and different material-digital experiments can allow for digitalization to be less pre-determined and more sustainable.
In these events, the road to knowledge is vague and requires a lot of care and respond-ability. The obstacles of the vague events, can either be considered as problems that should be eliminated or they could be included as part of other phenomena and intra-actions that can be treated as valuable for finding more differences and knowledge. Too much in-securities (vagueness) and pre-determined routines of technology use can both be difficulties in art and technology-based education and research (Crutzen, 2006). These two extremes need to be balanced to reveal opportunities to develop an art education that is both innovative and critical. Here, the use of the concept of apparatus by Barad makes it possible to include ethics and aesthetics, as responsibility becomes part of the material-discursive set-up (2007). Sensory experience and the self-representation that we traditionally connect to identity and individuality, and not to responsibility and sustainability, could through performing, become a part of a re-configuration of the world. In this reconfiguration, every instant, sensory experience, and representation are transformed into a possible rut to a sustainable system change within a material-digital art education.
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