​"​[...]​​ Ruins are in a sense the victory of nature over the civilizational object, but nature in the post-digital context is just as questionable a principle as the digitally untouched ‘uncontaminated’ material. According to one interpretation of post-apocalyptic perception, this is life without a world (to quote Tamás Seregi), a damaged and melancholy existence scarred by the agony of civilization - the vanishing of the world. ​[...]​ In other words, a new non-human aspect emerges out of the unconscious over-hype and ruination of technology: Earth as planetary machine. 
Fridvalszki’s obsessions with materials history and paleontology keep cropping up in his technology-related research,

​[...] Contemporary screen aesthetics caves in under the raw materialism of the non-figurative spreads that take the audience on a geological descent towards the silence of the geological sublime devoid of humans. This suggests a sort of arte povera attitude, the subversive exploitation of Georges Bataille’s base matter, but the sensualness of the photocopied surfaces is balanced on the razor’s edge between the material and the immaterial. ​[...]" 

("The simulacrum bleeds matter" ​by Márió Z. Nemes, details. Artlocator/03, 2016)