Everyone knows that actually reading a “terms of service” agreement is rarely (if ever) done by consumers using large digital platforms, but there is something powerful about seeing just how overwhelming this task is in print.

Artist Dima Yarovinsky installed a series of these covering Facebook, Snapchat, Instagram and Tinder on normal-width rolls of paper, creating infographics to display at the Bezalel Academy of Arts and Design.

Titled simply “I AGREE,” the resulting sheets are so long that, even hung up high toward the ceiling, they roll off the wall and onto the floor below.

Per Dima: the average person reads at a rate of 200 words per minute and the average terms-of-service features close to 12,000 words, meaning they would take about an hour to read (assuming the reader didn’t stumble on all the obscure legalese).

By setting it in a standard font in physical space, it becomes much easier to see just how long these agreements are, and what corporations are forcing on those who would use their services.

Physical businesses that fall on hard times often leave signs in the built environment, like the distinctive facades of deserted or adapted Pizza Huts, but what might social media sites look like in a post-apocalyptic, non-digital world?

For that matter, many giants, from Yahoo! to MySpace, have already crumbled and been replaced. But in this series, graphic artist Andrei Lacatusu imagines the still-strong and thriving leaders of the pack in a future state of IRL disrepair.

Like abandoned offices, retail stores, gas stations or movie theaters, signs for Google, Instagram, Facebook, Tinder, Twitter and Pinterest are seen withered, cracked and eroded by the elements over time. 404 Error: Business Not Found.

The result looks like gloomy snapshots of a ghost town with boarded-up storefronts and rusted-out metal security doors. And the details are quite convincing, with faded paint, chipped light-up signs and missing signage lettering.

This photo-realistic ‘Social Decay’ series was created with a combination of Adobe Photoshop and 3D rendering programs, Autodesk 3DS Max and V-Ray.

TV repair shops, once fixtures of our tuned-in society, have faded away as televisions became more reliable and the broadcast medium itself lost its relevance.

Take Milbee Radio & TV, a tiny TV repair shop supposedly operating out of Elizabethtown, PA. We say “supposedly” because neither Flickr user Katie Burkey (StarPhotographs) nor Wendyvee of RoadsideWonders have been able to find anyone actually working there – “I think this shop might be abandoned, but I never knew for sure,” stated Burkey in March of 2011.

Aside from the minuscule size of the shop (and its queasy two-tone green paint job), the gloriously retro sign tells a story all on its own. Does anyone remember brand names like Admiral, Zenith, Philco and Quasar? How long since the word “RADIO” on a sign attracted customers? Last but not least, “COLOR” television was once a feature worthy of note.

Don’t Give A Hoot

The latest entry in the Anti-Zombie Fortress sweepstakes is the former Hoots TV Service on Highway 80 West, Fort Worth, Texas. According to Joan Carroll, the glass block-enhanced blockhouse dates from 1964 and was the third (and final) location of Hoots TV.

Screen Thy Last Screen

This Japanese TV and monitor repair, assembly and distribution center seems to have soldiered on until 2008, according to calendars found within by Florian and friends from the Abandoned Kansai urbex blog.

Like many Japanese abandonments, the business appears to have been closed in a hurry with much equipment and stock left in place and on shelves. Towards the end, the business serviced Sega arcade machines and monochrome computer monitors but couldn’t afford to retool when ponderous CRT screens gave way to flat-screen LCD and TFT-LCD displays.

Bad Dreams

Odd that microwave ovens were once categorized as electronic devices instead of kitchen appliances but hey, those were the days! Dream Lovers T.V. Shop (why the periods between T and V?) once sold and serviced televisions – and presumably microwaves – from this gritty shop in Nottingham, UK. Flickr user Rust Never Sleeps captured the shop’s well-aged storefront in late July of 2014.

Rough In The Dimond

This ultra-rustic TV Sales & Service shop languishes unlamented in the cold heart of East Oakland’s Dimond (pronounced “diamond”) district. Flickr user Billy (misterbigidea) snapped the shop’s weary weathered facade in late January of 2014.

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Fading To Black 13 Abandoned Tv Repair Shops

At the convergence of the localvore and vertical farming movements, Target’s new in-store micro-farms are positioned to offer the freshest possible produce to consumers. On offer: leafy greens and herbs initially but eventually also potatoes, beets, zucchini, tomatoes peppers and more.

In collaboration with the MIT Media Lab and IDEO, the company’s Food + Future CoLab will be testing their indoor production technology in stores around the country starting next spring. Target aims to leverage its scale to optimize their approach over time while also using their strategy to attract conscientious consumers.

Among other advantages, local and in-store aquaponic setups require less water and no pesticides as compared to outdoor alternatives. Also, since stores are already temperature-controlled for food storage and customer consideration, heating and cooling are effectively taken care of without additional energy expenditures.

Neither vertical farming nor close-to-source produce are new. Huge vertical farms have enjoyed success from Japan to New Jersey and rooftop farms often provide food for local communities or restaurants and hotels below. Still, like a similar project in Germany, this takes the idea to the next level, offering fresh organic crops alongside conventional ones right in a retail grocery shopping outlet. As populations continue to urbanize, demand for city-grown food (without the transportation costs and with appeal to local-oriented eaters) will only continue to grow.

Spanning 1,700 square feet of interior walls in a Washington, DC office building, this stunning digital display cycles through different settings and seasons, reacting to workers as they walk through the building.

Designed by ESI, the bright and dynamic lobby installation is also visible through expansive glass panels at the front of the building, making it visually accessible to the public as well.

The design shifts between three core programs: Color Play, Cityscape and Seasons. The scenes are constantly shifting, generated by algorithms that keep them fresh from one day to the next. Ambient sounds play in the background, adding a layer of effect to the visual experience.

The installation is 80 feet wide and 13 feet high, seamlessly integrated into the architectural surfaces. In Season mode, it displays DC’s famous cherry trees through periods of the year. In Color Play, bright patterns light up the walls. In Cityscape, iconic architecture, statues and transportation settings are shown.

“The different media create distinct rhythms to give terrell place a unique identity and strong street presence,” says Michael Schneider, Senior Creative Technology Designer at ESI design. “Each of the media scenes reflects the time of day and the movement of people through the lobby, acting almost as a large abstract data-visualization of the ebb and flow of Terrell Place.”