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Festival 2015

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Panel Discussion

YOUR HEART STOPS BEATING, U KEEP ON TWEETING

THE BETTER YOU X THE PAST

30 October 2015
21:30 — 23:00


Location: Theater Kikker
€7,-

Death is not the end, certainly not on the internet. We continue to exist in social media, even after our last heartbeat. This is an optimistic program about the (un)imaginable future of our online and social past. Emily West and S†ëfan Schäfer investigate life in the hereafter for online identity in Digital Death & the Post-Mortem Self. Boris Meister made Above the Cloud – Archaeology of Social Networks, an atlas about life and death on social media. Utopia 1.0: Post-Neo-Futurist-Capitalism in 3D! by Annie Berman is completely shot on location in Second Life, once a flourishing world, now full of ghostly structures and missing plug-ins. In Networked Collective Memory, the Utrecht artist Patty Jansen explores how traumatic events can be commemorated on the internet.

Digital Death Drive (Emily West & Stëfan Schäfer) Boris Meister Patty Jansen Natalie Dixon

Digital Death Drive (Emily West & Stëfan Schäfer)

― Artist

Digital Death Drive is a collaboration between Emily West (PHD Medicine) and S†ëfan Schäfer (MA Designer & Researcher) exploring the notion of digital death and the post-mortem self. As the structure of families and local networks changes and becomes more geographically disparate, the structure of death and mourning must also shift. The control of post-mortem identity is becoming further dissipated through global technology, and recent shifts toward user-generated content means that the postmortem lives of the deceased can become fractured and multiple. Our digital selves have the potential to continue, or to die discrete deaths – long before or after our bodies cease to be. This increasingly calls for designers and architects (both digital and physical) to explore the notion of the continuing self after death.

Boris Meister

― Artist

Boris Meister is a designer and curator based in Geneva, Switzerland. Acting as a translator between concepts, information and materiality, his work includes a reflection on the contemporary tools of communication, their uses and their poetical meaning. Above the Cloud, a project he will focus on at Impakt, is a research and design project made in 2012. It’s a book about social networks archeology, death and digital presence left in distress on the internet. Looking at it as geographical space populated by digital ghosts, it’s a large collection of voices of the living dead, filling endless gigabytes of server storage. The book is edited in 3 main parts: The Ghosts, The Ruins, Datas. The editorial concept plays with the general idea of the atlas, using several languages such as associations of images, illustrations, data visualisation and essays.

Patty Jansen

― Artist

Patty Jansen holds a Master’s degree in Artistic Research from the University of Amsterdam, with a background in design and art history. In her ongoing research, she focusses on the (online) visualisation of traumatic events and our collective memory as seen from different perspectives The past has become remarkably adjustable. We can (re)write our past for the future from our own homes. By circulating commemorative images and image sequences online, the image repeats itself and comes back again. Our collective memory is embedded in the spreading and repetition of these creations. Never forget & Remember – the more the image is produced and repeated, the more memory seems to be slipping away. The digital process of our shared memory represents the focus of this research.

Natalie Dixon

― Moderator

Dr. Natalie Dixon (she/her) is the cultural insights director at affect lab. Her work explores issues of belonging, otherness, race and gender through the lens of technology. Her research has been published in multiple peer-reviewed journals and featured in international media. Recently, as a research fellow at Het Nieuwe Instituut she presented ‘How to Read a Story About Burn-Out’ a research project and performance reading for audiences at the Dutch pavilion at the Venice Architecture Biennale (2018) and at Het Nieuwe Instituut (2019). Photo: Antal Guszlev

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