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“Then she generated the light, and the sight of her room, flooded with radiance and studded with electric buttons, revived her. There were buttons and switches everywhere - buttons to call for food for music, for clothing… There was the button that produced literature. and there were of course the buttons by which she communicated with her friends. The room, though it contained nothing, was in touch with all that she cared for in the world.” – E.M. Forster, “The Machine Stops”. (1909)

“This is our destiny: subject to opinion polls, information, publicity, statistics; constantly confronted with the anticipated statistical verification of our behavior, and absorbed by this permanent refraction or our least movements, we are no longer confronted with our own will… Each individual is forced… into the undivided coherency of statistics.” - Jean Baudrillard

“Knowledge is now property of the network.” – David Weinberger, The Berkman Center, Harvard

Net artist Alex Taylor and musician/artist Jason Friedman (The Hundred In The Hands) collaborate on Heap Cuts: a modular composition without beginning or end. Heap Cuts presents a critique of digital absorption and waste from from a utopian plane of consumption. Within this environment, multiple :48 second Soundcloud™ and Youtube™ stems descend hypnotically embellished with the idealistic slogans and language of Silicon Valley luminaries, the anodyne color-palate and ubiquitous cute pictograms of tech advertising. Both unquantifiable and locked to the homogenized constraints of the perpetual present and conspicuous computation of the corporate internet, Heap Cuts is an attempt to extend the digital horizon in order to examine the promise of, and consolidated power-structures for, de-materialized music creation and consumption.