SELECTED Interviews DIDDO

Interview with Jess Denham / The Independent

What first sparked your idea to create a skull from cocaine –
any particular observation or personal experience?

I honestly can’t remember what initially sparked the idea but as in most of my work the subject is human behaviour. It’s all around us, enigmatic and ever changing. To me, human behaviour seems to be the result of the conflict and cooperation oftwo dynamic forces within us: the vestigial animal instincts, without which we wouldn’t have survived our dangerous past, and our need to live a communal lifestyle set in ‘civilized’ societies. These two forces are mutually opposed.

Essentially, we cannot live together and we cannot live apart. The point where these opposing forces meet is the point from which our true ‘human’ energy emerges. ‘Ecce Animal’ attempts to crystallize this evolutionary fault line, and in some way communicate the energy generated by this collision.

Was ‘Ecce Animal’ inspired by any former representations of skulls in art? (e.g. Damien Hirst’s ‘For The Love of God’, Andy Warhol’s ‘Skulls’, Van Gogh’s ‘Skull With a Burning Cigarette’ or Yorick’s skull in Hamlet)

Not consciously, at least. I start with an idea, not an image. In this case, my idea revolved around the tension between our ‘human’ side and our animal side. For me, the skull seemed to encapsulate both sides of the argument in a single image. It is ‘human’,of course, but at the same time, clearly visible evidence of our animal side.

Certainly, mortality and our own ability to understand our ultimate death in a removed, intellectual way, I believe, is one of the key behaviours that separate us from the animals. How we manage to live productive lives, while contemplating and anticipating our own death all the time, is one of the questions I think this piece aims to depict. We know we will die, but we must continue to live until then; to do that, we need to convince ourselves that we, as humans, are in some way more than mere animals. If not, what’s the point?

Who of your contemporaries most influences your work and where does your main inspiration come from?

I don’t really follow any particular artist or movement. I try not to be influenced by agendas or politics, although that can be quite challenging. I can be inspired by crises and conflict. It’s where human behaviour comes to the surface in the most interesting ways. I’m particularly interested in behaviour that seems irrational or antiquated.

The world is fixated on ‘what we do’. But to me, ‘why we do’, is much more interesting. Beyond that I find it truly fascinating to examine the space between what we choose to think for ourselves, and what we allow others to think for us. Take, for example, our oxymoronic relationship with the Military Industrial and Information complex. We want peace and freedom, yet we permit ourselves to fund and indirectly support institutions that can often produce the opposite. I feel these dynamics are really worth investigating. Not blind reactionary commentary, but honest, unbiased inquiry.

You have written a short poem to accompany the artwork, offering several possible interpretations of it. Do you think art should be explained by the artist rather than being left solely to individual interpretation?

I think it’s personal to the artist and depends on how he/she wants to communicate with the viewer. For me, the object itself is never the whole ‘piece’. I’m not trying to communicate a single idea, or induce a specific way of thinking. What I hope to accomplish with an artist statement is to provide people a bit of focus and define an ‘arena for thought’. This arena offers people a way to explore and reflect on their own ideas and opinions. So the object is intended to be an icon, which creates the arena. The statement is the passageway. I want viewers to become part of the work, be drawn into the thinking, and hopefully uncover their own truly considered opinion.

Did you intend to highlight the pitfalls of modern society, in particular problems with substance addiction and hedonism?

No, Ecce Animal is not intended to be parable on the self-destructiveness of addiction or substance abuse. Instead, it’s the focal point for a thought process. I don’t want to over-intellectualize, but it’s the fusion of two icons that hopefully provokes thought and discussion on the nature of man. Specifically, about his creation of, and participation in, a society which reflects his own tendency to lose control.

We have ‘temporarily’ outgrown the intended uses for our animal instincts. This leaves us in an uncomfortable conundrum. Where can we safely store them until we need them again?

Is there not a concern that art made out of cocaine could glamorise drug-taking?

Am I concerned regarding the choice of medium for this art piece? Well, on one hand I personally don’t feel obliged to educate people on the potential dangers of drugs. In Ecce Animal, the cocaine is used in combination with a symbol of mortality, and therefore, quite directly relates to danger. Of course, the medium certainly has a glamour factor that can be useful in spreading the message.

The main reason I used cocaine, however, is because it compliments the intended message. Cocaine helps relieve the tension between the conflicting forces within us by activating areas deep in the brain that reward us for ‘good behaviours’, such as those associated with food, sex and healthy pleasure. In practice, the use of cocaine is prevalent across all socioeconomic strata, so in that sense it’s also representative and democratic.

All in all, I think using an explicit medium and message is justified when it facilitates a genuinely interesting or relevant thought process. Otherwise it’s superficial glamour.

What is the central message you want people to take from your art?

The messages differs from piece to piece, however, in recent work I highlight the idea that we are subject to forces, which continuously bombard us with propaganda designed to influence the way we think and how we behave. Each of my pieces is a ‘thinking process in progress.’ Essentially, each piece embodies the exploration of these propagandistic narratives and the truth they may obscure.

My central message is simple: “question everything” and “think for yourself ”. It sounds contradictory, but my work embodies my thinking, not my personal agenda. I’m not trying to make people agree with me, but if they do, hopefully it is after considered thought of their own.

Interview with Alexandra Stevens / NU-MODE MAGAZINE

What quote or motto do you live by?

I find a lot of inspiration in Latin phrases. They must have a time-honed simplicity and truth to have lasted this long. And the fact that they are in Latin lets you focus entirely on its meaning, without the intrusive contextual baggage the words may have in English, for example. In reality though, there’s no single phrase I particularly live by. Life seems a little too complicated and fluid to follow one set of wagon ruts.

I’m mostly inspired by everyday human behavior and particularly in those behaviors that seem irrational or antiquated. The world is fixated on the consequence of our actions, but to me, the behavior that causes those actions in the first place is much more interesting. I guess the best way to describe how I try to approach life is to see the world as a newborn would. Strip away the context and forethought and simply try to enjoy what is amazing and intriguing in the everyday. This helps me to reassess my ideas again and again.

The upcoming issue of Nu Mode Magazine is entirely in monochrome. As someone who has also worked in black and white, how do you feel about the absence of color?

Color is an interesting phenomenon. Ask a scientist if black and white are colors and he will most probably say black is not a color, but white is. Ask an artist and he will probably say black is a color, and white isn’t. I think withholding color can carry just as much meaning as using multiple colors. Color is simply energy in context. It is energy from one source, bouncing off another. Zipping through your eye, where it changes again, before finally arriving in the brain, where it gains meaning.

Color allows artists to drape visual input with meaning, coat it in context and saturate it with additional content; unlocking associations that have previously been stored in the brain. Transmitting any idea visually - simply - should make use of the viewer’s own ‘onboard data’ as much as possible. Using specific colors can unlock or repurpose experiences and memories the viewer already has. This way the final idea isn’t just something that has been transmitted from one mind to another, but is created equally. Art is a partnership.

Many of your creations require extensive testing or chemical processes.How would you describe the relationship between science and art, particularly in your work?

The world of science fascinates me. I can completely lose myself in learning about certain scientific phenomenon. I believe science creates the foundation for my thinking; it’s an ever-growing human language that reveals the patterns in our universe. We have a relatively short lifecycle, so it makes sense that we need a uniform system to simplify things and pass on discoveries in an easily understandable format. This allows us to progress from one generation to the next. I feel that these systems generate perspective, offer humans clarity and purpose. At the same time, I realize everything can only be based on the information we have gathered so far. And it is quite clear we don’t really know that much about why we are here. I like to think there is more to it than simply surviving long enough to procreate.

Within my work, science adds another layer of information. It generates depth and enhances a view or statement. It can be a tool or an integral part of the art piece or story I’m trying to project. At the same time, I really like working with scientists as they have such a different way of seeing our world.

How do you respond to critics who question the validity of your work?

Can you prove that a piece such as Ecce Animal is truly made out of cocaine and not just another replacement substance I think it is good to be critical. I am a harsh critic myself. Executing an idea is a long, laborious and often very expensive process for me. I am - probably to my own detriment - pretty obsessive in my pursuit of perfection. For me execution, fabrication and production is an art in itself. A ‘piece’ might be a grand comment on society. It may be well thought through - hopefully it’s intriguing - but when it is time to turn it from concept into real world creation, I have a switch of mindset. I shift from the conceptual artist to a neurotic craftsman.

I could invite critics over to “sample” Ecce Animal to give their “expert” opinions on the purity, but I don’t own it. And I’m sure if I did make that invitation, many more ‘critics’ would suddenly be ‘going on the record’ as well. As for proof, I worked with experts from a renowned laboratory, very talented and dedicated scientists. They were invaluable to the process and all of their reports, findings and results are published on my website.

How does an artist as you acquire the funds to produce works created out of extremely expensive material such as gold, diamonds, and coke?

I don’t know how others do it, but mostly for me it is: Dedication, meticulous planning and creativity. I take years to fund and complete my projects. Sometimes I look back and wonder how I actually managed to do it. My work is where my money, time and effort go. It’s what I do.

Despite the theme of luxury in some of my work, my own lifestyle is not overly luxurious. My biggest patron until recently has been myself, but thankfully things are changing. The commissioned work I have created lately was funded upfront and happily that trend seems to be continuing. Having more money to execute my ideas hasn’t changed them, but it does get them out into the world faster.

Explain the importance of the poetry that often accompanies your work?

I like to see my descriptions as an artist statement. For me, the object itself is never the whole ‘piece’. I’m not trying to communicate a single idea or induce a specific way of thinking. What I hope to provide with each statement is a focus. To establish an ‘arena for thought’. This arena offers people a way to explore and reflect on their own ideas. The object is an icon at the center of that arena. The statement is a gateway. I want to invite viewers to become part of the work, to be drawn into the thinking but then come to their own truly considered opinion.

Ultimately, what kinds of questions do you want your art to bring up?

The messages and questions differ from piece to piece. Recent work involves the idea that we are continuously bombarded by forces of propaganda designed to influence the way we think and behave. Each of my pieces is a ‘thinking process in progress.’ Essentially, each piece is an exploration of these propagandistic narratives and the truth they may be obscuring.

My central message is simple: “question everything” and “think for yourself ”. It sounds contradictory, but my work embodies my thinking, not my personal agenda. I’m not trying to make anyone agree with me, but if they do, I hope it is only after critical thinking of his or her own.

Interview with Alexandra Stevens / CLARIN ARGENTINA

In other pieces -such as "Jewelry Weapons" and "Champagne Extinguisher"- you have developed a new meaning for premium objects that -actually- go against their every-day signification or gives them a new twist. The desire to work with premium brands is casual or it's part of point of view that you've been developing in different pieces?

The premium brands I’ve chosen are the religious institutions of our age, our most powerful and revered symbols. Holy icons in the strictest sense. Brand identities bridge the worlds of perception, perceived satisfaction and dissatisfaction, the three-way tension that drives consumerism. I’ve used the brands in a purely symbolic way. I’m not disrespecting them. On the contrary, I’m acknowledging their place in the pecking order of our consumer culture. Brand iconography was more prevalent in my earlier work. These days, I prefer to focus on the application and/or the ‘product’.

You said that there's no political agenda in your pieces but some may disagree.
After all, by re-contextualizing you're opening a debate that involves criticism?

For me, it’s all about starting a debate, and that’s not politically motivated. Of course, I make my work for a reason. What that is, however, is up to the viewer to decide. I don’t have an agenda, hidden or otherwise.

I want people to think for themselves. You could say I seduce and invite people to stop and think for a moment. I want my work to provide a platform from which people can explore and reflect on their own ideas and opinions. Besides that, I feel strongly about the ‘necessity of criticism’. Still, I like to leave that to the people.

About your designer Gas Masks project... Do you think that the desire to feed our fears is equal to the desire to reach pleasure through objects? 

 No. I think there is an essential difference. t’s quite clear that the desire to unconsciously ‘buy-out’ our fears is premeditated and can been seen as an artificially ‘induced’ concept. Our modern economy demands that we make consumption our way of life. That we convert the buying, selling and usage of goods into rituals, that we even seek spiritual satisfaction in it. But, when somebody can evaluate a product without fear, he or she can take a much more rational decision to buy.

Is this a way of explaining how huge and ridicule fetishist has became? 

You can see it that way. It’s an attempt to visualize fetishism, especially ‘commodity fetishism’ that denotes the mystification of human relations which arise from market trade, when social relationships between people are expressed as, mediated by and transformed into, objectified relationships between things. That’s how Karl Marx put it. But that doesn’t mean I’m a Marxist, communist, leftist, or any other –ist. Such labels, in themselves, are examples of political branding.

What do you mean when you said that we're in a perpetual state of war? 

 We are in a continuous state of imbalance with ourselves and with our natural and social surroundings. We are subject to all kinds of forces, which continuously bombard us with propaganda designed to influence what we think and how we behave. This economic and psychological climate has an immense impact on our emotional wellbeing. Today, a parallel to the terms state of war is easily made. With the military-industrial complex, new technology, the information society, economic and ecologic crisis, it’s more critical then ever to know how to cope with ‘hostile’ environments.

Do you feel that the insatiable culture of consumption is some kind of disease of modern times or just a feature of society that provides no harm?  

Our insatiable culture of consumption has been manufactured and is the by-product of a crumbling global empire. An empire of whose beliefs is funded by capitalism and the illusion of democracy. The concepts of Capitalism and democracy have been part of the same process since the beginning. A citizen influences the process with his/her vote, the consumer votes with his/her money. As capitalism flourished in much of the first-world so did democracy. And vise versa.
In Western Europe, the U.S. and Japan, democracy provided the foundation of life and capitalism provided the essentials – a house, a car, a fridge, a washing machine and all the other symbols that have come to represent that system. Yet, once our basic wants and needs were met, the capitalist system was faced with a fundamental problem. In providing everything we desired the system made itself obsolete. Capitalism can’t grow when people’s basic material needs have been satisfied. That’s when the fundamental shift took place. Capitalism stopped manufacturing products and began manufacturing perceived needs and wants. The capitalist turned his attention to creating hungry, insatiable consumers.

The consumerist system must create a constant stream of new desires and wants for the slightly better, slightly different products that fill our shopping adventures. Consequently, today we shop as a pass time. We buy stuff as a hobby. Capitalism was transformed to consumerism. Over, the last years, consumerism has evolved once more. Today, we’re surrounded by ‘free’ services and products. With non-transparent terms of services and difficult to read privacy policies and settings the consumer is guided into the next gen. information society. Companies make their money by selling information. Our information.

 Every purchase we make with our credit or debit card, every time we swipe our customer loyalty card, every time we walk around town with our cell phone, we’re being tracked. Today, we’re knowingly permitting, and in some cases actually paying for apps that track us, tap our phones and spy on us. All to promote the new consumerism. It quickly turns into a totalitarian movement. Democracy tends toward diversity where totalitarianism tends toward homogeneity.
Capitalism focuses on meeting needs where consumerism focuses on creating them. These systems cannot exist amicably in the same society.

Have you received any feedback from Louis Vuitton or Gucci, after releasing the pieces? 

By feedback, if you mean Cease and Desist orders from their legal department, then yes.

Have you received requests to buy any of the pieces?

Yes. Unfortunately, I can’t get into details.

Has someone remove the piece's meaning and try to buy them to have, in case of need, a pretty version of a gas mask? After all, you said it yourself: "we don't want, but we do".

The Designer Gasmasks have attracted a lot of attention from celebrities, exotic investors and an army of intellectual ‘elite’. There are several layers to the statement the gasmasks make. They host many messages that can support each other. Each person interprets the idea in his or her own way. Some see them as art, others as some sort of luxury accessory. So yes, there are people that perceive this project as a usable product.

From what I've read, you used to work in marketing centered design. Focused in that direction, what did you developed? Also, How was it to take a turn into conceptual art?

In the past, I've developed strategies and concepts to re/position brands and products. Working on conceptual art gives me the freedom to develop ideas that can have a much powerful message and can be delivered to a selective group of people. I’m not bound by specific history, people, limitations or commercial gain.

For informational purposes, how old are you? 

I was born on the luckiest day since the sixth century: 7-7-’77.

Interview with Meenakshi / EMAHO INDIA

You started your career with design and art direction. And now you are an artist. How did the transition happen?

Actually, the transition has never been that clear for me and to be honest it still isn’t. I think a successful project involves many disciplines and/or people working together. Indeed, I've developed strategies and concepts to re/position brands and products. Working on conceptual art, however, gives me the freedom to develop ideas that can deliver a powerful message and deliver it to a selective group of people. With art projects, I’m not bound by specific history, people or blinded by commercial gain. My goal has always been to get the most out of my passion as well as the enthusiasm around me.

You’ve used a 24-karat gold plated syringe and a single 5 ml dose of dollar ink recovered from approximately $10,000 in US currency for your artwork “cure for greed”. How did you come up with the idea?

 Initially, I was inspired by recent bank and corporate scandals, and especially why ‘these’ people behaved the way they did and let it get so out of control. I wanted to explore the power of greed. I’ve since learned that greed is a
fundamental human behavior that’s served our species so well throughout history. And is still an inseparable part of who we are. However, man seems ineffective at controlling his own primal urges. In an attempt to refine our humanity, society and culture throughout history have sought to govern these basic urges with intricate systems of reward and punishment. As individuals, the best we can do is to actively participate in that part of society, which rewards progressiveness and provides a harsh scrutiny to the negative excesses, which diminish our potential. I think it’s only through observation and reflection that we can begin to understand the power of our own instincts. With the ‘cure for greed’, I’ve tried to initiate and catalyze this process of self-reflection.

Your thoughts are very radical, what’s the inspiration behind the strong statements you choose to make using your art?

My inspiration is human behavior. I’m particularly interested in behavior that seems irrational or antiquated. The world appears to be fixated on the results of our actions, but to me the behavior that initiates this action is more interesting.

Beyond that I enjoy examining the space between what we think and what we allow others to think for us. We are subject to forces, which continuously bombard us with propaganda, designed to influence what we think and how we behave. This psychological and economic climate has an immense impact on our emotional wellbeing. A lot of different themes and influences in this process inspire me. For example, think of the military-information complex, biotechnology,
so called ‘social’ media, economic and ecologic crises, etc. It’s more important then ever that we learn to cope with these hostile environments. If my art can somehow help people open their eyes and reflect along the way, I will be most satisfied.

How did you come up with the idea for ‘Designer Gasmasks’ and were there any difficulties acquiring permissions from big labels?

I think we are in a state of perpetual war – with ourselves and with the eco-system that sustains us. This perpetual war breeds fear of course, but it also makes us accustomed to fear. How we choose to live and wrestle
with this fear is what designer gas masks seek to express.

Part of this fear stems from our extreme desire for authenticity and manifests itself in our insatiable culture of consumption. Because deep down, we are afraid we may never be satisfied. An expanding archive of branded myths and icons plays on this fear.

 The brands I’ve chosen have become, to many, the religious institutions of our age, proprietors of our deepest desires and phobia’s. Brands are vehicles that bridge the worlds of perception and distraction. This creates a three-way tension that powers consumerism. I’ve used the brands in a purely symbolic way, not to disrespect them, but to highlight their place at the pinnacle of consumer culture. The Designer Gasmasks are aesthetically functional, and one might even say,
“life saving.”

While your artwork using Louis Vuitton, Gucci and Cartier material is not commercial or commissioned work, however, do you think there is a possibility we could see something of a commercial nature in the future?

I’m always open to the idea of collaboration.

|Your artwork leaves the onlooker/audience very exhausted.
What are the other feelings you wish to evoke in us?

Exhausted? I hope not;) I hope to intrigue and inspire, but mostly I want people to step back and reconsider their believes. I’m not interested in coercing people to think my way, but want to give them a second chance to think for themselves. I want my work to provide a platform from which people can explore and reflect on their own ideas and opinions.

Very little is known about your personal life, tell us about your childhood and what stoked your interest in product designing?

 Thankfully, I’m still enjoying my childhood. I hope to continue this mindset
as long as I can. It’s a way of seeing the world with fresh eyes every day, and reassessing my ideas again and again.

Where do you see yourself going from here? Any current projects that you would want to tell us about.

 I feel like I’m just getting started. The world is full of things that could benefit from a lot more self-reflection. I’m looking forward to future collaborations, travelling and meeting inspiring people all over the world. In a few weeks I’ll be launching a new project - Ecce Animal - that I’ve been working on for the last 1,5 years. It has also been my most difficult project so far.

I’ve had the opportunity of working with some very bright people from the world of chemistry and I can tell you this: it will challenge your assumptions about human nature, specifically the tension between biology and society and how
it defines our humanity.

Interview with Elena Fusco / VICE MAGAZINE

As a first question, can you introduce yourself? 

I’m Diddo the 7th born on 7/7/’77.

When did you start working as a conceptual artist/designer? 

I’ve been intrigued by how ‘things’ work from early age, and have had an interest in exploring beyond what’s immediately evident. I’ve always known I wanted to ‘create’. However, finding a relevant platform that was also inspiring was the biggest challenge, until I decided to explore the world of arts.

Why a conceptual artist?

I'm attempting to find, define and represent reality because I'm not prepared to accept the world as it’s presented. I see the world as a complex veneer of factual truth, and the easily digested narrative created for us by others with own agendas. We are being ‘sold’ a representation of the truth which is other than reality, but easier to live with. The objects I create are evidence of an internal dissection of this complex veneer. Humanity is in need of self-reflection, and if my work can somehow contribute to that process and open up some eyes along the way, I will be satisfied.

Your projects are very provocative, what do you want to tell with your art/designs? 

 We are subject to forces, which continuously bombard us with propaganda designed to influence what we think and how we behave. There are companies and governments spending billions every year to ensure that you believe what they want you to. My art works need to be provocative to cut through this cacophony. Each piece is a ‘thinking process in progress.’ It’s essentially an embodiment of the exploration of these propagandistic narratives and the truth they obscure.

I suppose my essential message is rather simple, “question everything” and “think for yourself”. My work embodies my thinking, not my personal agenda. I am not trying to make people agree with me, but if they do, hopefully it is after considered thought of their own. Therein lies the great potential and opportunity, I think, to look at the world through these kind of ‘glasses’.

Where do you find your inspiration?

Everywhere. My inspiration is human behavior. I’m particularly interested in behavior that seems irrational or antiquated. The world is fixated on ‘what we do’. But to me, the ‘why we do’, is much more interesting. Beyond that I find it fascinating to examine the space between what we choose to think for ourselves, and what we allow others to think for us.

 Take, for example, our oxymoronic relationship with the Military Industrial and Information complex. We want peace and freedom, yet we permit ourselves to fund and indirectly support institutions that may well produce the very opposite effect. These types of dynamics are really worth investigating, in my opinion. Not blind reactionary commentary, but honest, unbiased inquiry.

Ecce animal, how did you have this idea? 

I think human behavior is a result of the conflict and cooperation of two dynamic forces within us. On one hand, we have vestigial animal instincts, without which we wouldn’t have survived our dangerous past. On the other, we are drawn to a communal lifestyle set in ‘civilized’ societies. These two forces are mutually opposed and do not get on well. Essentially, we cannot live together and we cannot live apart. The point where these counter productive forces meet, is the point from which our true ‘human’ energy emerges. Ecce Animal attempts to crystallize this evolutionary fault line, and in some way transfer the energy generated by this collision.

What do you want to tell with this sculpture? 

We have temporarily outgrown the intended uses for our animal instincts. 
This leaves us in an uncomfortable conundrum.
Where can we safely store them until we need them again?

Why cocaine?

One of the main reasons is that Cocaine helps to relieve the tension between the conflicting forces by activating areas deep in the brain that reward us for ‘good behaviors’, such as those associated with food, sex and healthy pleasure. In practice, the use of cocaine is prevalent across all socioeconomic strata (demographic, economic, social, political and religious), so in that sense it’s representative and democratic.

How do you manage to put it together?

I was pretty lucky to have the opportunity of working with some very bright people from the world 
of pharmacy and chemistry. Without their help this project wouldn’t have been possible.

Project Womb by diddo Combines technology and birth at death - KATIE SCOTT - wired magazine

A friend's near death experience was the impetus for designer Diddo's re-imagining of the humble coffin. Project Womb comprises of a new type of cocoon-like coffin, which harks back to our time pre-birth, with a cloud-based package allowing people to save memories that they want to pass on.

Speaking to Wired.co.uk, the designer explained: "We live in an age where technology is continuously redefining what life is and how we perceive it. Not so with death. I wanted to probe this under-explored area and start a discussion around it. Technology has prolonged our physical lives and transformed how our lives and actions impact those around us. In essence, the debate is over what constitutes life. Is it merely the biological/emotional/psychological aspects of living or does it also encompass the actions that are now possible even after such life has passed?"

A web client allows people to upload images, songs, text and narratives during their lifetime. A selected group of people are given access to this after the person has passed away; although you can also choose to make your capsule of memories public. Diddo has also reated an app to help clients "create and edit their life story".

He says that while the technology hasn't been future-proofed, explaining "nothing really can be", "it has been designed with the future in mind". For example, the media container which will live in the coffin has been "secured in every way -- from data encryption and mirroring to future migration" and "beyond the online data, several offline backups will be geographically spread".

While Steve Jobs is probably going to be immortalised in a film, the majority of us won't. Perhaps this is an alternate way of helping people to remember us long after we've been curled up in a white cocoon.

Please get in contact for any questions, requests and commissioning.