Digital Necropolis

Together with Dr. Emily West, I founded the collective and platform Digital Necropolis. We investigate the digital continuation linked to a physical death: Lives that are increasingly lived online call for a new structure of dying and death. Digital and physical deaths need to be concurrent, and our physical bodies and digital lives can end discretely based on financial and existential needs. Already-existing technologies allow digital lives to grow and subsist through scheduled posting, keyword interactions and automated search engine optimisation. The physically dead can go on living: endorsing sponsored products as their bodies decay. But when a digital life that may have long existed without a physical presence comes to an end, what should memorialisation look like? Memorials for bodily death often invoke simulacra of the human form – the cold faces of death mask, post mortem photograph or gravestone photograph. Else they push the body away entirely, covering corporeal remains with inscribed monoliths of stone. Digital death calls for a form of memorialisation that reflects what is lost – algorithmic interaction, cryptocurrency, sponsored promotion, P2P contributions and cloud accounting. Still the memory of the physical lingers, entombed in digital architecture.

We also published our first book which you can purchase via the website or at several shops and institutions worldwide.


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Bachelor’s Delight

Bachelor’s Delight is a project by artist Jasmijn Visser in collaboration with designer S†ëfan Schäfer and historian Tristan Mostert, designed for Museum van Loon in 2015.

The exhibition takes shape of a quadriptych, with the website as the first part, together with a poster, digital installation, and objects from the museum’s inventory. These different elements can be viewed separately, but also inform each other. The poster operates as a guide through the website and the installation.

Bachelor’s Delight follows an extensive historical research on the Atlas van Loon by Visser and Mostert. Schäfer and Visser used the museum’s eclectic interior in order to design the project’s visual identity.

The website can be visited at
and includes a download verison of the poster.

Supported by Mondrian Foundation and AFK

Special thanks to Cato Koole, Philippa van Loon, Tonko Grever, Heerko van der Kooij and Anonymous Production

Photo Credits: Gert Jan van Rooij

02.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJMicrocosm, Drackensteyn Room
Bachelor’s Delight, installation view


Bachelor’s Delight, installation view


Bachelor’s Delight, installation view


08.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJVitrines and Posters, Upstairs Hallway
Bachelor’s Delight, installation view


07.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJVitrines and Posters, Upstairs Hallway
Bachelor’s Delight, installation view


12.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJVitrine, Upstairs Hallway
Bachelor’s Delight, installation view


15.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJVitrine, Upstairs Hallway
Bachelor’s Delight, installation view


17.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJVitrine, Upstairs Hallway
Bachelor’s Delight, installation view


18.JASMIJN VISSER-'BACHELOR'S DELIGHT'2015-PH.GJ.vanROOIJ 2Vitrine, Upstairs Hallway
Bachelor’s Delight, installation view


KaartVoorkantPoster, Front
Bachelor’s Delight, installation view


KaartAchterkantPoster, Back
Bachelor’s Delight, installation view


24. website IIISpace
Bachelor’s Delight, website view

23. Website IIWorld
Bachelor’s Delight, website view

22. website IMicrocosm
Bachelor’s Delight, website view


I.c.w. Selby Gildemacher, more info and photos come




Size: 255 cm x 150 cm

Material: Wood, Instagram

In Christianity the cross symbolizes eternal life, in our digital age a Selfie remains for centuries. #ImmortalNexusRexInstagram investigates the relation between eternal life in the clerical world and the infinite existence of information in the digital world, which results in an object placed in the physical world. The cross as the object is adjusted to our contemporary Selfie culture.

The audience is invited to actively participate by taking Selfies on the cross, and taking photos of the cross, in order to share them on Instagram.

Digital Death and the Post-Mortem Self

In collaboration with Emily West, PhD Medicine, we started the collective DigitalDeathDrive and organized our first symposium entitled Digital Death and the Post-Mortem Self, 3rd-5th of April, 2015.

As the structure of families and local networks changes and becomes more geographically disparate, the structure of death and mourning must necessarily shift. The Western cemetery model provided a uniform and systematic means of public memorialisation, but there has always been demand for an alternative and more personal means of remembrance for the dead. The control of post-mortem identity is becoming further dissipated through global technology, and recent shifts toward user-generated content means that the post-mortem lives of the deceased can become fractured and multiple. Increasingly, we can take control of our digital selves and digital afterlives. The number of public figures who utilise social networks as a source of revenue in return for prominently featuring sponsored products has raised questions on whether death need still signal the end of lucrative commercial relationships. Are some digital lives now too valuable to stop when hearts stop beating? Our digital selves have the potential to die discrete deaths, long before or after our bodies cease to be. Increasingly, this calls for designers and architects (both digital and physical) to explore the notion of the continuing self when considering environments for death and memorialisation – to link the physical end of life with a digital continuation.