Now the news comes through that not only is the future not what it used to be, but neither is Kurenniemi. For he has passed to the other side.
Much of the fascination of Taanila's documentary concerns Kurenniemi's obsession with ensuring his own immortality, through meticulous self-archiving. He believed that some near-future stage of human civilisation would be so supremely powerful in terms of technology - but, immortal themselves, so utterly bored out of their minds too - that they'd fill their empty time with the reconstitution of humanity from previous eras. With that prospect in mind, the bigger the spoor of data you could leave behind - Kurenniemi thought - the better that resurrection would go.
Guess we'll have to wait and see how that pans out.
tweaked only slightly, is the side-bar from Retromania:
Kurenniemi's "manic registration" of every trivial detail of his life is intended to provide the "core material" for this resurrection project. In the near-future, it will be possible to do "brain back ups", to download consciousness and personality into a computer. But Kurenniemi can't count on lasting that long. So, he advises, "we just have to keep every tram ticket and sales slip, and write down or record all our thoughts." Video would make for a better imprint of his consciousness, a document of the world seen through his eyes, but it's impractical; the still snapshots will at least provide a "jerky account". He plans on doubling his current rate of 100 pictures a day.
Blurb at MIT:
"Over the past forty years, Finnish artist and technology pioneer Erkki Kurenniemi (b. 1941) has been a composer of electronic music, experimental filmmaker, computer animator, roboticist, inventor, and futurologist. Kurenniemi is a hybrid—a scientist-humanist-artist. Relatively unknown outside Nordic countries until his 2012 Documenta 13 exhibition, ”In 2048,” Kurenniemi may at last be achieving international recognition. This book offers an excavation, a critical mapping, and an elaboration of Kurenniemi’s multiplicities. The contributors describe Kurenniemi’s enthusiastic, and rather obsessive, recording of everyday life and how this archiving was part of his process; his exploratory artistic practice, with productive failure an inherent part of his method; his relationship to scientific and technological developments in media culture; and his work in electronic and digital music, including his development of automated composition systems and his “video-organ,” DIMI-O. A “Visual Archive,” a section of interviews with the artist, and a selection of his original writings (translated and published for the first time) further document Kurenniemi’s achievements. But the book is not just about one artist in his time; it is about emerging media arts, interfaces, and archival fever in creative practices, read through the lens of Kurenniemi."
Also Kurenniemi at UbuWeb