abstract = {Electronic waste (e-waste) is a rapidly developing environmental problem particularly for the most developed countries. There are technological solutions for processing it, but these are costly, and the cheaper option for most developed countries has been to export most of the waste to less developed countries. There are various laws and policies for regulating the processing of e-waste at different governance scales such as the international Basel Convention, the regional Bamoko Convention, and various national laws. However, many of the regulations are not fully implemented and there is substantial financial pressure to maintain the jobs created for processing e-waste. Mexico, Brazil, Ghana Nigeria, India, and China have been selected for a more detailed study of the transboundary movements of e-waste. This includes a systematic review of existing literature, the application of the Driver, Pressure, State, Impact, Response (DPSIR) framework for analysing complex problems associated with social ecological systems, and the application of the Life Cycle Assessment (LCA) for evaluating the environmental impact of electronic devices from their manufacture through to their final disposal. Japan, Italy, Switzerland, and Norway have been selected for the LCA to show how e-waste is diverted to developing countries, as there is not sufficient data available for the assessment from the selected developing countries. GOOD, BAD and UGLY outcomes have been identified from this study: the GOOD is the creation of jobs and the use of e-waste as a source of raw materials; the BAD is the exacerbation of the already poor environmental conditions in developing countries; the UGLY is the negative impact on the health of workers processing e-waste due to a wide range of toxic components in this waste. There are a number of management options that are available to reduce the impact of the BAD and the UGLY, such as adopting the concept of a circular economy, urban mining, reducing loopholes and improving existing policies and regulations, as well as reducing the disparity in income between the top and bottom of the management hierarchy for e-waste disposal. The overarching message is a request for developed countries to help developing countries in the fight against e-waste, rather than exporting their environmental problems to these poorer regions.},
file = {/Users/Rosa/Zotero/storage/6P788A6M/Abalansa et al. - 2021 - Electronic Waste, an Environmental Problem Exported to Developing Countries The GOOD, the BAD and t.pdf}
}
@article{AtariVideoGame2024,
title = {Atari Video Game Burial},
year = {2024},
month = nov,
journal = {Wikipedia},
urldate = {2025-01-20},
abstract = {The Atari video game burial was a mass burial of unsold video game cartridges, consoles, and computers in a New Mexico landfill site undertaken by the American video game and home computer company Atari, Inc. in 1983. Before 2014, the goods buried were rumored to be unsold copies of E.T. the Extra-Terrestrial (1982), one of the largest commercial video game failures and often cited as one of the worst video games ever released, and the 1982 Atari 2600 port of Pac-Man, which was commercially successful but critically maligned. Since the burial was first reported, there had been doubts as to its veracity and scope, and it was frequently dismissed as an urban legend. The event became a cultural icon and a reminder of the video game crash of 1983; it was the end result of a disastrous fiscal year which saw Atari, Inc. sold off by its parent company Warner Communications. Though it was believed that millions of copies of E.T. were buried, Atari officials later verified the numbers to be around 700,000 cartridges of various games, including E.T. In 2014, Fuel Industries, Microsoft, and others worked with the New Mexico government to excavate the site as part of a documentary, Atari: Game Over. On April 26, 2014, the excavation revealed discarded games and hardware. Only a small fraction, about 1,300 cartridges, were recovered, with a portion given for curation and the rest auctioned to raise money for a museum to commemorate the burial.},
title = {The {{Social Life}} of {{Musical Instruments}}},
author = {Bates, Eliot},
year = {2012},
month = sep,
journal = {Ethnomusicology},
volume = {56},
number = {3},
pages = {363--395},
issn = {0014-1836, 2156-7417},
doi = {10.5406/ethnomusicology.56.3.0363},
urldate = {2025-03-11},
langid = {english},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/U3JS7Q6Z/Bates - 2012 - The Social Life of Musical Instruments.pdf}
}
@article{blasserPrettyPaperRolls2007,
@ -96,7 +112,8 @@
doi = {10.5281/zenodo.1176713},
urldate = {2025-01-05},
abstract = {Description},
keywords = {prio:high},
langid = {american},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/77GB79E3/Bowers and Archer - 2005 - Not Hyper, Not Meta, Not Cyber but Infra-Instruments.pdf}
}
@ -105,7 +122,6 @@
author = {Bowers, John and Richards, John and Shaw, Tim and Foster, Robin and Kubota, Akihiro},
abstract = {This paper describes an extended intercontinental collaboration between multiple artists, institutions, and their publics, to develop an integrated musical practice which combines experimental making, performance, and pedagogy. We build on contributions to NIME which work with art and design-led methods to explore alternatives to, for example, more engineering-oriented approaches, without loss of practical utility and theoretical potential. We describe two week-long workshop-residencies and three performance-installations done under the provocative title Raw Data, Rough Mix which was intended to encourage exploration of basic processes in physical, mechanical, electrical, electronic and computational domains to develop musical artefacts that were frugal in their resource-demands but enabled the interrogation of human/non-human relationships, performativity, musical ecologies, aesthetics, and other matters. We close by elaborating our contribution to NIME as offering an integrated practice combining making, playing and learning, which is critically informed and practically productive.},
langid = {english},
keywords = {prio:high},
file = {/Users/Rosa/Zotero/storage/RHWZJBUD/Bowers et al. - Raw Data, Rough Mix Towards an Integrated Practice of Making, Performance and Pedagogy.pdf}
}
@ -142,6 +158,7 @@
publisher = {Routledge},
address = {New York},
isbn = {978-0-415-99609-9 978-0-415-99873-4 978-0-203-87962-7},
file = {/Users/Rosa/Zotero/storage/T5E3CZ4S/Collins - 2009 - Handmade electronic music the art of hardware hacking.pdf}
@ -164,11 +181,15 @@
@inproceedings{CooperativeExperimentalismSharing,
title = {Cooperative {{Experimentalism}}: {{Sharing}} to Enhance Electronic Media},
booktitle = {Proceedings of the {{International Symposium}} on {{Electronic Art}} ({{ISEA2019}})},
author = {Brown, Andrew and Ferguson, John and Bennett, Andy},
year = {2019},
month = jul,
pages = {480--483},
abstract = {This article explores the impacts of information sharing and experimentation on electronic media practitioners. It draws on characteristics of `open' or `DIY' cultures prevalent in the technological `maker' movement and suggests that we collectively describe such practices as cooperative experimentalism. In particular this article focuses on the discipline of music and describes how adopting an approach to making that privileges sharing of tools and knowledge might be a useful strategy in the development of handmade electronic music instruments and associated live performance practices. The implications of such trends in electronic media suggest that the notion of cooperative experimentalism may well apply more generally to creative electronic media practices in our (post) digital age.},
langid = {american},
keywords = {to summarise},
annotation = {titleTranslation: Co{\"o}peratief experimentalisme: delen om elektronische media te verbeteren},
title = {Refusing the {{Burden}} of {{Computation}}: {{Edge Computing}} and {{Sustainable ICT}}},
shorttitle = {Refusing the {{Burden}} of {{Computation}}},
@ -195,7 +226,6 @@
abstract = {This paper asks what we can learn from edge computing about the commitment of Big Tech to diminish its ecological footprint. The text starts with the COVID-19 pandemic being framed as opportunity for more sustainability and unpacks edge computing as one of the elements proposed as a solution, next to working from home. It interrogates the discourse behind these solutions, one of technological fixes that allow `business as usual' to continue, undisturbed by government regulations, outsourcing the burden of environmental responsibility to citizens. The paper draws parallels between edge computing, Big Tech's approach to sustainability and the history of the Sustainable ICT discourse and proposes that to truly diminish ICT's footprint, a refusal of the burden of computation and digital enclosure (vendor lock-in) is needed, by collectively building and financing network services.},
file = {/Users/Rosa/Zotero/storage/PZ45G9QF/Fennis - Ontology Of Electronic Waste.pdf}
}
@ -224,7 +253,6 @@
author = {Fernandez, Alexandre Marino and Iazzetta, Fernando},
abstract = {This article analyses Circuit-Bending and its relation to the Do-ityourself (DIY) culture. Circuit-bending is an experimental music practice which consists of opening up low voltage (battery powered) electronic devices (musical toys, radio devices, cd players, etc. -- mostly technological waste) and of changing (bend) the way electricity flows through their circuits in order to achieve an `interesting' result. After presenting the work of some artists who make use of this methodology we introduce the concept of proletarianisation by philosopher Bernard Stiegler and how such methodologies can act as de-proletarianisation tactics. Then, we present the Do-it-together (DIT) or Do-it-with-others (DIWO) discussion to bring into scene the notion of Relational Aesthetics.},
langid = {english},
keywords = {prio:high},
file = {/Users/Rosa/Zotero/storage/4HTDFEDL/Fernandez and Iazzetta - Circuit-Bending and DIY Culture.pdf}
}
@ -244,16 +272,19 @@
}
@book{gabrysDigitalRubbishNatural2011,
title = {Digital Rubbish: A Natural History of Electronics},
shorttitle = {Digital Rubbish},
title = {Digital {{Rubbish}}: {{A Natural History}} of {{Electronics}}},
file = {/Users/Rosa/Zotero/storage/PZB4D642/Gabrys - 2011 - Digital rubbish a natural history of electronics.pdf}
}
@ -290,6 +321,20 @@
file = {/Users/Rosa/Zotero/storage/47YW9WJG/Gegenbauer and Huang - 2012 - iPods, Ataris, and Polaroids a personal inventories study of out-of-use electronics in Swiss househ.pdf}
}
@book{gillespieMediaTechnologiesEssays2014,
title = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
title = {Zombie {{Media}}: {{Circuit Bending Media Archaeology}} into an {{Art Method}}},
shorttitle = {Zombie {{Media}}},
title = {Zombie Media: {{Circuit}} Bending Media Archaeology into an Art Method},
shorttitle = {Zombie Media},
author = {Hertz, Garnet and Parikka, Jussi},
year = {2012},
month = oct,
@ -338,10 +382,19 @@
urldate = {2025-01-05},
abstract = {This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as ``zombie media''---dead media revitalized, brought back to use, reworked.},
langid = {english},
keywords = {summarised,toppertje},
keywords = {check note,summarised,toppertje},
file = {/Users/Rosa/Zotero/storage/K5SZIEPI/Hertz and Parikka - 2012 - Zombie Media Circuit Bending Media Archaeology into an Art Method.pdf}
}
@misc{HolisticApproachComputing,
title = {A Holistic Approach to Computing and Sustainability Inspired from Permaculture.},
booktitle = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
author = {Jackson, Steven J.},
editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
year = {2014},
month = feb,
pages = {0},
publisher = {The MIT Press},
doi = {10.7551/mitpress/9780262525374.003.0011},
urldate = {2025-03-09},
abstract = {This paper reexamines media and technology studies from the standpoint of ``broken world thinking``: an orientation that takes seriously the fragility of the human, technical, and natural worlds around us, and foregrounds acts of breakdown, maintenance and repair as central to technological and human experience in the world. Drawing on pragmatist and phenomenological roots, it argues for maintenance and repair as unheralded sites of creativity and innovation, knowledge and power, and a neglected ethics of care. It argues against the frequent productivist bias of media and technology scholarship, and urges attention to maintenance, repair and ongoing acts of care as a powerful window into the long-run relationships that tie human lives to the objects and things that surround them.},
title = {Unplanned {{Obsolescence}}: {{Hardware}} and {{Software After Collapse}}},
shorttitle = {Unplanned {{Obsolescence}}},
@ -448,7 +519,6 @@
urldate = {2025-01-05},
isbn = {978-1-4503-4950-5},
langid = {english},
keywords = {prio:high},
file = {/Users/Rosa/Zotero/storage/ZGWSKZXI/Jang et al. - 2017 - Unplanned Obsolescence Hardware and Software After Collapse.pdf}
}
@ -465,7 +535,7 @@
issn = {09611215, 15314812},
urldate = {2025-01-14},
abstract = {The author sets out an extension of do-it-yourself (DIY) electronics as a literal critical practice addressing the social, economic and geological systems shaping technologies we use, presenting several real-world examples and concluding with future directions.},
title = {Production and Governance in Hackerspaces: {{A}} Manifestation of {{Commons-based}} Peer Production in the Physical Realm?},
shorttitle = {Production and Governance in Hackerspaces},
@ -539,7 +626,6 @@
urldate = {2025-01-05},
isbn = {978-1-4503-7595-5},
langid = {english},
keywords = {prio:high},
file = {/Users/Rosa/Zotero/storage/NEBEZJ9M/Lepawsky - 2020 - Towards a World of Fixers Examining barriers and enablers of widely deployed third-party repair for.pdf}
}
@ -553,7 +639,6 @@
urldate = {2025-01-16},
abstract = {This paper describes the 10,000 Instruments workshop, a collaborative online event conceived to generate interface ideas and speculate on music technology through open-ended artefacts and playful design explorations. We first present the activity, setting its research and artistic scope. We then report on a selection of outcomes created by workshop attendees, and examine the critical design statements they convey. The paper concludes with reflections on the make-believe, whimsical and troublemaking approach to instrument design adopted in the workshop. In particular, we consider the ways this activity can support individuals' creativity, unlock shared musical visions and reveal unconventional perspectives on music technology development.},
langid = {english},
keywords = {prio:high},
file = {/Users/Rosa/Zotero/storage/BQ8EBRU6/Lepri et al. - 2022 - The 10,000 Instruments Workshop - (Im)practical Research for Critical Speculation.pdf}
}
@ -571,7 +656,7 @@
author = {Lovink, Geert},
urldate = {2025-01-05},
langid = {american},
keywords = {summarised},
keywords = {check note,summarised},
file = {/Users/Rosa/Zotero/storage/XFGEV94M/Principles of Perma-Hybridity.pdf;/Users/Rosa/Zotero/storage/HYCEANK3/principles-of-perma-hybridity.html}
}
@ -605,13 +690,13 @@
urldate = {2025-02-25},
isbn = {978-1-4503-0820-5},
langid = {english},
file = {/Users/Rosa/Zotero/storage/BQJQJ2RJ/Maestri and Wakkary - 2011 - Understanding repair as a creative process of everyday design.pdf;/Users/Rosa/Zotero/storage/JTLM4PHV/Maestri and Wakkary - 2011 - Understanding repair as a creative process of everyday design.pdf}
file = {/Users/Rosa/Zotero/storage/KQR95ZEX/Maestri and Wakkary - 2011 - Understanding repair as a creative process of everyday design.pdf}
}
@book{magielsRECYCLEAlsAfval,
title = {{{RECYCLE}}! {{Als}} Afval Grondstof Wordt},
author = {Magiels, Geerdt},
keywords = {summarised}
keywords = {check note,summarised}
}
@book{magnussonSonicWritingTechnologies2019,
@ -622,8 +707,7 @@
publisher = {Bloomsbury Academic},
address = {New York, NY},
isbn = {978-1-5013-1386-8 978-1-5013-1388-2 978-1-5013-1387-5},
abstract = {The best repair manuals present a vision of repair that is social, embodied, intuitive, and accessible. What if we extend these principles beyond material objects, to the scale of civic systems and spaces?},
file = {/Users/Rosa/Zotero/storage/F7BJZJB4/A Political Ecology of the Repair Manual.pdf;/Users/Rosa/Zotero/storage/CVR3A5FM/step-by-step-repair-manuals-political-ecology.html}
}
@article{MediaArcheologyLab2017,
@ -680,10 +764,23 @@
urldate = {2025-01-05},
abstract = {Below is the pre-print version of a book chapter I wrote for The Bloomsbury Handbook to the Digital Humanities, edited by James O'Sullivan and forthcoming in 2022. Gratitude to James for the {\dots}},
title = {Hearing {{Aids}} and the {{History}} of {{Electronics Miniaturization}} (8th Chapter)},
booktitle = {The Sound Studies Reader},
author = {Mills, Mara},
year = {2012},
publisher = {Routledge},
address = {New York},
collaborator = {Sterne, Jonathan},
isbn = {978-0-415-77130-6 978-0-415-77131-3},
langid = {american},
file = {/Users/Rosa/Zotero/storage/TCPV5QUC/2012 - The sound studies reader.pdf}
}
@book{mindellHumanMachineFeedback2002,
title = {Between Human and Machine: Feedback, Control, and Computing before Cybernetics},
shorttitle = {Between Human and Machine},
@ -722,10 +819,8 @@
abstract = {Au c{\oe}ur des d{\'e}bats contemporains sur les technologies de l'information et de la communication, la question de leur rapide obsolescence occupe une place pr{\'e}pond{\'e}rante. Un des effets de bord de ce ph{\'e}nom{\`e}ne concerne le fait que les produits manufactur{\'e}s, tels que les t{\'e}l{\'e}phones mobiles, con{\c c}us pour ne durer que quelques ann{\'e}es, ne sont que rarement r{\'e}par{\'e}s. Ce qui du coup interroge les impacts tant environnementaux qu'{\'e}conomiques d'une telle situation. Dans ce contexte, l'apparition depuis quelques ann{\'e}es de lieux de remise {\`a} neuf et d'entretien dans les hackerspaces, repairs caf{\'e}s et autres magasins non agr{\'e}{\'e}s montre que particuliers ou entrepreneurs tentent de reprendre la main afin d'am{\'e}liorer la durabilit{\'e} de ces appareils. Ces espaces, sous la forme de magasins et d'espaces de bricolage, fournissent une occasion unique pour une compr{\'e}hension fine de l'{\'e}closion des pratiques de r{\'e}paration. Au carrefour de l'ethnographie et du design num{\'e}rique, ce projet vise l'investigation empirique de ces repair cultures en prenant le cas du smartphone. (HEAD)},
collaborator = {Nova, Nicolas and Bloch, {\relax Ana{\"i}s}.},
title = {Falling {{Apart}}: {{Electronics Salvaging}} and the {{Global Media Economy}}},
author = {Parks, Lisa},
@article{parikkaOperativeMediaArchaeology2011,
title = {Operative {{Media Archaeology}}: {{Wolfgang Ernst}}'s {{Materialist Media Diagrammatics}}},
shorttitle = {Operative {{Media Archaeology}}},
author = {Parikka, Jussi},
year = {2011},
month = sep,
journal = {Theory, Culture \& Society},
volume = {28},
number = {5},
pages = {52--74},
issn = {0263-2764, 1460-3616},
doi = {10.1177/0263276411411496},
urldate = {2025-03-10},
abstract = {Media archaeological methods for extending the lifetime of new media into `old media' have experienced a revival during the past years. In recent media theory, a new context for a debate surrounding media archaeology is emerging. So far media archaeology has been articulated together with such a heterogeneous bunch of theorists as Erkki Huhtamo, Siegfried Zielinski, Thomas Elsaesser and to a certain extent Friedrich Kittler. However, debates surrounding media archaeology as a method seem to be taking it forward not only as a subdiscipline of (media) history, but increasingly into what will be introduced as materialist media diagrammatics. This article maps some recent media archaeological waves in German media theory. The text addresses Wolfgang Ernst's mode of media archaeology and his provocative accounts on how to rethink media archaeology as a fresh way of looking into the use and remediation of media history as a material monument instead of a historical narrative and as a recent media theoretical wave from Germany that seems to not only replicate Kittler's huge impact in the field of materialist media studies but develop that in novel directions. However, as will be argued towards the end, Ernst's provocative take that hopes to distinguish itself as a Berlin brand of media theory in its hardware materiality and time-critical focus resonates strongly with some of the recent new directions coming from US media studies, namely in software and platform studies.},
langid = {english},
keywords = {summarised,to summarise,toppertje},
keywords = {check note},
file = {/Users/Rosa/Zotero/storage/HNAAWPZ9/Parikka - 2011 - Operative Media Archaeology Wolfgang Ernst’s Materialist Media Diagrammatics.pdf}
}
@article{parksCrackingOpenSet2000,
title = {Cracking {{Open}} the {{Set}}: {{Television Repair}} and {{Tinkering}} with {{Gender}} 1949-1955},
file = {/Users/Rosa/Zotero/storage/CAIF3ZWR/Parks - Falling Apart Electronics Salvaging and the Global Media Economy.pdf}
}
@misc{parksMediaFixesThoughts2013,
title = {Media {{Fixes}}: {{Thoughts}} on {{Repair Cultures}}},
shorttitle = {Media {{Fixes}}},
author = {Parks, Lisa},
year = {2013},
month = dec,
journal = {Flow Journal},
urldate = {2025-03-10},
langid = {american},
keywords = {check note},
file = {/Users/Rosa/Zotero/storage/CBWNSJTQ/Barbara - 2013 - Media Fixes Thoughts on Repair Cultures Lisa Parks University of California, Santa Barbara – Flow.pdf;/Users/Rosa/Zotero/storage/5SP7QZRD/media-fixes-thoughts-on-repair-cultures.html}
}
@book{pellowGarbageWarsStruggle2002,
title = {Garbage {{Wars}}: {{The Struggle}} for {{Environmental Justice}} in {{Chicago}}},
shorttitle = {Garbage {{Wars}}},
@ -777,6 +928,19 @@
langid = {english}
}
@book{pinchAnalogDaysInvention2002,
title = {Analog Days: The Invention and Impact of the {{Moog}} Synthesizer},
shorttitle = {Analog Days},
author = {Pinch, Trevor and Trocco, Frank},
year = {2002},
publisher = {Harvard University press},
address = {Cambridge (Mass.) London},
isbn = {978-0-674-00889-2},
langid = {english},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/B6P7MAUL/Pinch and Trocco - 2002 - Analog days the invention and impact of the Moog synthesizer.pdf}
file = {/Users/Rosa/Zotero/storage/DYCDWWC4/Remy and Huang - 2015 - Limits and sustainable interaction design obsolescence in a future of collapse and resource scarcit.pdf}
}
@ -845,10 +1010,57 @@
abstract = {Do-it-yourself (DIY) in electronic music represents a new paradigm that is not just about DIY. Doing-it-together (DIT) and the idea of community and shared experiences are at the root of DIY practice. This article discusses how the workshop and the event have become central to practitioners working in the field of DIY. Collective instrument building, the concept of the living installation, and performance are viewed as a holistic event. Some specific examples of the author's work known as Dirty Electronics are considered, where emphasis is placed upon experience rather than the `something to take home' factor. These include the following works:ICA Solder a Score, Composing `outside' electronics is regarded as a method for revealing processes that can be represented in other areas of the work beyond sound-generating circuits. The article also looks at how building circuits and sound devices acts as a way to create a tabula rasa, and how the idea of delegated performance, where instruments are played by `non-experts', serves to establish a na{\"i}ve approach and authenticity in performance. Through the sharing of information online and in workshops, the DIY community has become knowledgeable, which has resulted in a community `full of experts' and the growth of custom-designed circuits. The rise of discrete hand-held music players, such as the Buddha Machine, and the boutique synthesiser are also discussed, and the physical artefact and sound object are seen as a vehicle for the dissemination of ideas. Finally, the question is asked: `In DIY practice, where does the authentic document of the work lie?'},
title = {{{DIY}} and {{Maker Communities}} in {{Electronic Music}}},
booktitle = {The {{Cambridge Companion}} to {{Electronic Music}}},
author = {Richards, John},
editor = {{d'Escrivan}, Julio and Collins, Nick},
year = {2017},
series = {Cambridge {{Companions}} to {{Music}}},
edition = {2},
pages = {238--257},
publisher = {Cambridge University Press},
address = {Cambridge},
doi = {10.1017/9781316459874.015},
urldate = {2025-03-11},
isbn = {978-1-107-13355-6},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/6W3W926D/Richards - 2017 - DIY and Maker Communities in Electronic Music.pdf;/Users/Rosa/Zotero/storage/AGMEAK8L/A548A38388D374FE7D8187AB9130013F.html}
}
@article{richardsMusicThings2017,
title = {The {{Music}} of {{Things}}},
author = {Richards, John},
year = {2017},
journal = {Journal of the Japanese Society for Sonic Arts},
volume = {9},
number = {2},
pages = {16--20},
abstract = {The talk will focus on making music through the fundamental exploration of electronic components, solder, wires and electricity itself. This serves as an extension to David Tudors idea of composing inside electronics. Musical instrument is no longer considered as a complete self-contained entity, but a collection of inter-connectable things. Making, such as DIY (do-it-yourself) electronic instruments, is viewed not as a separate activity - for example, through workshops - but as a processual part of performance. From this premise, new paradigms for performance and composition of electronic music are born. The continuum of instrument, object and thing is also discussed; and particular reference is made to the work of Charlie Chaplin in relation to object transformations and object play. Chaplins object gags are seen as a way of deconstructing an object through performance. The event Dark Electronics, collaboration between Kanta Horio and myself for the Sapporo International Art Festival 2017, is used as a starting point to discuss themes relating to making as a processual part of performance.},
langid = {english},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/WAGQT3BT/Richards - Music, Technology and Innovation Research Centre De Montfort University,Leicester,UK.pdf}
title = {``{{What Do We Want}}?'' ``{{Materiality}}!'' ``{{When Do We Want It}}?'' ``{{Now}}!''},
shorttitle = {``{{What Do We Want}}?},
booktitle = {Media {{Technologies}}: {{Essays}} on {{Communication}}, {{Materiality}}, and {{Society}}},
author = {Sterne, Jonathan},
editor = {Gillespie, Tarleton and Boczkowski, Pablo J. and Foot, Kirsten A.},
year = {2014},
month = feb,
pages = {0},
publisher = {The MIT Press},
doi = {10.7551/mitpress/9780262525374.003.0006},
urldate = {2025-03-09},
abstract = {This article reviews essays by Pablo Boczkowski and Ignacio Siles, Leah Lievrouw, Finn Brunton and Gabriella Coleman, and Geoffrey Bowker. It argues that, in several areas of media studies and science and technology studies, scholars have gone off in search of materiality as a grounding term for their work. Yet there is little agreement as to the actual referent of the term materiality; it signals several traditions that sometimes contradict one another. In addition to giving an account of the confusion around the term, this paper offers a history of the constructivism against which many new materialists rebel, arguing that whatever epistemological position we want to take up, the political questions raised by the constructivists are still with us today.},
title = {A {{Shift Towards Iterative And Open-Source Design For Musical Interfaces}}},
author = {Vallis, Owen and Hochenbaum, Jordan and Kapur, Ajay},
year = {2010},
month = jun,
publisher = {Zenodo},
doi = {10.5281/ZENODO.1177919},
urldate = {2025-03-11},
abstract = {The aim of this paper is to define the process of iterative interface design as it pertains to musical performance. Embodying this design approach, the Monome OSC/MIDI USB controller represents a minimalist, open-source hardware device. The open-source nature of the device has allowed for a small group of Monome users to modify the hardware, firmware, and software associated with the interface. These user driven modifications have allowed the re-imagining of the interface for new and novel purposes, beyond even that of the device's original intentions. With development being driven by a community of users, a device can become several related but unique generations of musical controllers, each one focused on a specific set of needs.},
copyright = {Creative Commons Attribution 4.0, Open Access},
keywords = {new},
file = {/Users/Rosa/Zotero/storage/LIBHVK7L/Vallis et al. - 2010 - A Shift Towards Iterative And Open-Source Design For Musical Interfaces.pdf}
}
@article{vanbovenHaveThatQuestion2003,
title = {To {{Do}} or to {{Have}}? {{That Is}} the {{Question}}},
shorttitle = {To {{Do}} or to {{Have}}? i},
@ -999,8 +1243,20 @@
pages = {1193--202},
doi = {10.1037/0022-3514.85.6.1193},
abstract = {Do experiences make people happier than material possessions? In two surveys, respondents from various demographic groups indicated that experiential purchases-those made with the primary intention of acquiring a life experience--made them happier than material purchases. In a follow-up laboratory experiment, participants experienced more positive feelings after pondering an experiential purchase than after pondering a material purchase. In another experiment, participants were more likely to anticipate that experiences would make them happier than material possessions after adopting a temporally distant, versus a temporally proximate, perspective. The discussion focuses on evidence that experiences make people happier because they are more open to positive reinterpretations, are a more meaningful part of one's identity, and contribute more to successful social relationships.},
keywords = {niet gebruiken},
file = {/Users/Rosa/Zotero/storage/GY7RMHVZ/Van Boven and Gilovich - 2003 - To Do or to Have That Is the Question.pdf}
keywords = {niet gebruiken}
}
@article{vanloonRecyclingTimeTemporal1997,
title = {Recycling {{Time}}. {{The Temporal Complexity}} of {{Waste Management}}.},
author = {{van Loon}, J. and Sabelis, I.H.J.},
year = {1997},
journal = {Time and Society},
volume = {6},
number = {2/3},
pages = {287--306},
issn = {0961-463X},
doi = {10.1177/0961463X97006002009},
file = {/Users/Rosa/Zotero/storage/6VWQDLG7/van Loon and Sabelis - 1997 - Recycling Time. The Temporal Complexity of Waste Management..pdf}
@ -16,7 +16,7 @@ You’re reading[^shortcut-print] *A Field Guide for Salvaging Sound Devices*. I
Buying new parts and components is usually cheaper than repairing or salvaging existing. In my experience, the DIY synth community has fully embraced this notion; when publishing about a project it’s common practice to share a pre-filled webshop cart along with the schematics. This not only causes us as students to buy new parts out of convenience, but by only publishing the *solution*, and not discussing the design process and it’s challenges, we are not developing the much needed problem solving skills [@CooperativeExperimentalismSharing]. And what if that one ultra important part is no longer produced? Or you’d rather make use of all these other electronic parts that already exist?
Salvaging is the practice of making use of computational resources that already exists, however, not in hardware stores or pre-filled webshop carts, but on landfills and hidden away in storage boxes. According to Jennifer Gabrys, salvaging is not just about re-using materials, but also about confronting the systems that created the waste in the first place. [@gabrysSalvage2012].
<ins>Feedback: Leg dit uit voor de lezer, hoe verhoud jouw verhaal zich tot de 'systems that created the waste in the first place'? Dit kan terugkomen in je laatste hoofdstuk (reflectie)</ins>
The guide is split up into four chapters describing the different stages of salvaging for sound devices:
1. Gathering hardware
@ -25,8 +25,10 @@ The guide is split up into four chapters describing the different stages of salv
4. Recipes for making
5. *extra* Buy in bulk > wat te doen met je nieuwe zooi? => reflectie
<ins>Feedback: aangeven per hoofdstuk waar het over gaat</ins>
## Do It With Others (DIWO)
Within the DIY Sound community, DIWO workshops are a common way of sharing knowledge. This guide itself is created during and around so-called *(un)repair nights[^unrepair-night]* at the klankschool[^about-klankschool]. I would really encourage you to do DIWO this guide too. The frustrating process that can be learning electronics is much better to manage when shared.
Within the DIY Sound community, DIWO workshops are a common way of sharing knowledge [@ richardsDIYElectronicMusic2013]. This guide itself is created during and around so-called *(un)repair nights[^unrepair-night]* at the klankschool[^about-klankschool]. I would really encourage you to do DIWO this guide too. The frustrating process that can be learning electronics is much better to manage when shared.
[^unrepair-night]: Join every other thursday at klankschool, check the [calendar](https://calendar.klank.school/) for more information
@ -35,4 +37,22 @@ Within the DIY Sound community, DIWO workshops are a common way of sharing knowl
[^tinkering-methodologies]: TODO: Tinkering methodologies is coming from “Zombie Media: Circuit Bending Media Archaeology into an Art Method” although I don’t really know what to add about that here, even though I do want to mention it.
On that note, I am by no means and expert in electronics. When I write about how things work, please take it with a grain of salt. It's 'my' logic, and i'm sure it's full of incorrect assumptions. If you have improvements, feel free to reach out, or create a pull request with your improvements.
On that note, I am by no means and expert in electronics. When I write about how things work, please take it with a grain of salt. It's 'my' logic, and i'm sure it's full of incorrect assumptions. If you have improvements, feel free to reach out, or create a pull request with your improvements.
<ins>Feedback: er staat nu nog niets over how to print</ins>
<ins>Feedback: meer context creeeren want de why mist. Ik heb de tekst van de proposal er in geplakt voor inspiratie</ins>
Repair is, door de geschiedenis heen, een sociale gebeurtenis, waarbij kennis uitgewisseld wordt. Zo beschrijft Parks open-air repair shops in Macha, Zambia [@parksMediaFixesThoughts2013]. Ik zou hier eigenlijk nog een lokaler voorbeeld willen noemen. Ik denk dat er in die repair manual tekst nog wel wat voorbeelden staan.
## To add
If your biometric eye no longer functions because the company that produces them went bankrupt[1], it means that you didn’t actually own the eyes in the first place. This is an example of why repair, both the right to and the skill of, is important. Through repair & DIY, we can take back control of these things. Unfortunately, buying new is usually the more cheap, accessible and easy option. Outsourcing maintenance to a monthly Swapfiets[2] subscription is easier then learning how to repair & maintain yourself. Buying a new lamp is quicker then discovering what actually blew the fuse in the first place. And buying new hardware is the easier, cheaper and more reliable option then salvaging existing components from e-waste.
DIWO workshop.jpg
But, by joining & hosting workshops and gatherings around repair and repurposing, I’ve noticed how empowering it can be to take back this autonomy: To fix your own bike, to discover what a fuse is or to make (or break) a circuit together. A shared attempt to uncover some of the black boxes in our own products. As Garnet Hertz and Jussi Parikka state, probably to discover even more black boxes, that have become completely obsolete. [@parikkaOperativeMediaArchaeology2011].
”Salvage computing believes that the end of a computer product’s lifecycle should be seen as a moment of celebration”[4]. Instead of noting down a time of death, the obsolete device could be the start of something new. Trough this thesis & project, I want to challenge my own idea that buying new hardware is quicker then salvaging for hardware. This thesis will be a field guide for the salvaging from- and reusing of abandoned/obsolete media, to create sound devices.
@ -43,4 +43,8 @@ Institutions where electronic hardware is not their day-to-day business usually[
## Salvaging vs. Hoarding
When inspecting a device for salvage possibilities, I try to imagine what the inside of the device looks like. What kind of components might I find? Are there any motors or moving parts? What kind of material is the device made off? What time period is it from? Which companies manufactured the device and it's parts? Do I see any use for it now? If I don’t expect much, I’ll leave it for the next person to salvage.
When inspecting a device for salvage possibilities, I try to imagine what the inside of the device looks like. What kind of components might I find? Are there any motors or moving parts? What kind of material is the device made off? What time period is it from? Which companies manufactured the device and it's parts? Do I see any use for it now? If I don’t expect much, I’ll leave it for the next person to salvage.
<ins> kringloop zat hier niet op je t wachten, remember?</ins>
Verder wil je hier nog iets vertellen over het vetstoppen van waste streams. Bijvoorbeeld hoe er op de websites van coolblue & samsung eigenlijk niets te zien is over waar de waste dan naartoe gaat. Het wordt ingezet als een service ; het onztorgen van de consument.
@ -34,9 +34,7 @@ In some cases, product manufacturers provide service manuals[^repair-manual]. Th
Let’s take a look at the device. Do you spot any screws? They might be hidden behind stickers noting you that you are now voiding your warranty[^warranty]. I found it helpful to follow the seams of the material of the device since, especially with plastics, it’s not just screws holding your device together.
[^warranty]: These warranty stickers are not always legally binding. [^warranty-source]. Plus, do you have the receipt for something you found in the bin?
[^warranty-source]: Aragon, N. (2024, December 17). Warranty Void Stickers: Are they legal outside the US? iFixit. https://www.ifixit.com/News/74736/warranty-void-stickers-are-illegal-in-the-us-what-about-elsewhere
[^warranty]: These warranty stickers are not always legally binding. Do you have the receipt for something you found in the bin? In case you do, since the adoption of *Common Rules to Promote the Repair of Goods* manufacturers are prohibited from using contracts, hardware, or software to restrict product repairs [@CurrentStateRight2024]. <ins>Not sure how to cite this report (yet) </ins>
If you’ve managed to get a gap in a seam somewhere, stick a thin plastic “thing” in there and carefully push it along the seam. There might be tiny tabs holding the parts together. If the manufacturer really didn’t want you to get in there, they’ve glued it all up, and it is impossible to get in the device without causing permanent damage [^black-box]. A hot air gun could help to dissolve the glue (I’m afraid of melting plastic), or you could cut out the plastic using a knife or drill.
@ -42,4 +42,7 @@ There is no need to understand every single component on each recipe [^no-need],
- **Audio can be surprisingly loud**. Use small speakers (never headphones!) you wouldn’t miss if they break, and keep your hand on the volume dial when plugging in your sound device for the first time
- **Use batteries** plugging into a wall (120V) can be incredibly dangerous. When making changes
- - **watch that smell** “magic smoke” has a certain smell. Unplug
- - **watch that smell** “magic smoke” has a certain smell. Unplug
## Toevoegen
Dirty electronics spreekt ook van het opnieuw opschalen van electronics “With the ever-decreasing size and miniaturisation of electronics, the work of Dirty Electronics often attempts to re-size technology to human scale. The idea expressed by David Tudor of composing inside electronics is re-addressed with the intention of thinking of composing ‘outside’ electronics, where a music driven by electronics is also” [@richardsDIYElectronicMusic2013]
Is het salvagen van hardware een realistische sustainable practice?
At this point in the salvaging process, where I (very dramatically) sit in the middle of a workshop surrounded by caresses of printers, cassette recorders and radio’s, I need to think about what to do with the remainders of the project. It becomes very clear to me how the actions of a *field guide to salvaging sound devices* are “just” a literal intervention in the bigger scheme of things. In the lifecycle of e-waste, I applied a small detour in the hardware that was being sent to the landfill, before bringing it to a mileupark.
[Question: welke afdeling zijn er in het milieupark? Kan ik daar nog afval verder scheiden.]
Do note that the small detour is not “wasted”[^pun] time or effort. We were able to create the moment of celebration as the 100 rabbits would like us to do. We extended the life of the hardware for a bit to uncover black boxes together. To me personally it was already valuable to be able to dismantle hardware with both kids and my mom (shoutout), and view the hardware from their perspective.
This moment of having to return it to the mileupark shows that this intervention did not change much, as one person or one repair cafe cannot do. It does call for better legislation and regulation, and put the responsibility of the disposal back to where the material came from, in my opinion at least, improved design processes and a different mindset. It is one thing to return your iPhone to the Apple Store to buy a new one, it’s another thing to embrace not having the latest phone. So it still keeps this cycle of consuming and disposing in place, instead of forcing Apple to create actual ownership of the waste that they create. Thank you. Hoewel recycling programma’s zoals deze vast een zekere effect hebben, zeggen ze niets over waar hardware utieindelijk eindigt [@ parksFallingApartElectronics] daarnaast is een randvoorwaarden van het inleveren vaak dat je eerst een nieuw apparaat aanschaft, wat alleen een soort greenwashing van consumeren creeert. https://www.samsung.com/nl/inruil/. Op de website van samsung staat letterlijk “Stap 1. Koop je nieuwe toestel met inruilvoordeel op samsung.com”. Er wordt geen woord gerept over wat er gebeurt. alleebn “et krijgt een nieuwe bestemming of wordt volledig verwerkt.”. Nog ironischer wordt het wanneer je verder zoekt op de website van de inruil partner van samsung, l8p. Over inruil wordt hier ook hee lief gezegd, we geven je toestel een tweede leven bij een nieuwe eigenaar. Echter op de webshop wordt er gerept over “s: deze producten zijn nieuw, nooit (of beperkt) gebruikt en in originele toestand. “ Wat is het
As Jennifer Gabry’s concludes we shouldn’t strive for a zero waste utopia and in that way hide the waste, yet find we should [@ gabrysDigitalRubbishNatural2011] [JA WAT MOETEN WE EIGENLIJK DOEN VOLGENS HAAR - VERDER LEZEN]. By actively engaging with the salvaged hardware, we are able to uncover some black boxes, as we did in chapter 2, dismantling. [kunnen we hier nog iets over black boxes zeggen?]
[^pun]: pun intended
[@remyLimitsSustainableInteraction2015] heeft het over unintentional absolescence (lief), wat het resultaat is van twee kenmerken van het veld van HCi & ubiquitus computing: research nieuwe technologieen en meer producten verkopen. Dit samen zorgt dus voor unintentional obsolescence. Veel van de oplossingen om absolescence tegen te gaan, werken deze twee doelen tegen.
M
- Het is in ieder geval een soort conversation starter geweest - o.a. tijdens het (met moeite) desolderen van een op-amp de opmerking "je weet dat je die voor slechts een paar cent kunt bestellen"
- solo = niet te doen. Eigenlijk zou je een soort vorm moeten hebben qua uitwisseling van hardware, zodat je niet in je eentje mega veel weerstandjes hebt, maar dit uitwisselt/ruilt.
- en waarom is het niet te doen? SMD componenten. Daarin is het overduidelijk te zien dat de hardware niet met de gedachte is ontworpen dat er ooit nog iemand anders bij zou komen, of het nu voor maintenance of salvaging is.
- ik denk dat de "oplossing" meer hybride zou kunnen zijn, wat voor mij werkt in ieder geval, met microcontrollers en/of breakout boards. In plaats van het wiel opnieuw uit te moeten vinden door alles zelf te bouwen, gebruik maken van breakout boards en microcontrollers. Zo is bijv. de printer jam performance voor iemand met mijn skillset te ontwikkelen, maar als ik dit zou salvagen had ik het nooit kunnen maken.
<ins>Within recycling there is loads of greenwashing. Falling apart (Parks, n.d.)[^parksFallingApartElectronics] text gebruiken hier.</ins>
<ins>Within recycling there is loads of greenwashing. Falling apart (Parks, n.d.)[@parksFallingApartElectronics2007] text gebruiken hier.</ins>
[^parksFallingApartElectronics]: Parks, L. (n.d.). Falling Apart: Electronics Salvaging and the Global Media Economy.
<ins>Feedback: * Je beantwoord de vraag heel erg vanuit het perspectief van de maker van sound devices, wat heel goed is, maar je maakt weinig connecties met het grotere plaatje, right to repair movement, planned obsolesence, e-waste, werkelijke kosten van wegwerp maatschappij. Ik denk dat Mattern's tekst misschien een goede inspiratie is hier, als voorbeeld van hoe je een koppeling kunt maken tussen het hands on doen en 'de big picture' van wat moeten we eigenlijk repareren, de apparaten of het systeem dat ze produceerd? </ins>
## Over waarom microcontrollers
Uit de tekst van dirty electronics wordt dit ook benoemd An advantage of using microcontrollers is that less discrete electronic components are needed in a circuit design. And of course, it is possible to reprogram the microcontroller. [@ richardsDIYElectronicMusic2013]
<ins>Je moet ff navragen welke referencing style er nu gebruikt moet worden.
::: {#refs}
:::
:::
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