Elen

From there the political aspect of it got picked up by climate doomerist types who pushed it as an antidote to the impending apocalypse. Alas, being fanatically worried about climate change seems to have fallen out of fashion since COVID for whatever reason. I believe a lot of these people have moved on to walkable urbanism and anti-AI movements.

And the aesthetic side of it started off with a particularly influential Tumblr post from 2014 that had quite a few neat ideas. All of those were sanded down over time into a vision of skyscrapers with moss and solar panels, coupled with some recycled cottagecore material and a bunch of Ghibli screencaps.

And then Chobani comes in and makes a yogurt commercial that's just futurist luxury automated cottagecore in a Ghibli aesthetic, complete with some vague handwaves at a spunky DIY attitude and a whole bunch of small-scale renewable electric generators. And from there the movement, whatever it was, merged with "Frutiger Aero" and completely fell apart into bland nothingness.

Praxis itself? It looks like disability activism. It looks like attending local town council meetings. It looks like diving into super specific debate on local law requirements on water-permeable surfaces percentage. It looks like keeping in contact with local priest to snoothly distribute furniture from well-off middle class finishing renovation to 18yo orphans ageing out of the system. It looks like negotating with local cultural activity center how to organise half-illegal craft workshops because paperwork for fully legal ones excludes the most neglected demographic. It looks like lobbying for health insurance to put "replacing batteries in the implant surgery" on the list of covered medical services, so people don't need to surgically replace whole implants. It looks like million other specific things.

People who got inspired by solarpunk tend to spend some time looking at art, then turn around, ask "okay but what can be done now that I can engage with" and then go do it. And then what they do stops looking like solarpunk aesthetic.

Of course there's also that thing that before Covid, lots of climate collapse containment issues were literally "we know that business-as-usual is cheapest short-term but can we focus on how it's killing us long-term". Covid era showed that business-as-usual is unsustainable now, mid-term and short-term and today and yesterday; and also that goverments can simply decide to act and it create tangible effects. Suddenly, it wasn't "solar would be better if your gas import was ever endangered", it's "we build all the solar for yesterday because we cannot afford keeping to gas". Creating inspiring narratives is optional when cost of business-as-usual is visible to naked eye. Lots of people who used to share inspiring pictures of solar on background of green hills either went to install solar and negotiate specifics of grid inclusion, or moved on to the next issue.

Central idea of solarpunk aesthetic was to give people tools to imagine sustainable future; to create visual and narrative shorthands allowing people to engage with vision of non-apocalyptic future.

Central idea of solarpunk philosophy is that apocalypse is anything but inevitable and the main challenge isn't lack of means and tools, but widespread cultural pessimism. You cannot change anything if you believe change is impossible. Therefore, for change to be possible, you need to envision the world that can be changed.

Basically, if solarpunk art convinced anyone that there is achievable alternative to doom, it have already succeeded.

You absolutely can merge in one all the issues ever discussed in context of exploring how sustainable climate-proofed non-capitalistic world can work and how it can be achieved, with the attempt to design a distinctive and consistent visual language for it.

And you absolutely can blame whichever aspect of that merged entity for the fact that detailed fact-based solutions are difficult to derive from visual language or using visual design tools.

Bugs Bunny and Lola Bunny reinterpret this cartoon first published in German magazine Lustige Blätter in 1932:

solve the multiplication equation for each pair of individual digits and arrange them in the boxes just so

AND THEN ADD UP ALL THE NUMBERS IN EACH COLUMN AND GET THE RIGHT ANSWER????

So you start with a grid with as many squares as needed to write one number across the top and one number down the side. And draw these diagonal lines through them. Yes you should extend them out the side.

THEN you basically multiply the numbers that match with each square, put the tens digit in the top triangle and the ones digit in the bottom triangle. Like so:

so once you’ve done that, you start adding up the numbers in the DIAGONAL column/row thingies from the bottom right up to the top left, like so:

You only want one digit (tho I assume if the very top/last row somehow gets 2 digits that’s ok, but ONLY in that position) and you’ll carry over to the next column, like if you were adding normally.

Then you start at the top left and just take all the numbers going down and around and put them together!

It does take up a lot more space and has a few more steps than the more traditional long multiplication, I think, but for people who struggle with that I think this would be a handy tool!

Here’s a screenshot of the more traditional style to compare: