un Projects is based on the unceded sovereign land and waters of the Wurundjeri and Boon Wurrung people of the Kulin Nation; we pay our respects to their Elders past and present.
un Projects

Lossy feelings: a score for a disassembly line // for coming together // for processing waste // for letting go

by

in collaboration with Andrea Lim, Benjamin Forster, and Emily Stewart

A single white, scratched-surface table, sedimented with layers of use; five black, carpet-burn office chairs that prickle in the heat; a pristine set of stainless steel kitchen trays and bowls; and a large cardboard box erupting with rat king cables, dead laptops, hard drives, speakers, calculators, and obsolete phones. Decades of digital wreckage. 

An email had been sent: an invitation to fall apart. Lamps are lit; twangy music plays quietly between friends. Tea is made and tools laid out with precision. Five people sit: a software engineer, a poet, a sound artist and two artist-hosts. We each choose an object from the box.

– They really don't want you to get in there

– – They don't want you to see the horror of the hollow

Run your fingertips along an edge

one smooth frictionless motion 

An ex

–change 

scattering DNA

excite electron crackles
{There may be blood.}1

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We delight in disassembly: breaking the spell of the whole; fathoming parts; careful handling. The production line is reversed. We find ourselves forming new attachments to the defunct, assigning value to multiplying pieces. We share methods for un-making; we ask for help from more hands. Fragments are held up to the light:

Black and white image of a USB that resembles a finger nail with two nails sticking into it.

A polished mirror surface is lifted from its (en)crypt. These pieces have performed precisely, unseen and untouched by human hands until now. And now, we cannot avoid our own reflections. 

Jellyfish hovering in a field 

Feel your body as formless, protozoic

Entangled with other bodies 

Your only solid state is liquid.2

Black and white image of an extreme closeup of a palm with a small, lego-like block.

We are destroying objects that, for years, existed under the swipe of fingers, in the warmth of pockets, gathering dust from bodies. Delegated memory-keepers and externalised executive function. We try to mouth the words for this lossy feeling but only come, palms upturned, cupping a frictionless wheel to spin out across time.3

Consider how this device held space

On a shelf, or carried close

Cradle the emptiness

Imagine this space inside you that need not be filled.4

It’s hard to name what we have found. Or what has been erased, even as our DNA stickily binds with each machined surface. We become aware of a one-way trajectory of incremental loss. It’s a loss not just of data, but of function, memory, connection, depth: our digital selves.  

Discussion slows as we continue to break down, dissect. The mood spins from nostalgia to melancholy: though these things have lain untouched for years, we are relinquishing the latent hope that their contents could be reclaimed. These parts remain invisibly — hopelessly — inscribed with images, lost labour, and intimacies between people. We are feeling the forgetting, a sense of bleak responsibility. Potential evaporates, the ghosts vanish.

We speculate that the action of taking apart might teach us how to live with less, to go without, or at least how to slow this soft burial. It can also feel like honouring each device, this work of finding our way back to holding our own histories, memories, and stuff. We search for futures in our debris; for new beginnings in the dissolution.

Tap out a rhythm with your foot 

 1, 2     1, 2     1, 2     1, 2

Tinnitus echoes

 Brains, mothers, boards 

backflipping against time.5

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|  . .    . . .   . .                   |

|  ………              . .         |

|                                       |

|                                       |

|___________________ |

Black and white close up image of a standing hard drive.

We have been murmuring together for hours, completely absorbed in the un-making. Language stutters and glitches and fails in the unknown; speculation fires our collective imaginings. There is still more wonder… haptic button-bounce nostalgia. World’s first fidget spinner. Magnets holding action in suspension. The braille score of a soldered motherboard. Searching for the atom, dragging fingers through trays of impossibly tiny screws. 

We have to tear ourselves away. 

Green light, dark. Green light 

Pass a hand across your field of vision

Drip drip dripping 

hot solder on your fluttering eyelids.6

The lossiness is not just the data dissolving; we feel it in our bodies. We are undone by it.

Black and white, bird eye view photograph of people working around a table with dissembled hard drives.

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[1.] Toshiba laptop (Model: Satellite L750. Year: 2011). Part: CD disk drive drawer track.

[2.] Toshiba laptop (Model: Satellite L750. Year: 2011). Part: CD disk laser reader.

[3.] Lossy compression is a process by which data is discarded to reduce file size. This process is irreversible: this lost data can never be restored.

[4.] Toshiba laptop (Model: Satellite L750. Year: 2011). Part: CD disk drive. 

[5.] TDK iSLIM iPod Speaker Dock (Model: ADS-02. Year: 2007). Part: motherboard.

[6.] Ibid.

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Made at Frontyard Projects and at home on Gadigal and Wangal Country.

Make or Break (Bec Gallo and Connie Anthes) devise and experiment with process-based projects that are often co-authored with other people, communities, systems, and things.

By Make or Break in collaboration with Andrea Lim, Benjamin Forster, and Emily Stewart.

Filed under Article Make or Break