From unmaking to remaking, the process of reinterpretation, a case from “DumpBeat.”
How do we extract the sources when we unmake something, and How do we sculpt the reality when we remake something?
Reflecting on the global dynamics of discarded electronics, it becomes clear that the journey from developed to developing nations, such as Ghana in West Africa, is fraught with complex issues. These nations often bear the brunt of the slow, insidious impact of modern technology's throw-away culture. In places like Agbogbloshie, a community in Ghana, recycling e-waste is not merely an occupation but a vital means of survival. Here, residents engage in the labor-intensive process of manually dismantling electronics to extract valuable metals like copper and aluminum. Despite offering an essential source of income, this task exposes them to significant health risks due to the toxic materials involved.
The "Dumpbeat" installation poignantly captures these harsh realities through auditory and visual elements. Designed to ignite thought and empathy, it offers a window into the lives of those who endure these challenging conditions. The sculpture's interactive aspect, inviting viewers to experience a simulation of e-waste disposal, acts as a compelling metaphor, shedding light on a much larger issue. Engaging with "DumpBeat" prompts participants to introspect about their part in this intricate global narrative. This artistic endeavor does more than highlight the final stage of the electronics' lifecycle and their effects on the world; it challenges viewers to reconsider their consumption habits, question the ethics behind e-waste exportation, and contemplate the necessity for sustainable technology practices.
The concept of "unmaking" played a pivotal role in creating the "DumpBeat" installation, particularly regarding the sounds originating from Ghana. " In design, philosopher Tony Fry defines unmaking as "the disassembly of an object or structure to recover material to reuse. It also means unmaking values, habits, beliefs, affiliations, and knowledge that obstruct acting against the unsustainable and acting for sustainment." 1 "Unmaking the sounds" presents an innovative perspective on the effects of e-waste. It aims to shed light on various aspects of Ghanaian life, including habits, behaviors, ethnography, customs, and challenges. Analyzing soundtracks from dumping sites reveals the uncertainty and unpredictability inherent in the disposal process. This approach provides a window into the harsh realities of living in proximity to toxic waste. However, the methodology of analyzing these sounds poses a significant question: How can an outsider extract meaningful information without inherent bias? This has sparked a discussion on the techniques used in the unmaking of sound. Identifying and categorizing different forms of unmaking might be crucial in highlighting the extractive nature of the process. Drawing inspiration from “Unmaking: Enabling and celebrating the creative material of failure, destruction, decay, and deformation,” 2 the categorization of forms of destruction reveals that the materiality of an object changes through unmaking. Understanding the nuances of deconstruction, especially in sound collected from e-waste sites, is key to approaching broader discussions without bias. For example, unmaking the sounds could involve categorizing them as culturally relevant, natural, related to livelihood, everyday life, or as toxic. A more profound comprehension of the unmaking process leads to a more refined approach to remaking. By dissecting and understanding the layered complexities of sound and its origins, "DumpBeat" recreates the auditory landscape of e-waste sites and engages in a broader, more informed dialogue about sustainability and environmental impact.
“Remaking the Soundscape” encapsulates the core action of the "DumpBeat" installation, which aims to immerse visitors in the digital era's often overlooked and unseen consequences. This process aligns with the idea of how sounds shape our perception of space and environment. Drawing from Ron Wakkary's concept of decentering humans, the focus shifts to the objects and environments that produce sounds, thereby exploring the intricate relationship between humans and their surroundings. "This decentring of humans is not to erase human relations, but to emphasize the more expansive relationality of humans with the more-than-human world." 3 The reality crafted by “Dumpbeat” challenges visitors to rethink how we can recreate environments to heighten awareness while ensuring that they remain open to interpretation and accessible to all. The installation’s soundscape is designed to engage visitors’ auditory senses exclusively, allowing them to empathize and connect with the experiences and emotions of others. To enhance the impact of this interactive exhibition, a specific movement could be designed to guide visitors’ physical responses to the auditory world, creating a more dramatic and immersive experience. This approach would transport them far from their own reality, fostering a deeper connection with the installation.4 Additionally, incorporating deliberate pauses or blank spaces in the interactive elements of "DumpBeat" serves as a powerful tool. These intentional breaks provide moments for reflection, allowing visitors to process and interpret the realities reconstructed by the installation. This method engages the audience and prompts them to question and internalize the messages conveyed through “DumpBeat.”
"DumpBeat" is an art installation that powerfully highlights the issue of e-waste, especially in Ghana. It creatively uses sound to illustrate the journey of discarded electronics, focusing on how they impact human lives and the environment. The project explores the "unmaking and remaking" concept – breaking down objects and ideas that lead to unsustainable practices. It offers an immersive experience, allowing visitors to deeply understand the challenges those in throw-away culture face and the broader environmental consequences. By doing so, "DumpBeat" encourages people to think about their role in technology consumption and disposal, advocating for sustainable practices and ethical lifestyles.
Bibliography
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Sabie, S., Soden, R., Jackson, S., & Parikh, T. (2023, April). Unmaking as Emancipation: Lessons and Reflections from Luddism. In Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems
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Song, K. W., & Paulos, E. (2021, May). Unmaking: Enabling and celebrating the creative material of failure, destruction, decay, and deformation. In Proceedings of the 2021 CHI Conference on Human Factors in Computing Systems
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Ron Wakkary. 2023. More-than-Human Biographies: Designing for their Endings. In Designing for More-Than-Human Smart Cities: Beyond Sustainability, Towards Cohabitation, Sara Heitlinger, Marcus Foth and Rachel Clarke (eds.). Oxford University Press, Oxford, UK
- Zimoun(2021) Museum Haus Konstruktiv Zürich,Switzerland