and the unconscious of the Internet. ! Our technical devices remember much more than we want them to. The computer cache memories register all our movements in digital space. Roth turns these memories inside out and brings forth a manifold of hidden stories. Thereby he is letting us view ourselves with the indifferent eyes of technology. http://www.niklasbelenius.com/cgi-bin/index.pl?id=238
sculpture, a tangible embodiment of the action of clearing this data, is intentionally conflicted as to whether it wants to be tossed away or archived forever. This physical representation of our lost digital histories is created from four months worth of Internet browsing data, resulting in a 1.5 x 42 meter long vinyl print compressed using an industrial compactor.
composed of uncensored streams of images passively collected through a sitter's daily Internet browsing. The series depicts individual sitters from different countries, occupations and genders, all rendered during the same two week period of time. Faces of "friends" from the sitter's social profile exist side by side with corporate logos, mangled pieces of google maps, family photos and banner advertisements. These algorithmically produced prints act as a contemporary nude, exposing in a generous and open way an individual's private online interactions.
year.[1] The USA discards 30 million computers each year and 100 million phones are disposed of in Europe each year. The Environmental Protection Agency estimates that only 15-20% of e-waste is recycled, the rest of these electronics go directly into landfills and incinerators
products on various scales; from the geo-political context of hyper-fragmented labour to the bio-political condition of the human body on the assembly line. Engineering logic has reduced the factory labourer to a man- machine, through scientific management of every single movement. By shifting the purpose of the labourer’s actions from the efficient production of objects to the performance of choreographed acts, mechanical movement is reinterpreted into dance. What is the value of this artefact that only exists to support the performance of its own creation? And as the product dictates the movement, does it become the subject, rendering the worker the object? !
characterised: every part in the process must behave in a predictable manner. And within the huge complexity of industrial manufacturing processes, the biological behaviour of human bodies on an assembly line is not always predictable enough to fit within this engineering logic. Even before F.W. Taylor wrote ‘The Principles of Scientific Management’, Frank and Lilian Gilbreth used time lapse photography to study the inefficiencies in workers’ motions. These chronocyclographs were created by attaching a camera to a timing device and photographing workers performing various tasks. The motion paths were traced by small lamps fastened to the worker’s head, hands and fingers. ! !
tchoi8
bluesmoon
inesmontani
aemeredith
chikuwait
geshan
jonoalderson
ammeep
baasie
smashingmag
soudai
jlugia
