Branch #8 + Pause

Branch is a magazine about sustainable and just internet for all. It is edited and funded by the Green Web Foundation on behalf of the volunteer-run Climate Action.tech community. One of the many cool things about Branch is that it exists in three different versions, according to the carbon intensity of the energy grid at any given moment (so the heavier assets, like high resolution pictures, can be delivered by renewable energy). The fantastic issue #8 has just launched, edited by Hannah Smith and Marketa Benisek.

The Sussex Digital Humanities Lab has a little contribution in #8, in the form of an article by Jo Lindsay Walton, as well as an article by GreenPixie’s Rory Brown, whom we’re collaborating with on Digital Sustainability 2024. And there’s plenty more …

Editors’ letter
Hannah Smith and Marketa Benisek

10 people share what finding beauty in the imperfect means to them

Issue 8 community-assembled playlist
Hannah Smith and Lima Dastgeer

Meaningful connection

Talking it out: Restoring information ecosystems through authentic human connections
Bárbara Paes and Olivia Johnson

One Movement, Four Wings: Connecting climate strategies
Melissa Hsiung

Connectivity, infrastructure and the defence of the Amazon’s socio-biodiverse ecosystems
Hemanuel Veras

What can digital sustainability learn from accessibility?
Mike Masey

Solarpunk and speculative features

Pause
Jo Lindsay Walton

Care for life, care for the chips: the future is re-used, recycled and permacomputing
Alistair Alexander

Toward a Pragmatic Future: Accepting Imperfect Systems whilst Striving for Regeneration
Oliver Cronk

Solarpunk Meets Better Business: Reimagining a Sustainable Digital Future
Simon Blackler

Ministry of Imagination Manifesto
Rob Hopkins

Octavia’s Future is Here, Now What
Mica Le John

Design philosophy

Designing Friction
Marketa Benisek, Luna Maurer, Roel Wouters

The Wabi Sabi Web
Tom Greenwood

Echoes of electronic waste
Joanna Murzyn

Imperfect design for a better future
Thorsten Jonas

Alternative networks: Consciously designing from within earthly dynamics
Jesse Thompson

Perfection is the enemy of progress

The perfect site doesn’t exist
Michelle Barker

Rabbit holes of perfection
Mary Pitt

From bytes to carbon savings: Immediate’s sustainable transformation of Good Food
Tommy Ferry, Marketa Benisek, Michelle Whitehead, Linzi Ricketts, Filippa Furniss, Graham Martin

Small steps, big goals: Building sustainable change
Kim Lea Rothe

The perfect data paradox
Rory Brown

Green Digital Skills Opportunity

How does digital technology impact the environment? How do we align our growing use of AI and the cloud with the needs of people and planet? SHL Digital is pleased to be offering these free digital sustainability workshops, for selected participants, as part of our project Designing Sustainable Digital Futures, which comes under the Digital Sustainability 2024 umbrella.

Introduction to Digital Sustainability. This half-day workshop at The Werks (Middle Street) in Brighton, on May 30th, will explore how organisations can accelerate their green IT journey. We’ll be focusing on arts, culture, and heritage organisations. What are the easy changes you can make right away? What are the bigger shifts that will require sectoral collaboration or policy shifts? How can you engage your audiences and other stakeholders? Whether you use digital technology a lot or just a little, there should be something here for you. Apply for your place here.

Build a Carbon Neutral Website. This two-day in-person workshop (19th June and 26th June at the University of Sussex) will teach you how to use Jekyll, Github Pages, and the Digital Climate Action Site Builder to create your own carbon neutral website. Applicants should have a real web design project that they want to bring to life. Brought to you by Fast Familiar, SHL Digital, and the Digital Humanities Climate Coalition. Apply for your place here.

Designing the Future of Digital Sustainability. This half-day workshop in South Kensington in London, on June 6th, will use of design, serious play, and collaborative storytelling, to explore the future of digital technologies in relation to climate change, climate action, and climate justice. Apply for your place here.

Please note that places are quite limited. Applicants will be informed at least two weeks before the workshop date if their applications are successful. We do hope also to add one remote workshop, so watch this space!

Communicating Climate Risk: A Toolkit

SHL Digital is pleased to announce the latest edition of Communicating Climate Risk: A Toolkit. Originating in a climate risk communication project from COP26 Universities Network (now UK Universities Climate Network), this publication was updated and expanded in 2022 and again this year. Weaving contributions by climate scientists and modellers and social scientists together with decolonial, postdevelopment, and ecocritical approaches within the arts and humanities, and informed by fieldwork with policymakers and stakeholders, it explores the social life of ‘climate risk’ across a variety of vital domains.

Delving into the complexities of IPCC reporting, green bonds and ESG labels, and decision analysis under deep uncertainty, Communicating Climate Risk nevertheless seeks always to speak to a broad audience, and to not only shine light into the obscure forces that are shaping the future of our world and our planet, but also provide resources, models, and inspiration for action.

See also:

Digital Sustainability 2024

Digital Sustainability 2024 is an initiative of the Sussex Digital Humanities Lab and the Digital Humanities Climate Coalition. Digital technology represents a significant and rapidly growing proportion of global carbon emissions. With time nearly run out to limit global warming to 1.5 degrees, and climate change impacts more visible than every, it’s clear we need bold and intelligent action on multiple fronts. Digital carbon is an important piece of this puzzle. Digital technologies also have a range of environmental impacts beyond just their carbon footprint. At the same time, the digital has important contributions to make to net zero, climate risk management, and environmental sustainability. We’ll be exploring these complexities.

Key open access outputs will include:

  • The Cloud and the Climate: A Report — what does cloud sustainability look like in 2024
  • Digital Sustainability Game — an immersive storytelling and strategy game about the future of digital sustainability

Some strands include:

  • Collecting and sharing best practice around procuring and managing ICT systems
  • Identifying, investigating and curating relevant standards, certifications, and tooling, and informing development of those currently in the works
  • The role of games, play, storytelling and the arts in driving digital sustainability

Pop open Digital Sustainability 2024, and you’ll find three projects inside:

1) Designing the Future of Cloud Carbon Data is funded by Innovate UK and delivered with industry partner GreenPixie. This project is all about the cloud. The cloud exists in hyperscale data centres, which can deliver sustainability efficiencies that are out-of-reach for many on-premise data centres. It’s very tempting to think we should move everything to the cloud, and let AWS, Azure and Google figure out the details — and a few years ago, this was widely thought to be a good idea. But there is increasing recognition that the public cloud is not a one-size-fits-all solution. For many companies, a hybrid solution may be the way forward.

One current challenge is that tools such as AWS’ Customer Carbon Footprint Tool, Microsoft’s Sustainability Manager, and Google Cloud’s Carbon Footprint Tool, fail to accurately capture actual emissions. Complementary location-based carbon measurement tools have been developed (both proprietary and open source), but typically require a lot of dedicated technical expertise to operate. We want to explore ways of getting accurate cloud carbon data to a much wider user base.

A second major issue is supply chain. There are many businesses for whom Scope 3 makes up the majority of emissions. But it can be tricky enough to figure out your own cloud carbon emissions — how do you go about engaging suppliers about their cloud emissions? How can sustainability, IT and procurement functions best work together to drive real change? We want to hear about your experiences to date, to develop and share best practice in this area.

A third issue is the relationship between economic, environmental, and social sustainability. If you’re spending more money, you’re typically using more energy, so these often track together. But this isn’t always the case, so how do we identify those moments where price isn’t a good proxy for sustainability, and how do we address the tricky trade-offs that may emerge?

2) Designing Sustainable Digital Futures is funded by the AHRC IAA Design and AI Accelerator, and is part of Future Observatory, the Design Museum’s national research programme for the green transition. This project is broader and more entry level than the first. The digital is deeply interwoven into our everyday lives and work, but the systems we rely on remain mysterious to many of us. On this project, we’ll be exploring how the arts, storytelling and design can illuminate the complexities of digital sustainability for diverse audiences, and guide organisations toward sustainable digital futures. Designing Sustainable Digital Futures is interested in engaging all organisations interested in improving digital sustainability, no matter where you may be in your journey. Some of our priorities include:

  • SMEs
  • Creative industries 
  • Culture and heritage organisations
  • Third sector

In addition to digital-themed workshops, we are also offering opportunities to host experiential workshops on the Sustainable Development Goals, to place digital sustainability within a much wider context.

3) Automating Climate Mitigation Advisory Services is funded by the AHRC IAA. The sustainability consulting industry is now in enormous demand, as companies seek to navigate the complexities of net zero and climate risk. We are seeing the rise of new approaches to third party sustainability support, including curated and facilitated toolkits, as well as experiments in automation. This project, building on the back of a previous HEIF-funded collaboration with Hampshire Cultural Trust and Greenly, will explore the relationship between clients, climate advisors, and advisory tools.

We’re working with Greenly to gain insights about the practicalities of constructing decarbonisation strategies for a diverse range of organisations. How do you go from high-level, generic evidence to on-the-ground operational changes? We’ll be conducting expert interviews, and also sharing our own expertise and experience in climate-related communication and in sustainable AI and ICT specifically.

How can you get involved in Digital Sustainability 2024? If your business or organisation is interested in improving the environmental impacts of your digital technology, feel free to reach out. Contact j.c.walton@sussex.ac.uk, or fill out this survey.

Digital Sustainability 2024 Team

  • Jo Lindsay Walton (Lead)
  • Josephine Lethbridge (Co-Lead)
  • Nathalie Huegler
  • Florence Okoye
  • Kinda Al Sayed
  • Faosiyat Tiamiyu-Tijani

Generative AI and HE assessment: What do we need to research?

By Jo Walton

Would you like to collaborate on something?

There are a lot of fascinating ongoing conversations about the use of generative AI within HE, and especially the issues it raises for assessment. Kelly Coate, writing for WonkHE, characterizes it as a moral panic, but still a potentially useful one:

If in academia we value things like authenticity, integrity, and originality, we need to be able to articulate why those values remain important in the age of generative AI. Doing this can only help students to make meaning from their higher education learning experience – in fact, it’s really what we should have been doing all along.

Our sense is that there are now many particular well-defined questions which could do with being studied in a more rigorous way, to move these conversations forward. How good are educators at identifying AI-generated text? How good are educators at evaluating their own ability to identify such text? What differences emerge across different assessment designs? How about different disciplines? If AI is deliberately included in the assessment, how accurately can assessors evaluate whether it has been used appropriately? How does the variation in grades assigned compare across non-AI-asssessed work and various types of AI-assisted work? These are all questions we can address from our own experience and miniature experiments. But it would be valuable to conduct some studies at scale, and have some data to debate.

SHL Digital would be keen to hear from colleagues, at Sussex or beyond, who are working on these issues or would be interesting in collaborating. Get in touch with j.c.walton@sussex.ac.uk.

What is a Research Software Engineer (RSE)?

by Elena Dennison, Programme Manager, SHL Digital.

If I had a penny for each clear answer I have been given when asking that question, I would be penniless. So having no pennies to lose, I approached our own RSE, Dr Nic Seymour-Smith and asked him to give me some examples of the types of work he gets involved with at Sussex Digital Humanities Lab at the University of Sussex.

Nic explains that the Research Software Engineer (RSE) role seeks to collaboratively combine professional software expertise with an understanding of research. In this context, to understand what an RSE can and can’t provide it is important to understand the meaning of ‘Research Software’ vs ‘Software in Research’.

Research Software‘ understood as source code files, algorithms, scripts, computational workflows and executables that were created during the research process or for a research purpose.
vs
Software in Research‘ understood as software components (e.g., operating systems, libraries, dependencies, packages, scripts, etc.) that are used for research but were not created during or with a clear research intent.

 as defined by Barker et al (2022) in the “FAIR for Research Software Principles”.

This differentiation may vary between disciplines and will also vary between individual RSEs, whose backgrounds and experience are as varied as the multitude of research fields that exist in academia.

Working with the particular needs of SHL Digital as a research environment that recognises the vital role of good practice in software and data management, Nic’s RSE role will also facilitate the development of those practices with a focus on reproducibility, reusability, and accuracy of data analysis and applications created for research.

Nic can work together with researchers working within SHL Digital’s remit to develop the technological aspects of funding proposals, ensuring that adequate time, funding, and human resources are assigned to the development of software and hardware components of the project according to best development practices.

Nic can also directly lend his expertise to funded proposals, by being included as an RSE resource in a project. Nic has a broad range of experience in the development of software and hardware solutions, including for example: data analysis and visualisation; multimedia interactive digital software and artworks; interactive mechanical installations; and electronic engineering.

Can I get a penny now?

What we talk about, when we talk about apocalypse

  • Jo Lindsay Walton, Sussex Digital Humanities Lab, University of Sussex
  • Polina Levontin, Centre for Environmental Policy, Imperial College London

‘The world is ending’, ‘the Earth will be uninhabitable’, ‘humans are going extinct’, ‘we are f⸻’. These are not uncommon sentiments when climate change comes up in university seminar rooms, often accompanied by nervous laughter. Against a background of rising eco-anxiety, how do we talk with students about climate change?

As universities move to embed sustainability across curricula, climate change is coming up more frequently. Educators in fields far removed from Earth Sciences may find themselves grappling with the complexities of climate science. Should we take these despairing statements seriously … and when and how should we counter them?

First, let’s be clear. It is very unlikely that the whole planet will become uninhabitable for humans any time soon. While the risks associated with climate change remain extremely high, the IPCC (the global body responsible for climate science) has lowered its upper bound predictions from about 5℃ to about 3℃, largely due to progress on renewable energy. The current median estimate of IPCC Earth Systems models is 2.2℃. 

Continue reading “What we talk about, when we talk about apocalypse”

New (-ish) name, same Lab

Last month the University of Sussex announced 12 new Centres of Excellence at a reception in House of Commons at Westminster hosted by Caroline Lucas (MP). We are proud to be counted as part of this new cohort of flagship centres which ‘carry out innovative and world-leading research’. The application phase for Centres of Excellence provided time to reflect upon the way in which our name, Sussex Humanities Lab, works or doesn’t work for our members, networks, and associated schools and departments. 

Following consultation with core members and various heads of school, we have added ‘Digital’ to our name to emphasise our shared interest in the impacts and opportunities associated with digital transformations in culture and society.

Addressing these changes requires interdisciplinary research and we see the increasing use of digital methods and scholarship as an opportunity for the humanities to interact in new ways with other disciplines; Sussex Digital Humanities Lab creates a space to nurture those interactions at Sussex.

Sharon Webb, Co-Director SHL Digital

For simplicity’s sake – and to emphasise continuity with a successful past – the short form of our name will now be SHL Digital.

Although we are now formally a Centre of Excellence, we have retained the word ‘Lab’ in our title. This was a deliberate and essential choice, illustrating how SHL Digital is experimental, practice based and centred on collaborative work and methods. For us, a ‘Lab’ extends beyond a mere technological space. SHL represents the community of diverse individuals which occupy it.

Our name change, we hope, reflects more accurately our community and our cross-campus, multidisciplinary nature. SHL Digital will continue to investigate the interactions between computational technology, culture, society, and the environment, working towards more sustainable and just futures for all.

For more details on our current research please visit our website.

For any questions, please contact shl@sussex.ac.uk  

Sussex Humanities Lab PhD Spring Symposium: Experimental, Interactive and Playful Research Methodologies 

By El Priest and Hanna Randall

In April, the SHL hosted a PhD Spring Symposium on experimental, interactive and playful research methodologies, which was organised by El Priest and Hanna Randall. The day was full of workshops, papers, and art marking. We had art materials freely available on the table for attendees to use as and when they liked; aiming to engender a sense of freedom, playfulness and creativity. 

The day started with El’s paper and workshop on queer archiving and zine making. The paper focused on alternative epistemology and knowledges produced through queer methods of history making. Participants were encouraged to consider their own experiences and relationships as a source for emotionally engaged history making, to the end of producing a more community-informed account of the past. The zine making workshop and free use of the art materials helped attendees relax and make connections with one another in a creative environment.  

We enjoyed a paper from Anthony Trory who discussed his research project on designing interactive prototypes to use as the materials in school-based learning science experiments. Anthony’s research aims to improve understanding of how a designer can optimise a child’s progression from concrete to abstract using the theory of ‘concreteness fading’. Put more simply, he’s been developing a pirate-themed augmented reality iPad app that teaches primary school children how the internet works. We also enjoyed a paper from Ross McKendrick on psychogeography and the city as archive. Beginning with a research methodology rooted in an understanding of the city as an archive, and following Michael Sorkin’s conceptualisation of architecture as a ‘legible’ form, Ross thinks about how to conduct a ‘counter-archival’ practice in the city. By documenting uses of the city not prescribed by original planning ideals, the counter-archive can become a democratic tool which community stakeholders can utilise and contribute to as they see appropriate.   

After lunch, Rich Thornton and Effie Makepeace led us through a theatre/drama workshop that was designed to introduce participants to the idea of theatre as a participatory and creative research method through a series of non-threatening, practical and fun games, exercises and discussion. We engaged with tools adapted from Augusto Boal’s Theatre of the Oppressed, such as Image Theatre, as way to demonstrate their potential through gentle practical discovery. We also paid attention to the queer and decolonial potential of prioritising knowledge which emerges from the body and how this might feed into other quantitative and qualitative methods.  

To end the day, artists Leonie Rousham and Ishwari Bhalerao facilitated a workshop on making prints using DIY photo developers using plants like calendula, cow parsley, hawthorn, willow and dandelion. Each participant’s print was intended to be their unique device to imagine/reflect upon/reframe their own relationship to time. These prints, made on photographic paper, change how they look over time, depending on their exposure to light. In the SHL garden, we discussed plants like Calendula, Dandelion, Willow, Hawthorn and Cow Parsley which have their own unique relationships to time, their medicinal properties, folklore and other fun facts. For example, calendula derives from the word ‘calen’ meaning ‘first day of the month’ as it blooms in every month of the year, and the willow tree, which grows near the water, shape shifts according to tidal bodies of water, the moon and our bodies. The above-mentioned plants contain phenols, which gives them the ability to react with photo-paper when mixed with a few other things. After choosing some plants to work with, participants made their own photo-developer and used the plants to draw and make marks to create photo prints which doubles up as a time telling/travelling/defining/defying device. 

The day allowed people from different disciplines, universities and creative practices to meet, discuss and have fun. We focused on centring the playful and creative in research practice in order to create an enjoyable and accessible environment for people to share their ideas. The event was hugely successful and lots of new friends, ideas and art pieces were made! 

What’s Your AI Idea?

Are you a Sussex researcher in the arts, humanities or social sciences, with an idea about how AI might be used in your work? Are you looking for some expert advice, and the chance to explore some collaboration?

If this sounds like you, submit your idea here, and/or get in touch with j.c.walton@sussex.ac.uk.

Weird AI-generated landscape
jbustterr / Better Images of AI / A monument surrounded by piles of books / CC-BY 4.0