In the “Practice of Everyday Life” Michel de Certeau investigates the ways in which users-commonly assumed to be passive and guided by established rules-operate. He asserts:
“This goal will be achieved if everyday practices, “ways of operating” or doing things, no longer appear as merely obscure background of social activity, and if a body of theoretical questions, methods, categories, and perspectives, by penetrating this obscurity, make it possible to articulate them.”
“ReFunct Media” is a series of multimedia installations that (re)uses numerous “obsolete” electronic devices (digital and analogue media players and receivers). Those devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they “interact” in different symbiotic relationships such as mutualism, parasitism and commensalism.
Voluntarily complex and unstable, “ReFunct Media” isn’t proposing answers to the questions raised by e-waste, planned obsolescence and sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.
In the “Practice of Everyday Life” Michel de Certeau investigates the ways in which users-commonly assumed to be passive and guided by established rules-operate. He asserts:
“This goal will be achieved if everyday practices, “ways of operating” or doing things, no longer appear as merely obscure background of social activity, and if a body of theoretical questions, methods, categories, and perspectives, by penetrating this obscurity, make it possible to articulate them.”
“ReFunct Media” is a multimedia installation that (re)uses numerous “obsolete” electronic devices (digital and analogue media players and receivers). Those devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they “interact” in different symbiotic relationships such as mutualism, parasitism and commensalism.
Voluntarily complex and unstable, “ReFunct Media” isn’t proposing answers to the questions raised by e-waste, planned obsolescence and sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.
BusinessGreen reports that UK startup WEEE Systems has ambitious plans for addressing the e-wasteproblem and moving the electronics industry toward a closed-loop system. It plans to involve at least one manufacturer in developing a prototype plant that ultimately would see manufacturers taking responsibility for the full life-cycle of their products by helping companies reuse and recycle more, and more efficiently.
BusinessGreen quotes Bob Clarke, WEEE Systems chief executive, who explains the basic idea behind the company:
“The e-waste industry is bizarre in that firms currently pay you less than the old kit is worth to take it away and recycle it, but then if anything goes wrong and it does end up in an illegal scrap yard in the developing world you are the one that gets in trouble. We want to work with a manufacturer where they agree to give us 50,000 old TVs; for example, we’ll reuse or recycle them as appropriate and provide our partner with the resulting reusable parts and materials.”
WEEE Systems says it’s trying to help the industry look beyond the minimum legal requirements:
WEEE Systems believes that leading businesses will want to look beyond legislative compliance and embrace changes today in order to realise the tangible benefits available – including releasing the real estate tied up storing surplus equipment, protecting brand value and meeting corporate social responsibility objectives.
With raw material prices increasing, there is a growing demand for the value that can be obtained from re-used and recycled materials, further incentivising progressive businesses to take advantage of the material transformation opportunities available.
The BusinessGreen story says the company recently launched a new software package and service to do just that:
Dubbed Cosvcon – an amalgam of cost versus contribution – the new software and service package audits a corporation’s IT infrastructure, recording information on a wide range of metrics, including the equipment’s age, energy use, utilisation and carbon footprint.
The company then provides clients with regular updates on the status of their infrastructure and identifies the optimum time to retire old servers, PCs, phones and other equipment.
“The aim is to help the client realise the maximum transformative value of their IT, where we can say, ‘At this point the asset is perfect for the secondary market, but if you leave it for a year it will be good for the recycling market’,” Clarke explained.
In the “Practice of Everyday Life” Michel de Certeau investigates the ways in which users-commonly assumed to be passive and guided by established rules-operate. He asserts:
“This goal will be achieved if everyday practices, “ways of operating” or doing things, no longer appear as merely obscure background of social activity, and if a body of theoretical questions, methods, categories, and perspectives, by penetrating this obscurity, make it possible to articulate them.”
“ReFunct Media” is a multimedia installation that (re)uses numerous “obsolete” electronic devices (digital and analogue media players and receivers). Those devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they “interact” in different symbiotic relationships such as mutualism, parasitism and commensalism.
Voluntarily complex and unstable, “ReFunct Media” isn’t proposing answers to the questions raised by e-waste, planned obsolescence and sustainable design strategies. Rather, as an installation it experiments and explores unchallenged possibilities of ‘obsolete’ electronic and digital media technologies and our relationship with technologies and consumption.
Try as we might, even the most well-protected hardware can’t stay new forever. Coca-Cola spills and accidental drops are ever-present possibilities, of course, but there’s little you can do to stop the inevitable march of time.
However, some hardware ages better than others. It’s the reason why your friend’s Super Nintendo looks fresh and unscathed, while your own console sits forlornly in a corner, tinted yellow to the core. “Cigarette smoke!” some will holler, convinced that’s the reason, but the actual explanation might surprise you.
There are many different types of plastic, but the kind most commonly found in old computer hardware is called ABS, or acrylonitrile butadiene styrene. In its pure form, ABS plastic is combustible, however, and not the sort of thing you want in a mass-market consumer product. Thus, plastic manufacturers mix in a variety of flame retardant chemicals — usually involving large amounts of bromine, a naturally brown liquid — to help reduce a product’s chance of catching fire.
The problem is that bromine undergoes a reaction when exposed to ultraviolet (UV) radiation — in other words, most sources of light, both natural and artificial. This breaks the bonds that were created during the manufacturing process, and leaves bromine molecules free to seek out oxygen. This process, also known as oxidation, is responsible for the increasingly brown or yellow appearance of old plastics over time. Nothing — not even the original packaging — can stop it, and added heat and UV light can actually accelerate the rate of discoloration.
If you were to chip away a small portion of an affected case, you could see this process in action. The inside layer of plastic often retains its original color because it has been exposed to little or no oxidation.
Of course, this doesn’t explain why some Super Nintendo consoles age differently than others. Or why only certain sections of a console or computer take on a discolored hue than the rest. Benj Edwards of Vintage Computing, however, offers a very feasible hypothesis:
Perhaps in one of the production runs of plastic, they didn’t get the catalyst or flame retardant mixture quite right and more residues were left over in the top half’s plastic batch, thus causing it to degrade more rapidly over time. And by the time Nintendo produced the later runs of Super Nintendos, they had probably fixed the problems in the manufacturing process of their plastic, meaning that those later models aren’t as susceptible to oxidation as the earlier models are.
Simply put, Nintendo could have used a more stable plastic that would have been less susceptible to discoloration, but chose ABS plastic for its manufacturing simplicity and reduced cost.
What can you do about it?
As you’ve probably gathered by now, not much. There’s simply no way to reverse the chemical reaction that’s taking place. However, there are ways to compensate, and in some cases, restore a plastic to its original color — at least temporarily.
Perhaps the most obvious solution is to use some sort of abrasive material to get past the discoloration. Light products, such as a Magic Eraser, are good for surface dirt, but can only remove so much. A more radical approach would be to use some light-grain sandpaper. But be wary: in both cases, you’re literally removing layers of plastic with each rub — layers you can never get back.
From the Retr0bright Wiki, the shell of a Commodore 64, after being partially immersed in liquid for eight hours.
A more recent and potentially successful approach is to use a high-concentration solution of hydrogen peroxide, mixed with other household chemicals. This is actually quite dangerous — there’s a risk of burns and blindness here folks — and should only be completed with the utmost care. However, if you’re interested, check out the Retr0bright wiki, which offers a number of tried and tested cleaning recipes that, in some cases, can restore old yellowed cases to an almost-new looking condition.
There are potential side-effects, of course, such as fading logos and labels, but the restoration benefits might be worth it for some.
Of course, it doesn’t hurt to ensure that cigarette smoke isn’t the real source of your yellowing woes first, especially if your computer or console was bought second hand. Nicotine won’t penetrate any deeper than the surface of the console, and can be removed relatively easily with a light abrasive material or cleaner.
One of these things doesn’t belong. Image via Flickr user Redbeard Math Pirate.
In conclusion, the next time you feel the urge to fret about your old, yellowing electronics, worry not — the blame for this particular problem rests squarely on the shoulders of someone *other* than you.
Faced with a printer that would stop printing for no apparent reason, Finnish pirate and hacker [Janne] decided he had had enough. After doing a bit of research, he disassembled the drum assembly and replaced some components. The end result? Supposedly ‘broken’ printers started working again.
Apparently, Xerox uses a fairly basic scheme to determine when it’s time to replace your printer drum: An I2C eeprom keeps a count of the number of pages printed. After a certain number, the printer decides that it’s broken and won’t print any more. To fix this, a suitable replacement memory chip needed to be sourced. The original chip was a ST22C02WP. However, this was difficult to find, so the replacement part was selected to be a CSI 24C01WI. Amusingly enough, the replacement part has only half the space of the original chip, but this doesn’t appear to have caused a problem. The chips were swapped, and after some precision soldering the printer was completely repaired. The blank replacement chip functioned… due to the fact that there is no security or encryption involved between the printer and the drum (Score!)
Using e-waste as raw material, our workshops offer participants to become familiar with basic hardware and software hacking / recycling while at the same time gaining hands-on experience making an interactive art project.