How to understand and/or reappropriate this mass of data which composing a kind of Doppelgänger that strangely looks like us, while being so flexible … by us
If our life seems to be on the internet – appointments, photographs, private informations – our way of navigate on the Web embodies our own psychological habits – quick reading, self-discipline or global vision. All these entities allows to imagine – or create – a body and a physical reality in which we live (normally) most of our time. About Identity – an analogy can be made with our identity card, carrier of biometric data, allowing a recognition in terms of identification linking only the physical body to physical informations (size, hair color, etc.) or geographical (address, origin, etc.). To those informations, are often added data on the internet, which reveals behavioral characteristics, having a considerable importance in the statistics, the orientation and the classification of our life habits.
Who are we within all of those practices around Identity?
Are body and identity really related? Does not identity touch wider aspects than quantitative data? Does not identity evolve throughout our life, our experiences, allowing a renewal – or a creation – of a self in the act of making?
How to understand and/or reappropriate this mass of data which composing a kind of Doppelgänger that strangely looks like us, while being so flexible … by us. What about this point? Performing our own digital identity seems to be in the center of a much larger reflection – by losing its corporality through the web, the physical body becomes a phenomenon, embracing then a theory of phenomenology where the incarnation of a world – from life to death – is pure performativity. While the act of an on-line performance create an identity, it opens to a phenomenon, to a reflection on the dialectic between a porous on-line/off-line identity, as an act of creation in perpetual renewal.
- ALBASINI, Diane (2018). identité/narrative/2.0/:contexte/HTLM/de/permanence/de/soi/sur/ Facebook. Request on demand.
- DIXON, Steve (2015). Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, Cambridge : The MIT Press.
- Exhibition Catalogue for Andy Warhol (1968), Stockholm Moderna Museet, February to March 1968.
- JAUFFRET, Marie-Nathalie and Vanessa Landaverde-Kastberg (2018). « Portrait of a biodigital character », Hermès La Revue, [On line], 3, No 82, p. 276, https://www.cairn-int.info/abstract-E_HERM_082_0091–portrait-of-a-biodigital-character.htm?fbclid=IwAR1oIm8Ff5j8IgAWAhMijVbxn-xQUhDKH07Lv352VNxmK4qlfegA7DSA2lk. Consulted on September 22 2019.
- LA MACHINE A BIENVEILLANCE (2019). Oeuvre de Ensemble Ensemble – Place des spectacles, Montréal
- LOTT-LAVIGNA, Ruby (2019). « The weird rise of cyber funerals », Wired, [On line], the 17th February 2019, https://www.wired.co.uk/article/cyber-funerals?fbclid=IwAR3hbuRhjMvp0zKLLDc58Chs40UiLbkC_mpBegKmqkaVIsNiwriT4FhSQJ0. Consulted on September 22 2019.
- SAMSON, Audrey, Ushi Reiter (2017). « Goodnight Sweetheart », esc medien kunst labor, March 17 to April 28 2017, https://esc.mur.at/en/projekt/goodnight-sweetheart. Consulted on September 22 2019.