more tables!
This commit is contained in:
vitrinekast
174
library.bib
174
library.bib
@ -14,7 +14,7 @@
|
||||
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.},
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copyright = {https://creativecommons.org/licenses/by/4.0/},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high},
|
||||
keywords = {prio:high},
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||||
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}
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}
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@ -45,7 +45,7 @@
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||||
urldate = {2025-01-09},
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||||
abstract = {The author presents a history of his efforts to design sustainable and economical circuit construction on paper, which he finds more akin to craft than industry. He focuses on a collection of modules called Rollz-5, which creates organic rhythms out of geometrical forms. A future application of this work will be to create radio devices based on the Platonic solids.},
|
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langid = {english},
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||||
keywords = {list,summarised},
|
||||
keywords = {summarised},
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||||
file = {/Users/Rosa/Zotero/storage/URY2LY2U/Blasser - 2007 - Pretty Paper Rolls Experiments in Woven Circuits.pdf}
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}
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||||
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||||
@ -96,6 +96,7 @@
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||||
doi = {10.5281/zenodo.1176713},
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||||
urldate = {2025-01-05},
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abstract = {Description},
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||||
keywords = {prio:high},
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||||
file = {/Users/Rosa/Zotero/storage/77GB79E3/Bowers and Archer - 2005 - Not Hyper, Not Meta, Not Cyber but Infra-Instruments.pdf}
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}
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@ -104,7 +105,7 @@
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author = {Bowers, John and Richards, John and Shaw, Tim and Foster, Robin and Kubota, Akihiro},
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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.},
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langid = {english},
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||||
keywords = {list,prio:high},
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||||
keywords = {prio:high},
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file = {/Users/Rosa/Zotero/storage/RHWZJBUD/Bowers et al. - Raw Data, Rough Mix Towards an Integrated Practice of Making, Performance and Pedagogy.pdf}
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}
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@ -141,7 +142,6 @@
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publisher = {Routledge},
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address = {New York},
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isbn = {978-0-415-99609-9 978-0-415-99873-4 978-0-203-87962-7},
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langid = {american},
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lccn = {ML1092 .C66 2009},
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||||
keywords = {Construction,Electronic musical instruments,toppertje},
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file = {/Users/Rosa/Zotero/storage/T5E3CZ4S/Collins - 2009 - Handmade electronic music the art of hardware hacking.pdf}
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@ -159,13 +159,24 @@
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publisher = {The MIT Press},
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||||
issn = {09611215, 15314812},
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||||
urldate = {2025-01-14},
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keywords = {list,summarised}
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keywords = {summarised}
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||||
}
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@misc{CooperativeExperimentalismSharing,
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@inproceedings{CooperativeExperimentalismSharing,
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title = {Cooperative {{Experimentalism}}: {{Sharing}} to Enhance Electronic Media},
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urldate = {2025-01-27},
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howpublished = {https://research-repository.griffith.edu.au/items/b8fa545b-32c9-4d68-866f-8549ead9e3ef}
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author = {Brown, Andrew and Ferguson, John and Bennett, Andy},
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year = {2019},
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month = jul,
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langid = {american},
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keywords = {to summarise},
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||||
file = {/Users/Rosa/Zotero/storage/3U5LDBDP/content}
|
||||
}
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||||
|
||||
@misc{CriticalMakingUnmaking,
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||||
title = {From {{Critical Making}} via Unmaking towards (Un)Making -- Ontwerpkritiek.Nl},
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urldate = {2025-02-25},
|
||||
howpublished = {https://ontwerpkritiek.nl/from-critical-making-via-unmaking-towards-unmaking/},
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||||
file = {/Users/Rosa/Zotero/storage/FQGX3P2Z/from-critical-making-via-unmaking-towards-unmaking.html}
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}
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@article{devalkRefusingBurdenComputation2021,
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@ -184,6 +195,7 @@
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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.},
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copyright = {http://creativecommons.org/licenses/by-nc-sa/4.0},
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||||
langid = {english},
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||||
keywords = {prio:high},
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||||
file = {/Users/Rosa/Zotero/storage/NFQC58VX/De Valk - 2021 - Refusing the Burden of Computation Edge Computing and Sustainable ICT.pdf}
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}
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@ -195,6 +207,7 @@
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urldate = {2025-01-16},
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howpublished = {https://popupforcollaborativemusicmaking.wordpress.com/},
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langid = {english},
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||||
keywords = {prio:high},
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||||
file = {/Users/Rosa/Zotero/storage/D6EBFKZU/popupforcollaborativemusicmaking.wordpress.com.html}
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}
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@ -202,7 +215,7 @@
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title = {Ontology {{Of Electronic Waste}}},
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author = {Fennis, Maurits},
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langid = {english},
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keywords = {list,summarised},
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||||
keywords = {prio:high,summarised},
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||||
file = {/Users/Rosa/Zotero/storage/PZ45G9QF/Fennis - Ontology Of Electronic Waste.pdf}
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}
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@ -211,7 +224,7 @@
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author = {Fernandez, Alexandre Marino and Iazzetta, Fernando},
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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.},
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langid = {english},
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||||
keywords = {list,prio:high},
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||||
keywords = {prio:high},
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||||
file = {/Users/Rosa/Zotero/storage/4HTDFEDL/Fernandez and Iazzetta - Circuit-Bending and DIY Culture.pdf}
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}
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@ -240,10 +253,25 @@
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isbn = {978-0-472-11761-1},
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||||
langid = {english},
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||||
lccn = {363.728 8},
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||||
keywords = {list,prio:high,reading atm,summarised,to summarise,toppertje},
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||||
keywords = {prio:high,reading atm,summarised,to summarise,toppertje},
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||||
file = {/Users/Rosa/Zotero/storage/PZB4D642/Gabrys - 2011 - Digital rubbish a natural history of electronics.pdf}
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}
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@incollection{gabrysSalvage2012,
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title = {Salvage},
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booktitle = {Depletion Design: A Glossary of Network Ecologies},
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author = {Gabrys, Jennifer},
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year = {2012},
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series = {Theory on Demand},
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||||
number = {8},
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||||
publisher = {Institute of Network Cultures},
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||||
address = {Amsterdam},
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||||
isbn = {978-90-818575-1-2},
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||||
langid = {american},
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||||
keywords = {summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/XAC25TL3/TOD8_DEPLETION_DESIGN.pdf}
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||||
}
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||||
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@inproceedings{gegenbauerIPodsAtarisPolaroids2012,
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title = {{{iPods}}, {{Ataris}}, and {{Polaroids}}: A Personal Inventories Study of out-of-Use Electronics in {{Swiss}} Households},
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shorttitle = {{{iPods}}, {{Ataris}}, and {{Polaroids}}},
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@ -258,6 +286,7 @@
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urldate = {2025-02-25},
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isbn = {978-1-4503-1224-0},
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langid = {english},
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||||
keywords = {niet gebruiken,read},
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||||
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}
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}
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@ -284,7 +313,7 @@
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isbn = {978-0-262-04493-6},
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langid = {english},
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||||
lccn = {N72.E53 H47 2023},
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||||
keywords = {Art and electronics,Arts,Experimental methods,list,Maker movement,prio:high,Social aspects,summarised,Technology},
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||||
keywords = {Art and electronics,Arts,Experimental methods,Maker movement,prio:high,Social aspects,summarised,Technology},
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||||
file = {/Users/Rosa/Zotero/storage/E8IXZVMU/Hertz - 2023 - Art + DIY electronics.pdf}
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||||
}
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@ -309,7 +338,7 @@
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||||
urldate = {2025-01-05},
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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.},
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langid = {english},
|
||||
keywords = {list,summarised,toppertje},
|
||||
keywords = {summarised,toppertje},
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||||
file = {/Users/Rosa/Zotero/storage/K5SZIEPI/Hertz and Parikka - 2012 - Zombie Media Circuit Bending Media Archaeology into an Art Method.pdf}
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||||
}
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||||
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@ -323,7 +352,7 @@
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address = {New York},
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||||
isbn = {978-0-415-89646-7 978-0-415-89636-8 978-0-203-12842-8},
|
||||
lccn = {ML1380 .H64 2012},
|
||||
keywords = {Computer music,Electronic music,History and criticism},
|
||||
keywords = {Computer music,Electronic music,History and criticism,prio:high},
|
||||
annotation = {OCLC: ocn703208713},
|
||||
file = {/Users/Rosa/Zotero/storage/HUAVMT2T/Electronic and Experimental Music.pdf}
|
||||
}
|
||||
@ -333,6 +362,8 @@
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||||
author = {Holzer, Derek},
|
||||
year = {2011},
|
||||
month = may,
|
||||
langid = {american},
|
||||
keywords = {summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/ZK479XQZ/web.archive.org-Vague Terrain 19 Schematic as Score.pdf}
|
||||
}
|
||||
|
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@ -387,8 +418,7 @@
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||||
collaborator = {Wiedemann, Carolin and Zehle, Soenke},
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||||
isbn = {978-90-818575-1-2},
|
||||
langid = {american},
|
||||
keywords = {list,summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/XAC25TL3/TOD8_DEPLETION_DESIGN.pdf}
|
||||
keywords = {summarised}
|
||||
}
|
||||
|
||||
@article{InterchangeableParts2024,
|
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@ -418,7 +448,7 @@
|
||||
urldate = {2025-01-05},
|
||||
isbn = {978-1-4503-4950-5},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high},
|
||||
keywords = {prio:high},
|
||||
file = {/Users/Rosa/Zotero/storage/ZGWSKZXI/Jang et al. - 2017 - Unplanned Obsolescence Hardware and Software After Collapse.pdf}
|
||||
}
|
||||
|
||||
@ -435,7 +465,25 @@
|
||||
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.},
|
||||
keywords = {list,summarised}
|
||||
keywords = {summarised}
|
||||
}
|
||||
|
||||
@article{joWorkshoppingParticipationMusic2013,
|
||||
title = {Workshopping {{Participation}} in {{Music}}},
|
||||
author = {Jo, Kazuhiro and Parkinson, Adam and Tanaka, Atau},
|
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year = {2013},
|
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month = dec,
|
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journal = {Organised Sound},
|
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volume = {18},
|
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number = {3},
|
||||
pages = {282--291},
|
||||
issn = {1355-7718, 1469-8153},
|
||||
doi = {10.1017/S1355771813000253},
|
||||
urldate = {2025-03-03},
|
||||
abstract = {This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In , which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term `workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of `workshopping'.},
|
||||
copyright = {https://www.cambridge.org/core/terms},
|
||||
langid = {english},
|
||||
file = {/Users/Rosa/Zotero/storage/SMME8MAX/Jo et al. - 2013 - Workshopping Participation in Music.pdf}
|
||||
}
|
||||
|
||||
@article{kastnerDomesticationGarage2019,
|
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@ -467,6 +515,7 @@
|
||||
urldate = {2025-01-05},
|
||||
abstract = {This article deals with the phenomenon of hackerspaces and sheds light on the relationship of their underlying values, organizational structures and productive processes to those of the online communities of Commons-based peer production projects. While hackerspaces adopt hybrid modes of governance, this article attempts to identify patterns, trends and theory that can frame their production and governance mechanisms. Using a diverse amount of literature and case studies, it is argued that, in many cases, hackerspaces exemplify several aspects of peer production projects' principles and governance mechanisms.},
|
||||
langid = {english},
|
||||
keywords = {to summarise},
|
||||
file = {/Users/Rosa/Zotero/storage/K3379N2W/Kostakis et al. - 2015 - Production and governance in hackerspaces A manifestation of Commons-based peer production in the p.pdf}
|
||||
}
|
||||
|
||||
@ -490,7 +539,7 @@
|
||||
urldate = {2025-01-05},
|
||||
isbn = {978-1-4503-7595-5},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high},
|
||||
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}
|
||||
}
|
||||
|
||||
@ -504,6 +553,7 @@
|
||||
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}
|
||||
}
|
||||
|
||||
@ -521,10 +571,27 @@
|
||||
author = {Lovink, Geert},
|
||||
urldate = {2025-01-05},
|
||||
langid = {american},
|
||||
keywords = {list,summarised},
|
||||
keywords = {summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/XFGEV94M/Principles of Perma-Hybridity.pdf;/Users/Rosa/Zotero/storage/HYCEANK3/principles-of-perma-hybridity.html}
|
||||
}
|
||||
|
||||
@article{luUnmakingElectronicWaste2024,
|
||||
title = {Unmaking {{Electronic Waste}}},
|
||||
author = {Lu, Jasmine and Lopes, Pedro},
|
||||
year = {2024},
|
||||
month = dec,
|
||||
journal = {ACM Transactions on Computer-Human Interaction},
|
||||
volume = {31},
|
||||
number = {6},
|
||||
pages = {1--30},
|
||||
issn = {1073-0516, 1557-7325},
|
||||
doi = {10.1145/3674505},
|
||||
urldate = {2025-02-25},
|
||||
abstract = {The proliferation of new technologies has led to a proliferation of unwanted electronic devices. E-waste is the largest-growing consumer waste-stream worldwide, but also an issue often ignored. In fact, HCI primarily focuses on designing and understanding device interactions during one segment of their lifecycles---while users use them. Researchers overlook a significant space---when devices are no longer ``useful'' to the user, such as after breakdown or obsolescence. We argue that HCI can learn from experts who upcycle e-waste and give it second lives in electronics projects, art projects, educational workshops, and more. To acquire and translate this knowledge to HCI, we interviewed experts who unmake e-waste. We explore their practices through the lens of unmaking both when devices are physically unmade and when the perception of e-waste is unmade once waste becomes, once again, useful . Last, we synthesize findings into takeaways for how HCI can engage with the issue of e-waste.},
|
||||
langid = {english},
|
||||
file = {/Users/Rosa/Zotero/storage/879KYXX9/3674505.pdf;/Users/Rosa/Zotero/storage/FPAIKIDF/Lu and Lopes - 2024 - Unmaking Electronic Waste.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{maestriUnderstandingRepairCreative2011,
|
||||
title = {Understanding Repair as a Creative Process of Everyday Design},
|
||||
booktitle = {Proceedings of the 8th {{ACM}} Conference on {{Creativity}} and Cognition},
|
||||
@ -544,7 +611,7 @@
|
||||
@book{magielsRECYCLEAlsAfval,
|
||||
title = {{{RECYCLE}}! {{Als}} Afval Grondstof Wordt},
|
||||
author = {Magiels, Geerdt},
|
||||
keywords = {list,summarised}
|
||||
keywords = {summarised}
|
||||
}
|
||||
|
||||
@book{magnussonSonicWritingTechnologies2019,
|
||||
@ -555,8 +622,8 @@
|
||||
publisher = {Bloomsbury Academic},
|
||||
address = {New York, NY},
|
||||
isbn = {978-1-5013-1386-8 978-1-5013-1388-2 978-1-5013-1387-5},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high},
|
||||
langid = {american},
|
||||
keywords = {prio:high},
|
||||
file = {/Users/Rosa/Zotero/storage/URF6ZN4I/Sonic Writing Technologies.pdf}
|
||||
}
|
||||
|
||||
@ -586,7 +653,7 @@
|
||||
urldate = {2025-01-05},
|
||||
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?},
|
||||
langid = {american},
|
||||
keywords = {list,manual,prio:high,repair,to summarise},
|
||||
keywords = {manual,prio:high,repair,to summarise},
|
||||
file = {/Users/Rosa/Zotero/storage/CVR3A5FM/step-by-step-repair-manuals-political-ecology.html}
|
||||
}
|
||||
|
||||
@ -600,7 +667,7 @@
|
||||
doi = {10.4467/20843860PK.17.030.7800},
|
||||
urldate = {2025-01-05},
|
||||
langid = {english},
|
||||
keywords = {list},
|
||||
keywords = {read},
|
||||
file = {/Users/Rosa/Zotero/storage/EHFWEG5S/2017 - Media Archeology Lab Experimentation, Tinkering, Probing. Lori Emerson in conversation with Piotr M.pdf}
|
||||
}
|
||||
|
||||
@ -613,7 +680,7 @@
|
||||
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}},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high,to summarise},
|
||||
keywords = {prio:high,to summarise},
|
||||
file = {/Users/Rosa/Zotero/storage/2PN2LXDW/loriemerson-net-20.pdf;/Users/Rosa/Zotero/storage/UULUI9MB/six-difficult-and-inconvenient-values-to-reclaim-the-future-with-old-media.html}
|
||||
}
|
||||
|
||||
@ -643,7 +710,22 @@
|
||||
issn = {09611215, 15314812},
|
||||
urldate = {2025-01-14},
|
||||
abstract = {[Every electronic appliance contains a unique sonic potential, which the author "cracks" to create music.]},
|
||||
keywords = {list,summarised}
|
||||
keywords = {summarised}
|
||||
}
|
||||
|
||||
@book{novaDrSmartphoneEthnography2020,
|
||||
title = {Dr. {{Smartphone}}: An Ethnography of Mobile Phone Repair Shops},
|
||||
shorttitle = {Dr. {{Smartphone}}},
|
||||
year = {2020},
|
||||
publisher = {IDPURE},
|
||||
address = {Lausanne},
|
||||
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}.},
|
||||
isbn = {978-2-9700992-6-0},
|
||||
langid = {english},
|
||||
keywords = {prio:high},
|
||||
annotation = {OCLC: 1264652861},
|
||||
file = {/Users/Rosa/Zotero/storage/DKDVHHDJ/2020-DrSmartphone-nova-bloch.pdf}
|
||||
}
|
||||
|
||||
@inproceedings{odomUnderstandingWhyWe2009,
|
||||
@ -679,7 +761,7 @@
|
||||
title = {Falling {{Apart}}: {{Electronics Salvaging}} and the {{Global Media Economy}}},
|
||||
author = {Parks, Lisa},
|
||||
langid = {english},
|
||||
keywords = {list,summarised,to summarise,toppertje},
|
||||
keywords = {summarised,to summarise,toppertje},
|
||||
file = {/Users/Rosa/Zotero/storage/CAIF3ZWR/Parks - Falling Apart Electronics Salvaging and the Global Media Economy.pdf}
|
||||
}
|
||||
|
||||
@ -699,7 +781,7 @@
|
||||
title = {Weggooien, Mooi Niet!},
|
||||
author = {Postma, Martine},
|
||||
isbn = {978-94-90298-06-7},
|
||||
keywords = {list,summarised}
|
||||
keywords = {summarised}
|
||||
}
|
||||
|
||||
@inproceedings{raghavanMacroscopicallySustainableNetworking2016,
|
||||
@ -727,8 +809,7 @@
|
||||
publisher = {s.n.},
|
||||
doi = {10.5167/UZH-110997},
|
||||
urldate = {2025-01-05},
|
||||
langid = {american},
|
||||
keywords = {list,prio:high,to summarise},
|
||||
keywords = {prio:high,to summarise},
|
||||
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}
|
||||
}
|
||||
|
||||
@ -764,7 +845,7 @@
|
||||
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?'},
|
||||
copyright = {https://www.cambridge.org/core/terms},
|
||||
langid = {english},
|
||||
keywords = {list,summarised},
|
||||
keywords = {summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/PJMVSHEX/Richards - 2013 - Beyond DIY in Electronic Music.pdf}
|
||||
}
|
||||
|
||||
@ -777,7 +858,7 @@
|
||||
urldate = {2025-01-05},
|
||||
copyright = {http://creativecommons.org/licenses/by/4.0/},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high,to summarise,toppertje},
|
||||
keywords = {prio:high,to summarise,toppertje},
|
||||
file = {/Users/Rosa/Zotero/storage/WJS3URT5/Richards - 2018 - Speculative Sound Circuits.pdf}
|
||||
}
|
||||
|
||||
@ -821,10 +902,17 @@
|
||||
urldate = {2025-01-05},
|
||||
abstract = {LIMITS '21 Paper},
|
||||
langid = {english},
|
||||
keywords = {list,prio:high},
|
||||
keywords = {prio:high},
|
||||
file = {/Users/Rosa/Zotero/storage/EE6U37KD/Roura et al. - 2021 - Circular digital devices lessons about the social and planetary boundaries.pdf}
|
||||
}
|
||||
|
||||
@misc{SalvageComputing,
|
||||
title = {Salvage Computing},
|
||||
urldate = {2025-02-25},
|
||||
howpublished = {https://permacomputing.net/salvage\_computing/},
|
||||
file = {/Users/Rosa/Zotero/storage/4XTV5G7X/salvage_computing.html}
|
||||
}
|
||||
|
||||
@article{SalvagedComputing,
|
||||
title = {Salvaged Computing},
|
||||
file = {/Users/Rosa/Zotero/storage/MQW7QESH/PDF document.pdf}
|
||||
@ -839,7 +927,7 @@
|
||||
urldate = {2025-01-05},
|
||||
abstract = {The past few years have seen various attempts within computing, programming and hacker communities to apply `degrowth' principles to their work -- i.e. sketching out ways to de-couple digital techno{\dots}},
|
||||
langid = {english},
|
||||
keywords = {niet gebruiken},
|
||||
keywords = {niet gebruiken,to summarise},
|
||||
file = {/Users/Rosa/Zotero/storage/ABFRIUPV/PDF document.pdf;/Users/Rosa/Zotero/storage/9ZAFPFDB/2022 - What might degrowth computing look like.html}
|
||||
}
|
||||
|
||||
@ -853,16 +941,20 @@
|
||||
isbn = {978-0-674-02203-4},
|
||||
langid = {english},
|
||||
lccn = {609.730 9},
|
||||
keywords = {list,to summarise},
|
||||
keywords = {to summarise},
|
||||
file = {/Users/Rosa/Zotero/storage/HC67UT6D/Slade - 2006 - Made to break technology and obsolescence in America.pdf}
|
||||
}
|
||||
|
||||
@incollection{sterneOutTrash,
|
||||
title = {Out with the Trash},
|
||||
@incollection{sterneOutTrashFuture2007,
|
||||
title = {Out {{With}} the {{Trash}}: {{On}} the {{Future}} of {{New Technologies}}},
|
||||
booktitle = {Residual {{Media}}},
|
||||
author = {Sterne},
|
||||
author = {Sterne, Jonathan},
|
||||
editor = {Acland, Charles},
|
||||
year = {2007},
|
||||
pages = {16--31},
|
||||
publisher = {Minneapolis: University of Minnesota Press},
|
||||
isbn = {0-8166-4471-3},
|
||||
keywords = {list,summarised,toppertje},
|
||||
keywords = {summarised,toppertje},
|
||||
file = {/Users/Rosa/Zotero/storage/334DAPWQ/OutwiththeTrash.pdf}
|
||||
}
|
||||
|
||||
@ -962,6 +1054,6 @@
|
||||
title = {{{XXIIVV}} --- Permacomputing},
|
||||
urldate = {2025-01-05},
|
||||
howpublished = {https://wiki.xxiivv.com/site/permacomputing.html?utm\_source=pocket\_shared},
|
||||
keywords = {list,summarised},
|
||||
keywords = {summarised},
|
||||
file = {/Users/Rosa/Zotero/storage/QM25W9ZH/permacomputing.html}
|
||||
}
|
||||
|
||||
@ -1,100 +1,135 @@
|
||||
* {
|
||||
box-sizing: border-box;
|
||||
box-sizing: border-box;
|
||||
}
|
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body,
|
||||
html {
|
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margin: 0 0;
|
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padding: 0 0;
|
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width: 100%;
|
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|
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margin: 0 0;
|
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padding: 0 0;
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@ -44,14 +67,18 @@ article {
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||||
}
|
||||
|
||||
aside hr {
|
||||
display: none;
|
||||
}
|
||||
|
||||
|
||||
p {
|
||||
break-inside: avoid;
|
||||
}
|
||||
|
||||
td, th {
|
||||
text-align: left;
|
||||
word-break: break-word;
|
||||
}
|
||||
|
||||
article ol {
|
||||
padding-left: 2ch;
|
||||
margin-top: .5em;
|
||||
margin-bottom: .5em;
|
||||
}
|
||||
margin-top: 0.5em;
|
||||
margin-bottom: 0.5em;
|
||||
}
|
||||
|
||||
/*** Works on common browsers ***/
|
||||
::selection {
|
||||
background-color: var(--accent);
|
||||
color: black;
|
||||
}
|
||||
|
||||
/*** Mozilla based browsers ***/
|
||||
::-moz-selection {
|
||||
background-color: var(--accent);
|
||||
color: black;
|
||||
}
|
||||
|
||||
/***For Other Browsers ***/
|
||||
::-o-selection {
|
||||
background-color: var(--accent);
|
||||
color: black;
|
||||
}
|
||||
|
||||
::-ms-selection {
|
||||
background-color: var(--accent);
|
||||
color: black;
|
||||
}
|
||||
|
||||
/*** For Webkit ***/
|
||||
::-webkit-selection {
|
||||
background-color: var(--accent);
|
||||
color: black;
|
||||
}
|
||||
|
||||
@ -1,52 +0,0 @@
|
||||
# About this guide
|
||||
|
||||
*“Figuring out how to make the best possible use out of the millions of devices which already exist.”*[@superquote]
|
||||
Reading about salvage computing got me excited. It offered a way to keep building while reducing the consequences of constant consumption. This guide is my attempt to document that approach—messy, hands-on, and unapologetically hacked together.
|
||||
|
||||
You’re holding (or scrolling through) *A Field Guide for Salvaging Sound Devices*. This guide, created during and around unrepair nights at Catu in Rotterdam[^about-catu], explores the act of salvaging, making, and the (im)practicalities of the process. It’s structured in four chapters, each covering a key step:
|
||||
|
||||
1. Gathering hardware
|
||||
2. Dismantling devices
|
||||
3. Components to salvage
|
||||
4. Recipes
|
||||
|
||||
[^about-catu]: Catu is a community space where we tinker with electronics, host unrepair nights, and try to make sense of broken things.
|
||||
|
||||
## How to Hack This Guide
|
||||
In the spirit of reuse and reclaiming, this guide is yours to break, rebuild, and rewrite.
|
||||
<span class="d-print">Got a marker? A knife? Go ahead—correct, annotate, and cut this up.</span>
|
||||
<span class="d-web">Want to fork it? Hit <kbd>Ctrl</kbd> + <kbd>S</kbd> to save a local copy, host it yourself, or submit a [pull request](theserverisdown.internetissues).</span>
|
||||
|
||||
## Why Salvage?
|
||||
Buying new parts is often cheaper than salvaging. The DIY synth community makes it even easier by sharing Mouser project carts alongside schematics—just a few clicks and all your parts arrive in a neat package. But what if that one crucial part is no longer made? Or you just don’t want to add to the endless cycle of production and waste?
|
||||
|
||||
This is where *A Field Guide for Salvaging Sound Devices* comes in. We’ll go through the process of finding, unmaking, and remaking—digging through the growing pile of e-waste[^e-waste] while also reflecting on what it means to salvage[^about-salvaging].
|
||||
|
||||
[^e-waste]: E-waste grows at the same rate as technological “innovation.” Every new update makes its older sibling obsolete, ready for disposal.
|
||||
|
||||
[^about-salvaging]: As Jennifer Gabrys notes, salvaging isn’t just about reclaiming materials—it’s also about confronting the systems that create waste in the first place (@instituteofnetworkculturesDepletionDesignGlossary2012).
|
||||
|
||||
## Do It With Others (DIWO)
|
||||
This guide was developed during unrepair nights at Catu, where we figure things out together. Because let’s be real—electronics is hard. You don’t have to go it alone. Come by, bring broken things, and let’s make sense of them together.
|
||||
|
||||
(Repair is social. See *Maintenance and Care* by Shannon Mattern for more on that[@matternMaintenanceCare2018].)
|
||||
|
||||
## Reading the Guide
|
||||
This guide is an invitation to add, subtract, reuse, and abuse.
|
||||
Want to modify it? Here’s how:
|
||||
|
||||
- **Print version:** Scribble, cut, staple your own addendums.
|
||||
- **Web version:** Fork it, edit it, host it elsewhere.
|
||||
|
||||
## A Few Notes on Safety
|
||||
Salvaging is fun, but some things can actually kill you. Keep these in mind:
|
||||
|
||||
- **Power supplies:** Always unplug before opening. Mains voltage is no joke.
|
||||
- **High-voltage hardware:** Some capacitors hold a charge even after being unplugged.
|
||||
- **Soldering safety:** Ventilation is your friend.
|
||||
- **Don’t drink & solder:** A classic rule from @collinsHandmadeElectronicMusic2009.
|
||||
|
||||
---
|
||||
|
||||
This is a living document. If something’s unclear, incomplete, or just plain wrong—fix it.
|
||||
|
||||
@ -1,37 +1,38 @@
|
||||
---
|
||||
title: "About this guide"
|
||||
title: "Introduction"
|
||||
type: Chapter
|
||||
slug: true
|
||||
front: false
|
||||
---
|
||||
|
||||
When building projects with electronics, salvaging and re-usign electronic components is usually the road less travelled. Even more going down this route, online communities of DIY audio & electronics, it is common practice to publish a schematic alongside a pre-filled shopping cart, making the realisation of your project almost as easy as buying new. But with the growing piles of e-waste[^growing-piles-ewaste] and less availability of the minerals that make up our electronic components, it’s important to investigate alternatives. [deze laatste zin mag meer aansluiten bij wat je verder benoemt][TODO: benoemen e-waste monitor] [TODO: benoemen dat de grote challenge van nu is wat te doen met de piles of e-waste]
|
||||
>> The real long-term future of computing consists of figuring out how to make the best possible use we can out of the literal millions of devices which already exist.
|
||||
|
||||
In *A field guide for salvaging sound devices*, I explore the practical side of salvage computing[^about-salvaging]: is it possible to *live off* (create with) electronic components salvaged in the wild? And what would such a practice look like? The guide is actively developed and tested during so-called *(un)repair nights[^unrepair-night]* at the klankschool[^klank-school], through a series of hangouts, conversations, and other tinkering methodologies[^tinkering-methodologies].
|
||||
TODO: Toevoegen dat je de lezer ook aanmoedigt om het samen met andere te doen.
|
||||
<cite>(Solderpunk, 2020, Cited in de Valk, 2022)</cite>
|
||||
|
||||
Repair is inherently social. As Shannon Mattern argues in *Maintenance and Care* (@matternMaintenanceCare2018), repair practices are not just about fixing things but about fostering connections, sharing knowledge, and creating resilient communities. I encourage you to engage with this guide alongside others—whether that means working with friends, joining a repair group, or sharing your own salvaging insights. [Feedbac: before this you didn't say anything yet at all about repair, so this is a bit sudden.]
|
||||
|
||||
[^about-salvaging]: As Jennifer Gabrys describes, salvaging is not just about transforming discarded materials into valuable resources, but also about _“engaging with the conditions that led to the dispair in the first place”_ (@instituteofnetworkculturesDepletionDesignGlossary2012).
|
||||
|
||||
[^unrepair-night]: TODO: Include information about how the reader could join
|
||||
|
||||
[^klank-school]: Klankschool is a Rotterdam-based community of sound practicioners, that (were at least planning to) share a space to collaborate and educate together. [TODO: betere omschrijving]
|
||||
|
||||
[^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.
|
||||
|
||||
### Using this guide
|
||||
In the true spirit of Re-Use/Re-Claim, you are hereby officially invited to make this guide your own. Print [^shortcut-print] your own version, <span class="d-print">Grab a marker and a knife, and correct me where I'm wrong. </span> <span class="d-web"> <kbd>Ctrl</kbd> + <kbd>S</kbd> this web page and host it on your own server, or create a [pull request](theserverisdown.internetissues) for more permanent changes.
|
||||
You’re reading[^shortcut-print] *A Field Guide for Salvaging Sound Devices*. In here, we’ll explore the practical side of salvage computing: is it possible to *live off* (create with) electronic components salvaged in the wild? And what would such a practice look like?
|
||||
|
||||
[^shortcut-print]: <kbd>Ctrl</kbd> + <kbd>P</kbd> to print this document
|
||||
|
||||
### A few notes on safety
|
||||
This guide is about diving headfirst into tinkering with electronics—but before we start swallowing batteries[TODO make this example less weird], let’s go over some basic safety measures & disclaimers.
|
||||
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?
|
||||
|
||||
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.
|
||||
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].
|
||||
|
||||
To keep things safe and prevent shocks, **awlways disconnect the battery or power supply** when working on a device. Work thoughtfully and carefully and you'll be fine. If you're not sure, ask a friend, or ask the internet.
|
||||
|
||||
[^short]: TODO: what is a short
|
||||
The guide is split up into four chapters describing the different stages of salvaging for sound devices:
|
||||
|
||||
TODO: include iets over de sound devices zelf. Dus dat je sound devices wil maken die gemakkelijker na te maken zijn, maar ook dat je ze niet te moeilijk moet maken.en dus shit als tuning e.d. achterwegen laat.
|
||||
1. Gathering hardware
|
||||
2. Dismantling devices
|
||||
3. Components to salvage
|
||||
4. Recipes for making
|
||||
5. *extra* Buy in bulk > wat te doen met je nieuwe zooi? => reflectie
|
||||
|
||||
## 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.
|
||||
|
||||
[^unrepair-night]: Join every other thursday at klankschool, check the [calendar](https://calendar.klank.school/) for more information
|
||||
|
||||
[^about-klankschool]:[klankschool](https://klank.school) is a Rotterdam based community of sound practitioners and amateur repair people.
|
||||
|
||||
[^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.
|
||||
@ -7,15 +7,15 @@ front: true
|
||||
---
|
||||
|
||||
<span template-type="chapter"></span>
|
||||
When salvaging components, we are looking for abandoned hardware. Hardware that is still fine on the inside, but no longer deemed as functional by its previous owners[^no-longer-functional] in our consumer culture. These devices can be a literal goldmine[^goldmine] of working parts that could be repurposed, as their hardware probably exceeded their stylistic obsolescence[^stylistic-obsolescence].
|
||||
When salvaging parts, we are looking for abandoned hardware. Hardware that is still fine on the inside, but no longer deemed as functional by its previous owners[^no-longer-functional] in our consumer culture. These devices can be a literal goldmine[^goldmine] of working parts that could be repurposed, as their hardware probably exceeded their stylistic obsolescence[^stylistic-obsolescence].
|
||||
|
||||
<ins>Hier in eerste instantie uitgebreider over obsolescence spreken, zodat je daar later weer aan kunt referereren</ins>
|
||||
|
||||
[^no-longer-functional]:The spectrum of "still fine" and "no longer deemed as functional" is very wide. Think about printers for which their specific cartridges are no longer produced, Blu-ray players, the E.T. game that was buried, that iPhone 8 with a bad battery, Spotify's "Car Thing", etc.
|
||||
|
||||
[^goldmine]: <ins>Something about the metals/minerals to be found</ins>
|
||||
|
||||
[^stylistic-obsolescence]: **stylistic obsolescence** The idea that objects can go out of fashion the idea, and therefore needed to be replaced every season (@sterneOutTrash)
|
||||
|
||||
|
||||
[^stylistic-obsolescence]: **stylistic obsolescence** The idea that objects can go out of fashion the idea, and therefore needed to be replaced every season [@sterneOutTrashFuture2007]
|
||||
|
||||
I’ve identified 3 strategies in gathering the electronic hardware.
|
||||
|
||||
@ -29,8 +29,9 @@ I feel like with great waste “comes to you”. Keep your eyes open, look aroun
|
||||
[^should-be-communicated]: The municipality waste guide website & app of Rotterdam is not functioning and has not been updated since 2022.
|
||||
|
||||
##### 2. Donations from friends & family
|
||||
As you’ll enthusiastically keep your friends & family in the loop about your salvaging endeavours, you’ll notice the phenomenon of donations. A large portion of our replaced computing devices still reside in our storage units, waiting to be of any value (@gabrysDigitalRubbishNatural2011). hier moet nog eenpagina nummer bij
|
||||
<ins>Ik zou eigenlijk nog wel meer willen weten over waarom we zoveel devices bewaren</ins>
|
||||
As you’ll enthusiastically keep your friends & family in the loop about your salvaging endeavours, you’ll notice the phenomenon of donations. A large portion of our replaced computing devices still reside in our storage units, waiting to be of any value [@gabrysDigitalRubbishNatural2011]. hier moet nog eenpagina nummer bij
|
||||
|
||||
<ins>Hier kun je nog iets zeggen over die paper met waaarom mensen dingen bewaren [@gegenbauerIPodsAtarisPolaroids2012]</ins>
|
||||
|
||||
##### 3. Institutional discards
|
||||
Institutions where electronic hardware is not their day-to-day business usually[^usually-solution] do not have a systematic solution for their e-waste. Many have a system in place to replace their hardware (printers, computers, etc. ), every 5 years. The remainders are put in storage.
|
||||
@ -42,9 +43,4 @@ 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.
|
||||
|
||||
|
||||
Hier kun je nog iets zeggen over die paper met waaarom mensen dingen bewaren @gegenbauerIPodsAtarisPolaroids2012
|
||||
|
||||
According to the permacomputing[^permacomputing] wiki, scavenge friendly parts are “*are available by the billions in landfills.*”[@SalvageComputing], so there must be loads.
|
||||
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.
|
||||
@ -3,31 +3,34 @@ title: "Dismantling"
|
||||
type: Chapter
|
||||
slug: true
|
||||
front: true
|
||||
nested: "devices"
|
||||
---
|
||||
|
||||
Once you've found a piece of hardware, it's time to start dismantling the device.
|
||||
|
||||
### Some tools for opening devices
|
||||
|
||||
|
||||
For this, the following tools are recommended:
|
||||
|
||||
<ins>afbeelding</ins>
|
||||
|
||||
- A set of screwdrivers
|
||||
- A plastic “thing” (e.g. a plectrum, or a dull plastic knife)
|
||||
- multimeter
|
||||
-
|
||||
Dependent on your device, additional specialty tools might be required, such as:
|
||||
Dependent on your device, additional specialty tools might be required, such as:[^apple-tools]
|
||||
|
||||
- A hot air gun
|
||||
- A drill/dremmel/saw to cut away plastic
|
||||
- Apple's 10k repair tools
|
||||
|
||||
[^apple-tools]: In een footnote iets over die dure apple tools?
|
||||
|
||||
## Opening the device
|
||||
In some cases, product manufacturers provide service manuals[^repair-manual]. These service manuals contain valuable information that can help you to understand the device and to take it apart. Unfortunately, most of the devices I’ve taken apart did not publish their service manuals, meaning we have to figure it out ourselves. Luckily, there are online communities that create their own dismantling guides[^lack].
|
||||
|
||||
|
||||
[^repair-manual]:  [This](https://elektrotanya.com/panasonic_rs-768us.pdf/download.html#dl) repair manual that passed the Repair Club contains a schematic, disassembly information, parts list and multiple trouble shouting guides.
|
||||
[^repair-manual]:  [This](https://elektrotanya.com/panasonic_rs-768us.pdf/download.html#dl) repair manual that passed the Repair Club contains a schematic, disassembly information, parts list and multiple trouble shouting guides.
|
||||
|
||||
[^lack]: [IFixIt](https://ifix.com/) is known for their teirdown guides online, and work in the Right to Repair movement.
|
||||
[^lack]: [IFixIt](https://ifix.com/) is known for their teirdown guides online, and work in the Right to Repair movement. <ins>heroic masculinity</ins>
|
||||
|
||||
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.
|
||||
|
||||
@ -39,7 +42,7 @@ If you’ve managed to get a gap in a seam somewhere, stick a thin plastic “th
|
||||
|
||||
This process really is about finding small gaps in the enclosures[^black-boxism], until you’ve dismantled the entire device. Did you manage? Amazing! You're now looking at all of the inner bits and pieces of your device, made up of all kinds of materials [^inside].
|
||||
|
||||
[^black-box]: These glued up personal devices are clearly not made to be opened. They are black boxes by design, designed to become obsolete @hertzZombieMediaCircuit2012. <ins>verder over black boxes (maar miss op een ander punt, bijv. bij een device specifiek)</ins>
|
||||
[^black-box]: These glued up personal devices are clearly not made to be opened. They are black boxes by design, designed to become obsolete [@hertzZombieMediaCircuit2012]. <ins>verder over black boxes (maar miss op een ander punt, bijv. bij een device specifiek)</ins>
|
||||
|
||||
[^black-boxism]: slowly removing the outer layer of your black box, revealing the inner mechanisms.
|
||||
|
||||
@ -47,13 +50,3 @@ This process really is about finding small gaps in the enclosures[^black-boxism]
|
||||
|
||||
<ins>Dit verhaal gaan ondersteunen met illustraties/foto's </ins>
|
||||
|
||||
<ins>Maybe a suggestion to be discarded, but I would find it fun if the found devices could have a little fictional backstory -- like the airport game: 'I imagine this person (device) did this and this'. On the one hand maybe that's not what you're going for at all, but on the other hand I feel like it could a way to still acknowledge a device's history even when unknown, and in that way exercise the running theme of circulating tech.
|
||||
</ins>
|
||||
|
||||
## Hardware to look out for, or to avoid
|
||||
|
||||
In retrospect, i'll write here something about what to look out for and what to avoid.
|
||||
Something about educated guessing what is inside?
|
||||
|
||||
|
||||
<ins>Feedback: It might be fun and insightful to add a step-by-step example of opening a device. I don't mind the longer text so much, but so far this guide has had a pretty fast pace!</ins>
|
||||
@ -18,3 +18,35 @@ There are an almost infinite number of parts[^interchangeable_part] that can be
|
||||
|
||||
[^interchangeable_part]: To research [interchangable parts](https://en.wikipedia.org/wiki/Interchangeable_parts#Late_19th_and_early_20th_centuries:_dissemination_throughout_manufacturing) n.a.v. deze [post](https://northcoastsynthesis.com/news/preferred-values-for-resistors-and-capacitors/)
|
||||
|
||||
| Name | Category | Description| Found in| Material| Value |
|
||||
|--------------------------------|--------------------------|----------------------------------------------------------------|-------------------------------------------------|--------------------------------------|--------------------------|
|
||||
| Relay| Electromechanical | Switches power| Household appliances | Copper wire, plastic, iron core||
|
||||
| Fuse | Passive | Protects circuits from overflowing| Power supplies, home appliances | Metal wire, ceramic or glass casing | Current rating (A)|
|
||||
| Microcontroller| IC| Programmable chip, for example the ATmega328| Embedded systems, Arduino, automation | Silicon ||
|
||||
| CMOS Chips | IC| 74HC series, CD4000 series | Computers, embedded systems, digital circuits| Silicon ||
|
||||
| Capacitor| Capacitor| Store a voltage| Everywhere | Ceramic, electrolytic, film| Farads (F) |
|
||||
| 555 Timer| IC| A small chip that generates pulses| Timers, LED dimmers| Silicon ||
|
||||
| Crystal Oscillator| Passive | Generates a frequency that is often used as a clock | Devices that have processors | Quartz, metal casing | Frequency (MHz)|
|
||||
| Op-Amp (Operational Amplifier) | IC| Amplifying signals| Audio circuits, sensors, control systems | Silicon ||
|
||||
| Speaker | Ouput | Outputs sound | Toys, (portable) radio’s | Copper coil, paper/plastic diaphragm | Impedance (Ω) |
|
||||
| Coil | Passive Component | | Transformers, relays, wireless charging | Copper wire, Ferrite core ||
|
||||
| Inductor| Passive Component | | Power supplies, RF circuits | Copper wire, Ferrite core ||
|
||||
| Logic chips | IC| Create logic and switches | Computers, microcontrollers, control circuits| Silicon, Gold, Plastic ||
|
||||
| Magnet | <Misc | Electromagnetic applications, motors | Speakers, hard drives | Neodymium, ferrite, alnico ||
|
||||
| Potentiometer | Resistor | Limit voltage trough a knob| Volume knobs, light dimmers | Carbon, cermet| Resistance (Ohm, Ω)|
|
||||
| Resistor| Resistor | Limiting voltage | Everywhere | Carbon, metal film| Resistance (Ohm, Ω)|
|
||||
| Thermistor | Resistor | Limit voltage dependant on temperature | Temperature sensors, power control| Ceramic, metal oxides| Resistance (Ohm, Ω)|
|
||||
| Trimpots| Resistor | Limit voltage trough a small knob adjutable with a screwdriver | Audio circuits, calibration devices| Carbon, Cermet, Metal film | Resistance (Ohm, Ω)|
|
||||
| Displays| Display | Display information | Monitors, calculators, embedded systems | Glass, Liquid Crystal, Semiconductor ||
|
||||
| Piezo disc | Ouput/Input| Records or creates vibrations | Buzzers, sensors| Quartz, ceramics ||
|
||||
| Microphone | Input | Record sound | Phones, vapes | Electret, diaphragm, copper wires ||
|
||||
| Stepper motor | Electromechanical Device | Step based movement | Printers, disk drives, hard drives, 3d printers | Metal, Copper windings ||
|
||||
| MOSFET | IC| Switching & amplification | Power supplies, motor control| Silicon, Metal Oxide | Threshold voltage (V) |
|
||||
| Motor| Electromechanical Device | Moves parts of a device| Printers, blenders, vacuums | Copper coils, iron core, magnets | Voltage (V), Current (A) |
|
||||
| LED (Light Emitting Diode) | Diode | Emit a small light| Everywhere | Gallium arsenide, gallium phosphide ||
|
||||
| Voltage regulators| Passive Component | | Power supplies, embedded systems| Silicon, Plastic, Metal||
|
||||
| Switches & buttons| Input | Interact with the device| Light switches, keyboards| Plastic, metal contacts||
|
||||
| Diode| Diode | Forces current to flow in one direction | Everywhere | Silicon, germanium||
|
||||
| PCB | Misc | Where the circuit is placed on| Everywhere | ||
|
||||
| NPN Transistor | Transistor | Amplification/switching| Everywhere | Silicon, germanium||
|
||||
| PNP Transistor | Transistor | Amplification/switching| Everywhere | Silicon, germanium||
|
||||
|
||||
@ -1,11 +1,21 @@
|
||||
---
|
||||
title: "Chapter 5: Reflection"
|
||||
title: "Chapter 5: Buy in bulk > wat te doen met je nieuwe zooi?"
|
||||
type: Chapter
|
||||
slug: true
|
||||
---
|
||||
<span template-type="chapter"></span>
|
||||
|
||||
### About the narrative of recycling
|
||||
Outline waar dit over kan gaan:
|
||||
Is het salvagen van hardware een realistische sustainable practice?
|
||||
|
||||
- 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>
|
||||
|
||||
[^parksFallingApartElectronics]: Parks, L. (n.d.). Falling Apart: Electronics Salvaging and the Global Media Economy.
|
||||
@ -10,7 +10,7 @@ alsoKnownAs: "Caps, condenser"
|
||||
---
|
||||
Capacitors come in all sizes. I’ve seen capacitors as big as a coffee cup, and the SMD ones are so small they are barely visible. They are passive components that can be found in most electronic circuits. There is a wide variety of types available, like ceramic capacitors, electrolytic capacitors, etc, each having their own properties.
|
||||
|
||||
Electrolytic capacitors specifically, do not age well. Fully unused they have lifespan of 2 to 3 years. There are (complicated) ways of getting them back to life, but (@jangUnplannedObsolescenceHardware2017) recommends that they are replaced by ceramic capacitors, that have a lifespan of 100+ years.
|
||||
Electrolytic capacitors specifically, do not age well. Fully unused they have lifespan of 2 to 3 years. There are (complicated) ways of getting them back to life, but [@jangUnplannedObsolescenceHardware2017] recommends that they are replaced by ceramic capacitors, that have a lifespan of 100+ years.
|
||||
|
||||
### Salvaging Capacitors safely
|
||||
Capacitors store electricity, even after being disconnected from power. Accidentally touching the legs of a charged capacitor can give you a shock. Larger capacitors, such as the ones found in camera flashes or television sets, can store a dangerous amount of electricity. Make sure to always discharge the capacitors before storing them away.
|
||||
|
||||
@ -1,7 +1,7 @@
|
||||
---
|
||||
title: Resistors
|
||||
type: Resistor
|
||||
image: /assets/components/salvaged-resistors.webp
|
||||
image: ./assets/components/salvaged-resistors.webp
|
||||
usage: "A resistor limits the current going trough. This amount of resistance is expressed in Ohm Ω"
|
||||
whereToFind: Everywhere!
|
||||
schematicSymbol: https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/IEEE_315-1975_%281993%29_2.1.1.a.svg/200px-IEEE_315-1975_%281993%29_2.1.1.a.svg.png
|
||||
|
||||
@ -4,7 +4,7 @@ title: Cassette recorder
|
||||
found: 17th january 2025
|
||||
where: given
|
||||
description: This is a description
|
||||
image: "/assets/devices/casette_recorder.jpeg"
|
||||
image: "./assets/devices/casette_recorder.jpeg"
|
||||
---
|
||||
|
||||
The cassette recorder has been donated, after Joak had to repair it one to many times. They modded the recorder to their own liking by adjusting the audio jacks.
|
||||
|
||||
@ -5,7 +5,7 @@ type: Audio device
|
||||
found: Beginning of September 2024
|
||||
where: Interaction Station Trash
|
||||
description: This is a description
|
||||
image: "/assets/devices/mp3_front.jpeg"
|
||||
image: "./assets/devices/mp3_front.jpeg"
|
||||
---
|
||||
|
||||
The MP3/FM Radio player was found in the trash bin at the Interaction Station. This device seems more modern than the reel to reel recorder, and I suspect it will contain some SMD components. Radio's are known for their bend-ability [^handmade-electronics]
|
||||
|
||||
@ -5,7 +5,7 @@ type: Audio device
|
||||
found: Beginning of November 2024
|
||||
where: Interaction Station Trash
|
||||
description: This is a description
|
||||
image: "/assets/reel-to-reel-recorder.jpeg"
|
||||
image: "./assets/reel-to-reel-recorder.jpeg"
|
||||
---
|
||||
|
||||
The Reel to Reel Recorder was found in the trash bin at the Interaction Station. At least half of the parts were already removed. I chose to salvage this device since I could see the components were massive, which makes them easier to resolder and hopefully easier to use.
|
||||
|
||||
@ -5,7 +5,7 @@ type: Audio device
|
||||
found: Beginning of December 2024
|
||||
where: Interaction Station Trash
|
||||
description: This is a description
|
||||
image: "/assets/devices/scan_phone.jpg"
|
||||
image: "./assets/devices/scan_phone.jpg"
|
||||
---
|
||||
|
||||
This phone has great buttons! I want to check the PCB for usage for the [Expressive touchpad recipe](/recipes/using-pcb-s-as-expressive-touch-pads.html)
|
||||
|
||||
@ -13,3 +13,4 @@ Come hang out!
|
||||
|
||||
### Past hangouts
|
||||
{{ events passed repair}}
|
||||
E
|
||||
@ -32,8 +32,8 @@ Connections:
|
||||
- +18v
|
||||
- GND
|
||||
- Sound signal
|
||||
pcb: "/recipes/SingleTransistorOsc/PaperCircuit.svg"
|
||||
sample: "/recipes/SingleTransistorOsc/sample_Cropped.mp3"
|
||||
pcb: "./recipes/SingleTransistorOsc/PaperCircuit.svg"
|
||||
sample: "./recipes/SingleTransistorOsc/sample_Cropped.mp3"
|
||||
buildNotes:
|
||||
- "use alligator clips to connect your 18V and GND to your power supply"
|
||||
- "Cut the middle leg of the transistor for this to work"
|
||||
|
||||
@ -19,7 +19,7 @@ Connections:
|
||||
- -9v
|
||||
- +9v
|
||||
- GND
|
||||
pcb: "/recipes/power-supply/PaperCircuit.svg"
|
||||
pcb: "./recipes/power-supply/PaperCircuit.svg"
|
||||
|
||||
---
|
||||
|
||||
@ -31,10 +31,10 @@ You could skip the capacitors and resistors and just connect the batteries toget
|
||||
|
||||
[^18V]: You can also get 18V: treat the -9V pin as 0V, making the 9V pin 18V
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
[^smooth]: { height=30px }
|
||||
[^smooth]: { height=30px }
|
||||
|
||||
#### Testing
|
||||
Before plugging in the battery's, check your connections[^continuity]. When the batteries are plugged in, your pins should read -9V and +9V[^volt-meter].
|
||||
|
||||
@ -10,6 +10,6 @@ Dear reader,
|
||||
|
||||
This web page includes the WIP version of my thesis. For (limited) information about Klankschool's repair cafe, go to [https://unrepair.klank.school](https://unrepair.klank.school)[^server-down]. The text you'll find below is a draft of the thesis. This thesis will be a field guide to salvaging electronics to make sound devices. This field guide is compact and is meant to be taken "into the wild".
|
||||
|
||||
At the I'm leaving notes for myself of things i'd like to include later. These notes can be recognized by their <ins>`<ins>` tags </ins>.
|
||||
At the I'm leaving notes for myself of things i'd like to include later. These notes can be recognized by their tags
|
||||
|
||||
[^server-down]: At the moment, the klank server is down. As far as I understand, there is an issue with the amount of electricity the server is hoarding.
|
||||
|
||||
@ -38,8 +38,28 @@
|
||||
super(chunker, polisher, caller);
|
||||
}
|
||||
afterRendered(pages) {
|
||||
|
||||
let storedTHead = []
|
||||
pages.forEach((p) => {
|
||||
p.element.querySelectorAll("table:has(thead)").forEach((th) => {
|
||||
storedTHead.push(th);
|
||||
});
|
||||
|
||||
p.element.querySelectorAll("table:not(:has(thead))").forEach((table) => {
|
||||
let splitFrom = table.getAttribute("data-split-from");
|
||||
let matchedHead = storedTHead.filter((th) => {
|
||||
|
||||
return th.getAttribute("data-split-to") === splitFrom;
|
||||
})[0]
|
||||
|
||||
if(matchedHead) {
|
||||
let head = matchedHead.querySelector("thead").cloneNode(true);
|
||||
|
||||
if(head) {
|
||||
table.appendChild(head);
|
||||
}
|
||||
}
|
||||
})
|
||||
|
||||
p.element.querySelectorAll(".sample").forEach((el) => {
|
||||
el.addEventListener("click", function (e) {
|
||||
const audioEl = e.currentTarget.querySelector("audio");
|
||||
|
||||
@ -16,7 +16,7 @@
|
||||
|
||||
<ul class="list--frontpage">
|
||||
{% for nest in documents[chapter['nested']]|sort(attribute='order') %}
|
||||
<li><h3>{{nest['title']}} <ins> (pagenr/link)</ins></h3></li>
|
||||
<li><h3>{{nest['title']}}</h3></li>
|
||||
{% endfor %}
|
||||
</ul>
|
||||
{% endif %}
|
||||
|
||||
@ -27,7 +27,7 @@
|
||||
</article>
|
||||
</section>
|
||||
|
||||
|
||||
|
||||
|
||||
|
||||
{% for chapter in documents['chapters'] %}
|
||||
|
||||
Reference in New Issue
Block a user