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.
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.
Sellotape Selfies/ Sellofies and extreme metal aesthetics in times of face recognition and narcissism. Sellotape selfies were initiated by Lizzy Durley as a new meme on facebook. On-going. Description following.
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.