Developed during the masterclass „Sandberg @ Mediapark – Radical Imagination“.
Iedereen is live maakt het vluchtige medium van livestreams beschikbaar voor een breed publiek. Een professioneel panel van beroepskijkers loodst het publiek door een selectie van interessante livestreams onder begeleiding van een presentator. Zo ontdekken we rappende meisjes met hoofddoekjes uit Ede, krijgen we een rondleiding door een weedwinkel en worden we verrast door een vrouw met pandamasker en waterpijp die sensueel danst.
Livestreams komen negatief in het nieuws: een live zelfmoord, live moord of live mishandelingen. Iedereen is live laat een andere kant zien van dit nieuwe, vluchtige medium. Tijdens een marathon van 24 uur laten we zien dat werkelijk de hele wereld live is: van het land van de rijzende zon tot en met de surfdudes in Californie. Maar het concept leent zich ook uitstekend voor een uur online live video in het weekend. In beide gevallen met input van het publiek.
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.
The Selfie Extender devides the act of taking a Selfie from location, which is “traditionally” seen as a whole. A Selfie operates as a proof for being present at a certain place, and we basically become our own watermark. In this project the audience is physically present at one spot and takes a virtual Selfie at any other spot imaginable. By physically pressing a button on one location, the robot arm will take the photo on the other location. The installation was done with a 10.000 km distance selfie between Groningen (NL) and Cape Town (ZA) in 2014.
Extensions of Man Workshop at Mediamatic during „Pret Park“.
Materials: three mirrors, one spy mirror, surveillance camera incl. software, computer
Dimensions: 90 x90 x 200 cm
Exhibited at Mediamatic Amsterdam in July 2014.
Selfie Horror Booth is a mirror cabinet that creates a mise en abyme with oneself taking selfies. The person inside the booth gets multiplied. The booth’s small dimension make people feel comfortable to take selfies. On top a surveillance camera is installed that anyone else can control from a distance on an external computer. After leaving the booth the person will see her/his performance on the external computer and makes then afterwards feel uncomfortable being monitored. It is an allegory to the digitally multiplied self and the loss control online.
True Selfie Horrors is a lecture about one part of my research on selfies; focusing on hidden layers that might have negative impact on one’s virtual and physical life, including accessibility for everybody to change context and identity, a selfies living their own lives online and the potentially chance of one’s selfie becoming an avatar for a bot.
Performed at Mediamatic Amsterdam, OTIS college for Art and Design, World Design Capital 2014 Cape Town.
Visiting the current political demonstrations in Bangkok, the most remarkable points were the ‚festive‘ atmosphere that was going on. The streets were filled with people wearing red, white and blue, the colors of the Thai flag; a symbol occupied by the demonstrators. The colors of the flag appeared on T-Shirts, sleeves, glasses, hair accessoires, gloves, face paint, and much more. These props were sold on the streets at merchandise stands, similar to the ones you come across at music festivals. And there were band playing on stages. Though there were bombs exploding and gunfires in other parts of the city, the mood in central bangkok was in general: fun.
It seems people were joining the demonstrations for different reasons: demonstrating against the government, or having a good time participating in the political festival. The latter includes another reason: to be seen. A huge amount of people dressed up and took selfie after selfie to an extend that the Thai demonstrations hold the unofficial world record of uploading selfies per day. It almost shut down Instagram.
The revolution´s digital life takes place on facebook and Instagram, partly protesting, partly posing in and with the mob. „Whether they were there to be seen and take selfies or seriously protest the government, there is – of course – now a Facebook page featuring the finest girls of the protest. „Mob Stars“ is now trending and has already collected over 26,000 likes for displaying cute girls and their nationalistic fashion statements.“1
Our EP „Physical Absence – Virtual Presence“ is out.
Listening online: http://clashvoid.bandcamp.com
Email me if you want to get a copy.
Twittercore is a 140 character realtime grindcore band and at the same time a new interactive music genre. It combines the social engine Twitter with the music genre grindcore.
During the performance the audience sends tweets to a certain #. The tweets are used as lyrics and sang in realtime. At the same time the tweets are generating a blast beat in the drum-computer. The tweets are either send right on the spot or by people from all around the world who attend the performance online. Incoming tweets are projected on a screen, immediately visible for the audience. Because tweets are limited to 140 characters, the Twittercore sets are limited to 140 bars of music. After that the whole system shuts down automatically.
Twittercore acts as a medium combining the systematic structure of Twitter with the extreme outbursts of emotion found in grindcore. Grindcore is for a large part about criticizing the system. Before this background Twittercore is acting as a medium to provide the audience with a platform to express different opinions, criticism, hate and fun. Twittercore is Stefan Schäfer (vocals, Nintendo Wii) and Christoph Scherbaum (electric guitar, programming).
Twittercore performed amongst others at CIG Poster and Graphic Design Festival Chaumont, France, Cite Du Design, St. Etienne Design Biennale, DePunt Amsterdam and OCCII Amsterdam and Worm in Rotterdam.
„PAVP: Physical Absence – Virtual Presence“ EP RELEASE, 18.10.2014 @ De Punt, Amsterdam
According to the Guiness Book of World records, the fastest song in history is „You Suffer, but Why“ by grindcore pioneers Napalm Death (1,136 sec). Our fastes one is still a bit longer „Wikicore Continue“, tweeted by Nuankhanit Phromchanya.
Twittercore performed amongst others at Cite Du Design, St. Etienne Design Biennale, DePunt Amsterdam, OCCII Amsteram and CIG Poster and Graphic Design Festival Chaumont, France.
Twittercore at Chaumont, set one
Twittercore at Chaumont, set two
Twittercore´s new interface for DePunt, 02.11.2013
About Twittercore, interviewed by Christoph Müller-Girod
Old School Twittercore: very first performance at former filmmuseum Vondelpark, Amsterdam.
Hannes Bernard, Guido Giglio, Seungyong Moon, Noortje van Eekelen, Ruben Pater, Yin Aiwen, Yuri Veerman.
Participating in the Toffie Pop Culture Festival in Cape Town (ZA) we as team Netherlands (students of the Sandberg Instituut, Amsterdam) built an installation for pirate-trading, based on the seafaring and trading histoy of the Netherlands and South Africa. The installation consisted of USB sticks, filled with pirate design resources, buoyage, ropes and weigths. The audience could exchange data using the USB sticks and so be part of the pirate-trading.
The first Dutch settlers were sent to the Cape to establish a halfway station to provide fresh water, vegetables, and meat for passing ships traveling to and from Asia. The settlers brought with them trade from Europe and bartered with the locals for their sheep and cattle. As such, the Cape has been instrumental as a point for exchange between the Netherlands and South Africa for centuries. The Dutch delegation’s Pier to Pier project aims to re-establish a relation of exchange by trading design resources from the Old World. Bring your laptops, lower the digital cargo and enjoy free-trade from our pirate-ships.