CONG Feng 丛峰
Abstract
This article reflects on the conditions of contemporary moving image culture through the intertwined notions of acceleration, excess, techno-scavenging, and recycling. By tracing the circulation of discarded media technologies and images, Cong Feng interrogates the temporality of obsolescence and the afterlives of visual materials. The discussion highlights how repurposed and residual images generate new aesthetic, historical, and social meanings, situating moving image practices within broader debates on social technology, waste, and cultural memory.