This article was originally published by Metropolis Magazine as "Can’t Be Bothered: The Chic Indifference of Post-Digital Drawing." In architectural circles, the appellation “post-digital” has come to mean many things to many people. Some have used it as a shorthand descriptor for the trendy style of rendering that has become popular among students and, increasingly, architectural offices. Others have used it to describe a more profound shift in architectural production that is at once inoculated against the novelty of digital technique and attuned to the sheer ubiquity of “the digital” in contemporary life. In both instances, tIn both instances, the post-digital signals awareness and savvy; a calculated world-weariness that has seen through the so-called “disruptive” promise of the digital. One need only be alive and minimally attentive in 2018 to be disabused of the stubborn positivism that has come to be associated with “the digital turn” in its broadest sense. Aspiring to an architectural sensibility of digital-skepticism is commendable, to be sure—many an artistic experiment has derived nourishment from meta-critiques of its tools of production. However, the term “post-digital” as it is used in popular architectural discourse has been shorn of its critical and subversive potential to fundamentally reconstitute disciplinary concerns and methods for a putatively post-digital age. What we have instead is the mere description of a description: just another style of architectural rendering.
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