The other way to lessen the impact of blockchains is to ensure that the energy used is completely renewable. On April 7, a coalition led by Energy Web announced the Crypto Climate Accord, modeled loosely on the Paris Agreement. The top-level goal of the accord is for all of the world’s blockchains to be powered by 100 percent renewables by 2025.

Though things are improving, the fact remains that no Blockchain model is truly energy efficient, so if you’re in doubt as to whether you need it and are concerned about CO2 emissions, you should proceed with caution. In some ways, the problem of the Blockchain is that it hit the public imagination - and that of app developers and entrepreneurs - long before the technology was fully mature (it definitely still isn’t) and many of these scalability and energy-consumption problems have yet to be ironed out. 

The key to this is in sharing resources on a massive scale, both in terms of how networks and modern servers work.

The goal of the GCC is to facilitate a greener and more sustainable art world. Our aim is to provide information and the necessary tools so that we can collectively reduce our carbon footprint by 50% over the next ten years (in line with the Paris agreement), along with near zero-waste practices.

Gestartet 2020 in London als „Gallery Climate Coalition“, verzeichnet das Bündnis um Heath Lowndes, den Managing Director und Ausstellungskoordinator der Thomas Dane Gallery, nach kurzer Zeit bereits mehr als 150 internationale Galerien.

Unsere Vision ist eine zukunftsfähige Musikbranche mit Vorbildcharakter in der Umsetzung von Klimaschutzmaßnahmen.

To celebrate their work, I selected the ten most innovative art initiatives in Berlin (in alphabetical order) that engage with environmental issues through their artistic programming and practice.

It is an important aim of ALB, in the form of a close, long-term collaboration with artists, to follow the creative processes and make this visible in exhibitions, events and conferences. Instead of subordinating the artworks on exhibition to theory, we are interested in an inductive approach – that rather places the individual artistic work at the centre of inquiry.