Collapse in the digital age

When talking about the end of the world, Collapse is one related concept coming back regularly. In this panel discussion we will explore the movement of Collapsollogy in the context of our technological world. We invite thinkers, artists game developers to present their work and perspective on the topic.

Friday 12-06
live stream starts @ 20:00
Online platform to be announced
Event is free, donation are welcome via

Athina Karatzogianni

Dr Athina Karatzogianni is Associate Professor in Media and Communication and Director of the Institute for Cultural and Media Economies (CAMEo) at the university of Leicester, UK.

Athina is principal investigator for the H2020 DigiGen focusing on how adolescents use digital networks for political participation, she is also keen to discuss other favorites, such as the use of digital networks by activists, dissidents and insurgents, and topics such as corporate and alternative digital governance, surveillance, and digital politics more broadly.

photo: Marita Liulia

Geert Lovink

Media theorist and critic founder of Institute of Network Cultures, NL

In this lecture he will speak of earlier expressions ‘collapsology’ and the link with (critical) internet culture. What does the old saying ’networking is notworking’ mean today?

The breakdown of today is often experienced first as a mental one. What does it mean when we have to exercise ‘physical distancing’ while endulging in an excess of social media use? What does economic breakdown mean in an age of seamless connectivity?

Once we got used to the permanent collapse, all we’re left with is poverty, both in terms of income, mental health and social imagination, stuck on platform, without knowing that ‘another network is possible’.

Phoebe Shalloway

Game developer, “Even in Arcadia” 

Phoebe Shalloway (they/she) is a game developer and writer from the United States. They are especially interested in experimental narrative forms, interdisciplinary media, and media that deal with issues of environmental catastrophe and capitalism.

They made the game Even in Arcadia as their senior thesis project at Vassar College, Class of 2018. The project aims to explore the relationship between humans, the built environment, and “nature” under capitalism, and was also influenced by immersive theater, media theory, and the theories of the activist/artist group the Situationist International.

Phoebe has also created several other small and strange solo games, which can be played at They currently work as an engineer for Whitethorn Digital, an independent game studio based in Erie, Pennsylvania. You can follow what they’re working on next on twitter @girl_debord.

photo: Marita Liulia

Josèfa Ntjam

Josèfa Ntjam (b. 1992, Metz, France) has developed a cross-disciplinary approach that combines video, writing, installation, and photomontage. Her work is a reflection built around the notion of space, and for the past few years she has focused on a fictional exploration of alternative worlds and possible futures. 
For our program she will present her movie “MĂŠlas the Saturne”
Mélas de Saturne is the title of a new film which explores melancholia – deriving from the Greek melankholía, meaning “blackness of the bile”, from mélas ‘black, dark, murky’ – as a generative force deployed across the internet(s). Intertwining reflections on mythology, cosmology and science, Ntjam’s film projects the viewer into a virtual territory at the confluence between the oceans’ abysses and the darknet, where a fictional character called ‘Persona’ embarks in an initiatory journey in search for algorithmic origins, hoped to be found among the Meta population living in North-East Cameroon. 

Mélas de Saturne is the point of departure for a display which tests the potential meta-narratives in the formation of new collective memories and ecologies. In ART-O-RAMA, Ntjam’s speculative analysis of the mélas – a black liquid infiltrating and disrupting established systems of perceptions and nominations of fixed (id)entities – .

Overlapping references to ancestral rituals, outer space explorations and hypothetic underwater civilizations, Ntjam’s work uses ontological fictions and trans-historical aesthetics as tools for a practice of emancipation, deconstructing and reinventing the concept of origin to promote the emergence of inclusive, processual and resilient communities.