This work takes the form of a speculative museum window from a far future imagined through ecological and technological drift.

In this future, chimpanzees have become the dominant species. Following the collapse of human systems, they inherit the material residues of a lost civilisation. Their culture resembles a hybrid of early scientific inquiry and pre-industrial collecting. The museum returns as a place of wonder, misunderstanding and reconstruction.

What remains of humans is not memory, language or narrative.

What remains are materials.

Plastics. Circuits. Casings. Wires. Screens. Containers.

Fragments without instruction.

Dawn of R.A.M. presents these residues as though they are being interpreted for the first time by another species. The installation operates as a vitrined reconstruction of late twentieth-century technological life, arranged through guesswork, pattern recognition and misplaced logic. The future reads us through debris.

The soundtrack was composed from manipulated arcade audio, early video game tones, internet signals, fax machines and analogue interference. These sounds were slowed, looped and layered to form an uncanny, naturalised environment. What once signalled speed, labour, communication and entertainment becomes background ecology.

The installation asks what enters deep time, and what does not.

Plastics are a new hydrocarbon. Like lignin in the first forests, they resist decay. Before microbes learned to digest lignin, entire forests were buried intact and later became coal. Plastics follow a similar trajectory. They may persist in geological strata long after biological memory has collapsed.

In this work, technological culture becomes sediment.

Human systems are no longer central.

They are archaeological.

Dawn of R.A.M. marks an early articulation in the practice of thinking through material inheritance and species drift. It is one of the first moments where technology is no longer treated as progress or tool, but as a future fossil field.

The installation was made during a period of bodily instability and the onset of profound physical limitation. What was planned as a simple installation became difficult to realise, document and stabilise. The surviving images do not carry the full weight of the sound field or spatial atmosphere. Much of the work now exists as a remembered environment rather than an intact artefact.

It remains an early point of convergence between debris, speculation, species displacement and deep material time.