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.
Talk about: „Physical Absence – Virtual Presence“ exemplified by extreme metal in social media and the conversion of images from representative objects to participative subjects.
17.11.2014 at Willem de Kooning Academy, Rotterdam.
Images for the lecture/ event „The Shape of Death to Come“ ny Emily West and Gilbert Sinnott, who talk about the possibilities for the dead in the digital world.
Temporary identity for splashsite De Derde Verdieping.
I.c.w. Selby Gildemacher.
Materials: 2 laptops, 2 iPhones, 2 robot arms, 2 SparkCore, Skype, IFTTT app
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“.
Selfie Cinema is an installation for films that allow the audience to embed themselves into other’s narratives.
The first short film featuring the installation entitled „A false paradise“ — a remote romance between ecstatic modern life and the Genesis. The used audio is taken from the TV series „Elementary“.
Both created by Yin Aiwen and Stefan Schäfer as Monolithm — investigating the coexistence of the digital and the physical, the rational and the irrational, the machinelike and the soulful.