In May of 2014, I spent three days at the Media Archaeology Lab at the University of Colorado Boulder in Boulder, Colorado as an artist in residence. The lab houses antiquated technological devices (printers, video game systems, computers), which are in working order.

Using a Raspberry Pi computer configured as a web server, I set up an ethernet LAN using three of the lab's old Apple computers. This physical Internet (Intranet) uses software to display different outputs and behaviors on each browser, creating a networked triptych.

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Through the interface of commercialism, we form our initial relationships with technological objects. Commercials for these objects, which can cost millions, often communicate an image of sex, envy, and desire, only to become obsolete within weeks. This piece takes a Motorola RAZR ad, harvested from Youtube, and reconstructs the video to become a perfectly symmetrical and psychedelic image. The short loop focuses on one of the physical interactions we have with the phone, rubbing with the thumb, and then explodes with abstract colors and forms. This edited symmetry makes the commercial more aesthetically seductive, while dissecting the historical memory of the object's marketed cultural status.

As viewers walk in front of the sculpture, various ringtones are triggered eliciting a Pavlovian response.

A Furby is the first toy to feature "artificial intelligence" and when turned upside down, it starts to complain and cry. This Furby is going through the process of self realization through torture.