1 /5 The name Remote Entanglements comes from Marjolijn Dijkman’s project “Remote Entanglements, Part I: Observatories” and intends the term as the following: Remote denotes something distant, hidden, complicated and that has been developing over the years; Entanglements refers to the complex web structure or system that encompasses and links infrastructures of the physical world to digital spaces. The focus of the piece discusses the shift in technology in a distinct time and place {Thiene, Italy from the 1970s to the 2000s}. Take a look at the installation’s documentation ::HERE::
2 /5 The main catalyst of such change is SIP, the major private Italian telecommunication company of the last century. The installation traverses the micro {Thiene, IT}, to seize the macro, that is, the global condition of our networked digital world. This discussion becomes vital to understand to what degree our lives are entangled in the present, resulting in a conversation concerning the future development of this state. ✳︎REMOTE ENTANGLEMENTS✳︎ is based on the emergent need to contrast infrastructural blindness, or “the unawareness derived from poor knowledge towards digital systems”. The piece is to be conceived into two steps, respectively: the station for uncovering and the surrounding landscape. View the videos here ::SIP–ADS:: / ::SIP–A TECHNOLOGICAL JEWEL::
3 /5 The station for uncovering constitutes the opening of the installation, providing tools {the CD and the Unified Model sculpture} to accompany the viewer through the discovery of the surrounding landscape, which gathers the rest of the entities of the installation–the triptych of films and the printed advert. The sounds and lyrics included in the CD intend to uncover digital infrastructure dynamics to reveal a new, yet persistent neoliberal thrust that operates within the private and the public space.
4 /5 Considering the method of refiguring {Allahyari, M. 2020}, the research outruns the typical scope of graphic design, by uniting different presences {texts, sounds and film} into one space to recreate a nostalgic idiosyncratic mood. The piece addresses a public curious about the systemic and colonial trait of digital technologies, and anyone interested in the preservation of the visual lexicon of consumer ephemera. Remote Entanglements generates critical discourse that discards pessimistic beliefs on technology, and rather interrogates it as an exploited tool. Here is the link with the content of the CD ::︎ SOUNDCLOUD::
5 /5
The visual language of the project is twofold: on the one hand, there is SIP’s corporate identity {the surrounding landscape}, while on the other, there is the one that focuses on the development of a personal visual language {the station for uncovering}. The SIP logo specifically, set in italics gives a sense of movement, it is never static, while the actual symbol resembles the EM waves produced through telecommunication. The personal visual language is very minimal, always employing the same font. Archival research was central to the development of the project: digging through years of documents, files and blueprints helped to understand how and to what extent digital systems have come to play such a huge role nowadays, as much as to figure out who owns these kind of infrastructures. For the development of the project, an AMP recorder was designed and built, in order to detect and record the EM waves that propagate from our everyday digital devices.
