיסייזר אשר נשמע כמו אותם הגלים, בליווי גובה מובחן. מקור ההשראה לפרוייקט הינו בנופים קוליים וסביבות יום-יומיים, כגון רכבים חולפים, גלים נשברים ועלים מרשרשים. מטרת הפרוייקט הינה ליצור בצורה משכנעת אשלייה של האנשה, כאילו הסביבה עצמה (חוף, יער, כביש) 'קמה לתחיה' ויוצרת מוסיקה. אשליה זו נוצרת במופע חי של אֵאוֹליס המתרחש בסביבה פתוחה ורווית צלילים, כגון חוף, צד כביש או שמורת טבע. הנוף הקולי – סך כל הצלילים הנמצאים בסצנה – מוקלט על ידי מיקרופון ומשמש כאות הכניסה לכלי. הכלי נשלט באמצעות מידי ויוצר צלילים מכוונים כמו סינטיסייזר רגיל. יצירת הצלילים עצמם מתבצעת באמצעות סינטזה חיסורית, הסדרות ההרמוניות של הצלילים הרצויים מוגברות בעוד שכל התדרים האחרים מונחתים. תהליך זה מפיק צלילים אשר משמרים את התכונות הקוליות של הנוף הקולי בזמן אמת. לדוגמא, גל נשבר מהדהד ורם מאוד מתורגם לצליל מכוון מהדהד ורם מאוד. להפקת הצלילים יש עיכוב מינימלי לעומת אות הכניסה. הצלילים מוקרנים באמצעות רמקולים, או משודרים לאוזניות הקהל ישירות. מכיוון שהקהל נוכח בסביבה עצמה, הקהל זוכה לחוות את מלוא ההיבטים של הסביבה, כגון המראות, מזג האוויר ואפילו הריחות. אֵאוֹליס משלים את החוויה באמצעות מוסיקה, ובכך מפנה את תשומת הלב לפן הקולי של הסביבה. התקווה הינה שאֵאוֹליס ישמש להנאה מהנוף הקולי עצמו ולקידום החשיבות של נופים קוליים: החשיבות שבשימור נופים קוליים, בעיות הולכות ומחריפות של זיהום קולי, והיכולת של נוף קולי לשמש כמדד לבריאות סביבות טבעיות. # Projeto: Cerrado - Anésio Neto (English) [***Anésio Neto***](https://linktr.ee/stellatum_) ## Brazilian ecosystem complexity Brazil is the fifth largest country in the world, covering approximately 8,515,767 km2. As a country with rich and varied ecosystems, its fauna and flora are among the most diverse in the world. Recently, the Amazon rainforest was in the international media spotlight, which reported how ranchers/landowners in the state of Pará set a series of fires in support of the anti-environmental policies of the president of Brazil, Jair Bolsonaro. While much has been said about the Amazon, little has been reported in the international media about other Brazilian ecosystems that have been under similar attacks. Brazil is composed of six ecoregions or, according to the definition of the Brazilian geographer Aziz Ab’saber (1977), morphoclimatic zones. This name is more appropriate, as it takes into account not only the taxonomic characteristics of species that make up the fauna and flora of a region, but also characteristics of orography, climate, soil, and vegetation to define the different reqions of Brazil. In addition to the Amazon equatorial zone where the Amazon rainforest is located, the Cerrado, the Atlantic Forest, Caatinga, Araucaria Forests and Prairies compose the vast Brazilian landscape mosaic. ![Map of Brazil showing the Cerrado](/files/NWf61Jt2Lfs5QJNGYmIs) > **Figure 1**: Image source - Anthropic action – that is, activity of or relating to humans - is degrading the Cerrado without any balanced planning between “the use of space and the integrated defense of nature” (AB’SABER, 2007 p. 117). Large estates, monocultures and extensive cattle raising are spreading within the territory. Data from 2018\[1] indicate that 50% of the Cerrado territory is already deforested. The importance of this morphoclimatic zone cannot be stressed enough, and it is a great risk of shrinking even smaller. The importance of the Cerrado is not only related to its phytogeographic level or in the great diversity of its fauna, but also to the process of formation of the main Brazilian hydrographic basins (BARBOSA, 2014). It is, therefore, a morphoclimatic zone or biogecographic system whose landscape has defining elements that are involved in intricate interdynamic relationships, especially with regard to its climatic and pedological conditions \[relating to the study of the soil]. ## Audiovisual experimentation and the creation of augmented environments “Stellatum” (In Latin) can mean “starred” or “that shone”, and also appears in the Latin name of a native but not endemic grass of the Brazilian Cerrado, the Paspalum stellatum The term is also in the nomination to Julius Schiller's text, Coelum Stellatum Christianum. In this book the author proposes the replacement of constellations of pagan figures with elements of primitive Christianity and the Bible. stellatum\_ is also the name of the audiovisual performance project that emerges from my artistic investigations from materials obtained from my spatio-temporal experiences in the Brazilian Cerrado. With the choice of name, the intention was to associate all artistic production to the practices and reflections that flow from the contextual appropriation of the Cerrado. In my artistic work, I use audiovisual recordings made in the Brazilian Cerrado in order to create an environment that can foster the visitor to dive into the complexity of that vast morphoclimatic zone. The deepening of the natural structure of the Cerrado is built from the remodeling of the first materiality (field recordings). It outlines a very specific poetic methodology, designed in order to foster a condition "of sharing emotions and feelings that produce different meanings and affections in the specific contexts of the lives of the communities of people involved” (OLIVEIRA, 2017, p. 880). The multimedia installations and audiovisual performances are based on the temporality of the natural world. The creative dynamics between field recordings from Cerrado landscapes (the natural environment) and the space artistically established through the media (the virtual environment) enacts a multiperceptive environment. I call them "augmented environments", as they result from a dialectical process derived from the movement marked by opposing relationship between Nature and artistic management. That implies a dialectic between a fact and what is constituted (material), between the generic environment (natural environment) and the site-specific virtual environment (the environment created as a result of performance and installations). The “augmented environment” would thus be the synthesis of a process of unfolding a third-level space that is not the sum of isolated characteristics, but grouped around the generic environment and the established space. All the creation of audiovisual performances and multimedia installations flow from the intention of evoking, and not representing, my spatio-temporal experience in the Cerrado landscapes. More specifically, the building of the performances’ sound blocks is based on the search for the construction of the sound field relative to the landscapes of the Cerrado sites. Acoustic or Bioacoustic Ecology Knowledge appears as a way to understand certain occurrences in the auditory environment and guide the notions of movement, positioning and interactivity of sound sources. ## Primavera “Primavera” was composed based on the dynamics of biophony in the rainy seasons of the Brazilian Cerrado. The low and high frequency drones (repeated sounds) overlap with the sound of the natural symphony and are intended as guides for the ears. Temporality is correlated to the duration of sound manifestations – time is established as a flow, being observed from within a process. ![Stellatum\_ Primavera album artwork](/files/XL7oxVcenj2RXCkz7Les) > **Figure 2**: Cover for the album *Projeto: Cerrado - Primavera & Verão*, 2020. Graphic art: Havane Melo, 2020. In “Primavera” I tried to present the first rains that appear at the end of the dry season (autumn and winter). Due to these rains, there is an escalation in the amount of sound sources expressed in the massive presence of frogs and cicada singing \[cicadas]. Such rains consequently generate an increase in humidity. With changing weather patterns, consequently, there will be a change in the way animals vocalize. Furthermore, reverberation is a phenomenon related to the way in which sound waves are reflected on spatial surfaces of a given environment, defining the identity of a particular sound. Therefore the phenomenon of reverberation directly influences the way we can perceive sound derived from animal vocalization. In this sense, climate dynamics are influential factors in the way we perceive sound occurrences in a given environment (LAROM et al., 1997, p. 421-431). For this reason, reverberation, as an effect of space on a given sound, is a sound parameter over which we seek knowledge and control. The videos that make up the audiovisual performances of “Primavera” rely on the basic perceptual elements of the experience in Cerrado sites. Here, the entire visual block included in the poetic perspective is anchored to the situated experience and in the imagery developed during my hikes. Such perspective can be considered a derivative of influential sound artists in the ambient music scene of the 1990s and 2000, such as loscil and Biosphere. Both make use of sound and visual recordings derived from their experiences in natural landscape. ![Video stills of "Primavera"](/files/cUz1oja9G61EGl50Eyhi) > **Figure 3**: Video excerpts from a performance of *Projeto: Cerrado – Primavera*, 2020. Since the end of my doctoral research, I have been looking for ways to expand the ability to extract acoustic patterns from the soundscapes of the Cerrado, Amazon and Atlantic Forest in order to generate other ways of perceiving the complexity involved in these ecosystems. So far, along with other researchers and artists, we have been trying to apply AI and supervised learning to find ways to visualize assumed patterns and sonify them. *** ## More information about Cerrado: * *Global hunger for soybeans 'destroying Brazil's Cerrado savanna* - [BBC article](https://www.bbc.com/news/av/world-46033689) * *The Amazon burns. But another part of Brazil is being destroyed faster* - [CNN article](https://edition.cnn.com/2019/09/22/americas/brazil-cerrado-soy-intl/index.html) *** 1. The Cerrado biome is predominantly constituted by the seasonal tropical climate, characterized dry autumns and winters, and rainy springs and summers. # Projeto: Cerrado - Anésio Neto (Portuguese) Por [***Anésio Neto***](https://linktr.ee/stellatum_) ## A complexidade ecossistêmica do Brasil O Brasil é o quinto maior país do mundo, possuindo uma extensão territorial de mais ou menos 8.515.767 quilômetros quadrados. Sendo um país de ricos e variados ecossistemas, sua fauna e flora constam entre as mais diversas do mundo. Recentemente, a floresta amazônica esteve sob o holofote dos principais meios de comunicação internacionais, que noticiaram uma série de queimadas induzidas por fazendeiros/latifundiários do estado do Pará em apoio às políticas anti-ambientais do presidente do Brasil, Jair Bolsonaro. Enquanto muito foi dito acerca da Amazônia, pouco foi noticiado nos meios de comunicação internacionais sobre outros ecossistemas brasileiros que vêm sofrendo ataques similares. O Brasil é dotado de 6 ecorregiões \[ecoregions] ou, de acordo com a definição do geógrafo brasileiro Aziz Ab'saber (1977), domínios morfoclimático \[morphoclimatic zone/domain]. Essa denominação é mais adequada, pois levam em consideração não apenas características taxonômicas de espécies que compõe a fauna e a flora de uma região, como também características de relevo, clima, solo e vegetação para se definir as unidades paisagísticas do Brasil. Além do domínio equatorial amazônico, onde se localiza a floresta amazônica, comporiam o vasto mosaico paisagístico brasileiro o Cerrado, a Mata Atlântica, Caatinga, Florestas de Araucárias e as Pradarias. ![Map of Brazil showing the Cerrado](/files/NWf61Jt2Lfs5QJNGYmIs) > **Figura 1**: Fonte da imagem - A ação antrópica vem, forçosamente, reduzindo a extensão territorial do Cerrado sem qualquer planejamento equilibrado entre "o uso do espaço e a defesa integrada da natureza" (AB'SABER, 2007 p. 117). Irrompe em seus veios os latifúndios, a monocultura e a criação de gado extensiva. Dados de 2018^\[1]^ apontam que 50% de seu território está desflorestado. Caso não haja nenhum tipo de esclarecimento acerca da importância desse domínio morfoclimático, sua área total corre grande risco de ter sua área ainda mais reduzida. A importância do Cerrado não se encontra apenas a nível fitogeográfico ou na grande diversidade de sua fauna, mas, também, no processo de formação das principais bacias hidrográficas brasileiras (BARBOSA, 2014). É, pois, um domínio morfoclimático ou sistema biogeográfico cuja paisagem possui elementos definidores que estão envolvidos em intricadas relações interdinâmicas, especialmente no que tange às suas condições climáticas e pedológicas \[relativas ao estudo do solo]. ## Experimentação audiovisual e a criação dos ambientes expandidos Do latim, "stellatum" pode significar "estrelou" ou "que brilhou", além de figurar na denominação latina de uma gramínea nativa, mas não endêmica, do Cerrado brasileiro, a *Paspalum stellatum*; o termo também está na nominação ao atlas de Julius Schiller, *Coelum Stellatum Christianum,* no qual é proposta a substituição denominativa de constelações de figuras pagãs por elementos do cristianismo primitivo e da bíblia. *stellatum\_* também denomina o projeto de performance audiovisual que surge de minhas investigações artísticas a partir de materiais obtidos de minha experiências espaço-temporal no Cerrado brasileiro. Com a escolha do nome, o intuito foi associar toda produção artística às práticas e reflexões que fluem da apropriação contextual do Cerrado. Em meu trabalho artístico, utilizo-me de gravações audiovisuais feitas no Cerrado brasileiro com o intuito de criar ambiências para se propor um mergulho na complexidade daquele vasto domínio morfoclimático. O aprofundamento na estrutura natural do Cerrado é pretendido a partir da remodelação da materialidade primeira (gravações de campo), a qual delineia, portanto, uma metodologia poética bastante específica, definida a partir de um planejamento na proposição de percepções a coincidir para uma condição "de partilha de emoções e sentimentos que produzem sentidos e afetos diversos nos contextos específicos da vida das comunidades de pessoas envolvidas" (OLIVEIRA, 2017, p. 880). A dinâmica criativa entre as gravações de campo provenientes das paisagens do Cerrado (o ambiente natural) e o espaço instaurado artisticamente por meio de instalações multimídias e performances audiovisuais, que se baseiam na temporalidade do mundo natural, engendram um ambiente multiperceptivo. Esse ambiente denominei "ambientes expandidos", pois resultam de um processo dialético derivado do movimento balizado pela relação contrária entre Natureza e o manejo artístico, entre um dado e o constituído (material), entre o ambiente genérico (ambiente natural) e o site-specific (o ambiente instaurado em decorrência da performance e das instalações). O "ambiente expandido" seria, dessa feita, a síntese de um processo de desdobramento de um espaço de terceira ordem que não é a soma de características isoladas, agrupadas em torno do ambiente genérico e do espaço instaurado. Toda a criação das performances audiovisuais e das instalações multimídia fluem do intuito de evocar, e não representar, minha experiência espaço-temporal nas paisagens do Cerrado. Mais especificamente, a construção dos blocos sonoros das performances é baseada na busca pela construção do campo sonoro relativo às paisagens dos sítios do Cerrado. Os conhecimentos provenientes da Ecologia Acústica ou Bioacústica aparecem como forma de entender determinadas ocorrências no entorno auditivo e orientar as noções de movimentação, posicionamento e interatividade das fontes sonoras. "Primavera" foi composta tendo por base a dinâmica da biofonia nos períodos de chuva do Cerrado brasileiro, os drones de baixa e alta frequência (sons repetidos) desdobram-se ao som da sinfonia natural e pretendem-se como guias para os ouvidos. A temporalidade é correlata à duração das manifestações sonoras -- o tempo se institui como fluxo, sendo observado por dentro de um processo. ![Stellatum\_ Primavera album artwork](/files/XL7oxVcenj2RXCkz7Les) > **Figura 2**: capa para o formato digital do álbum *Projeto: Cerrado - Primavera & Verão*, 2020. Arte gráfica: Havane Melo, 2020. Em "Primavera" busquei apresentar as primeiras chuvas que despontam ao fim da estação seca (outono e inverno). Por conta dessas chuvas, há um singelo aumento da quantidade de fontes sonoras expressa na presença massiva de cantos de anuros e cigarras \[cicadas]. Tais chuvas geram, consequentemente, um aumento na umidade. Com a alteração dos padrões climáticos, consequentemente, haverá uma mudança no modo como as espécies animais vocalizam. Além disso, posto que a reverberação seja um fenômeno relacionado ao modo como as ondas sonoras refletem a superfície espacial de determinados ambientes, empregando identidade a um determinado som, tal fenômeno influenciará diretamente no modo como podemos perceber o som derivado da vocalização animal. Nesse sentido, as dinâmicas climáticas acabam por ser fatores influentes no modo de percebermos ocorrências sonoras em um determinado ambiente (LAROM et al., 1997, p. 421-431). Por esse motivo, a reverberação, como efeito do espaço sobre um determinado som, é um parâmetro sonoro sobre o qual buscamos conhecimento e controle. Os vídeos que compõem as performances audiovisuais de "Primavera" não prescindem dos elementos perceptivos básicos da experiência nos sítios do Cerrado. Aqui\*,\* todo o bloco visual incluso na perspectiva poética ancora-se na experiência situada e nas capturas imagéticas realizadas concomitantemente às caminhadas. Tal perspectiva afigura-se como uma possibilidade derivada para com a aproximação de artistas sonoros influentes no cenário da música ambiente dos anos 1990 e 2000, tais como loscil e Biosphere. Ambos se utilizam de gravações sonoras e visuais derivadas de suas experiências com a paisagem. ![Video stills of "Primavera"](/files/cUz1oja9G61EGl50Eyhi) > **Figura 3**: Imagem que compõe trechos do vídeo da performance *Projeto: Cerrado – Primavera*, 2020. Desde o término de minhas pesquisas no doutorado, venho buscando meios de ampliar a capacidade de se extrair padrões acústicos da paisagem sonora do Cerrado, Amazônia e Mata Atlântica no intuito de gerar outros modos de se perceber a complexidade envolvida nesses ecossistemas. Até o presente momento, juntamente a outros pesquisadores e artistas, temos tentado aplicar IA e aprendizagem supervisionada para buscar forma de visualizar padrões pressupostos e sonificá-los. *** Para maiores informações acerca do Cerrado e a devastação perpetuada em solo brasileiro, conferir: 1. *Global hunger for soybeans 'destroying Brazil's Cerrado savanna'* - [BBC article](https://www.bbc.com/news/av/world-46033689) 2. *The Amazon burns. But another part of Brazil is being destroyed faster* - [CNN article](https://edition.cnn.com/2019/09/22/americas/brazil-cerrado-soy-intl/index.html) *** 1. O bioma Cerrado é constituído predominantemente pelo clima tropical sazonal, caracterizado por outono e invernos secos e primavera e verões chuvosos. # Call for Submissions: DACA 2022 Data Art for Climate Action (DACA) is a dual-hub conference on interactive sonification and visualisation for climate science communication. ## About this event DACA is about sonification and visualisation of climate data with a purpose of exploration, awareness, education, and action. As a dual-hub conference (physical events at two locations that are connected over the Internet), DACA is a focal point for researchers, artists, activists, and students, to meet, discuss, and learn from each other. DACA will support a wide, open source dissemination of knowledge. The organisers actively work towards diversity, firstly in regards to gender, age, and geography, and pledge to have equal numbers of men and women among invited speakers. ## Links and further information Conference website: 2022 open call: # Information *For sustainable music technology research and practice* As part of efforts to stimulate conversation and action related to the environment, climate change, and how to conduct research sustainably, we formed a working group that has taken the form of a book club. We meet roughly monthly, and for each meeting have a selected reading to discuss and reflect on how we can directly engage with environmental topics through our research and creative work. This section of the Eco Wiki will include reports from previous meetings and other information and resources from the group. The meetings are informal and anyone is welcome to be a part. For more information or to be added to the email list, send a message to any of the [NIME environmental officers](https://eco.nime.org/#contact) or chat with us at NIME 2021! # 1: The Great Animal Orchestra ## Book: The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places ## Author: Bernie Krause People present in the book club meeting: Lior Arbel, Alex Lucas, Anesio Azevedo, Charlie Reimer, Johnny Sullivan, Adam Pultz Melbye, Raul Masu. The discussion emerged primarily from chapter 8. In the book, it is described the disruptive impact that noise can have on natural ecosystems. For instance, the impact that external noise has on toads' population, and how it interferes with the choral vocalization of these animals. As the vocalization has communicative, and even protective functions, such interference can have a very negative impact on the health of the population. It is also discussed that jet overflowing introduces disruptive noise for several minutes in a given environment. Krause also points out that despite the development of recording technology made field recording much easier in recent years, it is far to complicate record unpolluted sound environments in recent years. "Based on many years of field experience and how much uninterrupted natural sound in a wild habitat I'm able to record in an hour, I'll make an educated guess that anthrophony can be heard in" Bernie Krause - The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places - Chapter 8 In the discussion, the concept of the Acoustic Niche Hypothesis emerged. The Acoustic Niche Hypothesis stands for: \\"Each creature appears to have its own sonic niche (channel, or space) in the frequency spectrum and/or time-slot occupied by no other at that particular moment.\\" \[[link](http://earthear.com/dunn.html)] We also discussed other authors discussing field recording and listening modalities. For instance the concept by Schaeffer emerged. "Dissatisfied with the state of music at the time, Schaeffer sought to create a new musical language which divorced sounds from their sources, thereby reducing music to the act of hearing alone --- what he called "reduced listening." Take, for example, a field recording of a train moving along its tracks. At face value you'd simply note the sound of a train; beyond that realization, listeners wouldn't give it much more thought. Schaeffer, however, realized there was a rich vein of musicality hidden within such seemingly mundane sounds: snippets of complex rhythms, unique timbral characteristics, tonal peculiarities, strange and interesting textures. Our perception of these qualities, he recognized, was hindered by the associations and references that sounds inherently carry. The trick was to find a way to hide the associations in order to bring the musical qualities of those sounds to the forefront." \[[link](https://www.factmag.com/2016/02/23/pierre-schaeffer-guide/)] Additionally, the work by R. Murray Schafer on the soundscape emerged. In particular, as he was the first who directly spoke about soundscape. (cfr *The Tuning of the World (The Soundscape)* (1977) In chapter 8 it also emerged that the word soundscape has political value, with ecological and environmental implications. This emerges while discussing the Natural Soundscape Program, whose name was changed into Natural Sounds Program (). Krause reports that Don Young - then chairman of the House Appropriations Committee and Richard Pombo, the ex-representative from the 11th district of California urged Secretary of the Interior Gale Norton to alter the name, changiing the term Soundscape into Sounds. according to them the term "*soundscape* was too loaded (translation: 'green,')" Bernie Krause - The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places - Chapter 8 Kraus also reported the worlds by Don Young "in a 2006 *Rolling Stone* article, where Young is quoted as saying that 'environmentalists are a self-centered bunch of waffle-stomping, Harvard-graduating, intellectual idiots' who 'are not Americans, never have been Americans, never will be Americans.'" Bernie Krause - The Great Animal Orchestra: Finding the Origins of Music in the World's Wild Places - Chapter 8 Discussing the controversy of the term soundscape, a paper by Stefan Helmreich emerged: INGOLD, Timothy. Against soundscape. In: CARLYLE, A. (ed.). Autumn leaves: sound and the environment in artistic practice. Paris: Double Entendre, 2007. p. 10-13. \[[link](http://anthropology.mit.edu/sites/default/files/documents/helmreich_listening_against_soundscapes.pdf)] As instrument makers and music technologies, we could probably contribute to raising awareness on these topics. # 2: There's No App For That ## Book: There's No App for That: Technology and Morality in the Age of Climate Change, Overpopulation, and Biodiversity Loss ## Author: Richard Heinberg Freely available at: People present in the book club meeting: Lior Arbel, Alex Lucas, Charlie Reimer, Alexandra Tibbitts, Johnny Sullivan, Raul Masu. This book has been proposed by Adam, who could not attend the meeting but wrote the following: > "I following the Postcarbon Institute and [*Resilience.org*](http://Resilience.org) for a while now, reading a number of Richard Heinberg's blogposts. His essay There's no app for that, was the first time I really became aware of the problems underlying a techno-solutionist approach to combating climate change and related issues. In addition, the focus on post- or de-growth has struck a chord with me. > > While we certainly should embrace low- and zero-carbon technologies, there are pitfalls in externalising solutions that propose to fix our problems while allowing us to live the way we always did. It's been a while since I read the text, but it drove the point home for me, that we need to rethink our entire system and not only implement green technologies. We cannot consume ourselves out of this problem, but need to address the problem by questioning the habits that got us here in the first place. > > And I suspect there may be parallels to draw and lessons to learn for a community such as ours, that heavily relies on technology (although I agree that technology is not a new invention; the plow was a very succesful piece of modern technology once). > > Richard Heinberg has been criticised for his appearance in Michael Moore's depressing and error-prone documentary Planet of the Humans, where Heinberg talks about population growth as a global problem, which of course, from a resource-perspective is not the whole truth: the real problem is the overconsumption of the privileged and a failure to distribute resources evenly. This is not expressed in the Moore documentary, but from what I know of Heinberg's writing, this is also his point of view. In the end, he is a privileged white male and, as such, his thinking is likely to be biased in more or less obvious ways. During the discussion there was a general agreement about the importance of some points of the book. For istamve, the book is a very effective introductory text laying out the main issues related to techno-solutionism applied to environmental issues. The book is quite effective in pointing out that the idea that someone will invent a technology able to solve climate change is such a huge illusion, and argue that a moral switch is necessary to really address it. A particularly appreciated point is the fact that the book addresses the need to rethink the constant growth in the number of members of our species. In our discussion, we particularly value this point as this topic is scarcely touched in public debate if not denied at all. Population is the ultimate taboo when it comes to climate change discussion. Another topic that the book touches on is the necessary continuous increment in energy production necessary to sustain our economy and the request for continuous growth in production. The continuos grow, is also connected to social disequality. In particular, Heinberg highlighted the following connections. "*Policy makers seemingly must do four things at once in order to keep social and ecological chaos at bay: (1) reduce economic inequality, (2) accommodate a growing global population, and (3) reduce human impacts on the environment (notably climate change and biodiversity loss), all while (4) growing their economies. Yet from a practical standpoint, the second aim is at odds with the first and the third: a growing population tends to increase (not reduce)environmental impacts*" pag 33 Related to economic inequality, we found the following quotes with reporting in this document: > "Henry Wallich (1914--1988), an American economist and central banker once said 'Growth is a substitute for equality of income. So long as there is growth there is hope, and that makes large income differentials tolerable.' If Wallich's quote is true, then so is the reverse. Greater equality of income is a substitute for growth, and it's an indispensable one, given the economy's expansion beyond biophysical limits" Pag. 34 One of the possible ideas to solve this issue is decoupling GDP growth from energy and resource consumption. However, decoupling that has been claimed to be achieved, seems to actually be the result of false accounting. > "Without decoupling, the contradiction between reducing inequality on one hand, and resolving our environmental problems on the other, remains firmly in place. Worse still, it turns out that "demographic transition" is really just a theoretical construct that doesn't fit the data evenly and doesn't necessarily have much predictive value\*" pag 35-36 During the discussion, Alex Tibbitts proposed the following reflection: "One thought for the group, this was written in 2017 -- so the perspective is rather dated now. What aspects of the book would Heinberg update today?" This challenge led to a reflection on the following point "*The notion that all technologies are neutral is naïve: each embodies an agenda, and that agenda may or may not align with the priorities and values of a majority of citizens*." pag 54 Dopamine rush in phones and tablets is becoming a problem in today\\'s relation to technology that was not so central in 2017. Charlie "Dopamine rush is a topic that comes up a lot in the media that I read." Here are two basic articles on the topic: * * One limit that we found in the book (particularly raised by Lior) is that it is quite mild in suggesting solutions. Apart from strong sentences on the need to reduce the number of children per family, with we acknowledge as a strong point, we did not find any strong enough suggestions in this book. In the final part of the discussion, we reconnect the discussion to the design of music technology, trying to reflect on how this book could influence the development of an agenda of our music technology. Alex commenting on her project with Johnny about the augmented harp (), said that one element she was happy about it was the fact that they were not creating a new instrument, so no creating waste, but adapt an instrument that they already had (the arp). This idea can probably be extended to augmented instruments in general and to systems that integrate traditional instruments with digital systems. However, more thorough research should be done to surely assess this. One question that we propose as an outcome of this discussion is how much "waste" is ok in the design process of a new musical instrument? The idea to make nice NIMEs made for standing, crafted in nice materials with the collaborations of artisans, whose ability would craft wooden or other tangible (non-digital) components siding the crafting ability needed to program the digital components. What about the old instruments" There are many research centers that probably have DMI graveyards. Johnny mentioned that at McGill Univerity, they are trying to reuse old instruments for new studies and performances. Such an approach is definitely valuable in reducing waste and prolong the benefits related to the creation of new DMIs. In a final remark, we also pointed out that reducing consumption can have an economic impact on those who produce stuff. Despite we do not like waste and have a general agonism toward the current economical model, we agreed that a general economic collapse is not desirable, as it would most likely primarily affect the poorest layer of the population. Hower making good product design for last and maintaining it could (hopefully) be an alternative model. It is important to note that none of us is an expert in economy, so this final remark is more though than an actual informed reflection. Book club telegram group: # How to contribute The ECO\_NIME wiki is a community space, and we highly encourage anyone to contribute new entries, additional information and edit to existing pages. The wiki lives as a public [Git repository](https://github.com/NIME-conference/ECO_NIME), and is published with [Gitbook](https://gitbook.com). The repository is softly curated by the NIME environmental officers. If you would like to contribute, we ask that you [submit requests by email](mailto:johnny@johnnyvenom.com?subject=ECO_NIME%20new%20submission) for additions and edits. To maintain a consistent format for all entries, a [template](/contribute-to-eco_nime/template) is provided. Please use this when submitting new content. Markdown (.md) files are the preferred format, however submissions of any type may be submitted. ## Suggested topics These are some of the topics we have identified to provide information about; if you want to contribute feel free to take one of these or add your own. Additionally, we are interested in increasing diversity of contributors and overall accessibility of the wiki. Contributions are welcome and encouraged from diverse points of view, background, geographical area, gender, ability and more. In particular, we are interested in making entries available in multiple languages. For more information on wiki development, please see our [NIME 2021 paper](http://nime2021.org/program/#/paper/83). #### Digital tools & techniques for research * [x] Machine learning * [ ] Cloud computing * [ ] other computationally intensive rendering tasks...? #### Services (including conference delivery tools) * [x] Web hosting * [x] Communication and collaboration platforms (Slack alternatives) * [x] Video conferencing (Zoom alternatives) * [ ] Video hosting (YouTube alternatives) * [x] Music streaming ### Hardware * [ ] Sourcing and supply chain of electronics/components * [ ] Materials used in rapid prototyping (3D printing, lasercutting, etc.), and green alternatives * [ ] e-waste * [ ] Embedded computing versus desktop/laptop computing ### Travel * [ ] Touring * [ ] Travel related to research * [ ] Conference travel * [ ] Field research ## Contact Questions and comments can be directed to the NIME environmental officers: * [John Sullivan](mailto:johnny@johnnyvenom.com) * [Raul Masu](mailto:raul@raulmasu.org) * [Adam Pultz Melbye](mailto:mail@adampultz.com) # Template {Use this template to create a new ECO\_NIME entry. 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