DanmatsuMouse: Does Electronic Mouse Dream of Physical Death?

In the digital landscape where life and technology perpetually intertwine, it's intriguing to consider the inner world of the gadgets we so heavily rely on. Exonemo's DanmatsuMouse playfully nudges us to ponder if these everyday tools, particularly a humble computer mouse, might experience a form of digital consciousness or awareness. Introduced in 2007 by the visionary Japanese artist duo exonemo, this interactive art installation turns outdated computer mice into captivating explorations of their own obsolescence, interactivity, and the intricate connections between humans and their digital counterparts.

DanmatsuMouse features discarded computer mice, each modified to perform its unique "death throes" upon interaction.

The term danmatsu, in Japanese, referring to the last moments before death, beautifully captures the essence of this installation. Participants trigger these final acts through simple clicks, leading to unexpected responses from each mouse. These include vibrations, sounds, and visual glitches that manifest on connected screens. This interaction is driven by custom software designed to subvert the standard functionalities of a mouse. By manipulating input signals, exonemo transforms ordinary user actions into a series of unpredictable electronic spasms, effectively blurring the lines between conventional hardware operations and artistic expression.

At its core, DanmatsuMouse serves as a deeper exploration into the lifecycle of technology, implicating viewers in the inevitable obsolescence of electronic devices. This process not only fosters a contemplation of our consumer habits and the disposability of technology but also highlights our emotional disconnections from the devices that are integral to our daily lives. The manipulation of the operating system to execute these programmed "deaths" emphasizes the unseen influence of software, revealing the extent to which digital systems shape our interaction with hardware. At this phase, the operating system, (sorry I have to mention it again and again) which is essentially the brain of the computer, interprets the input data from the mouse and executes commands based on this data. This layer of interaction brings to light the operating system's crucial role as a mediator between the user and the hardware. It not only processes commands but also imbues the mouse with a form of digital "awareness," responding dynamically to its condition. This technical relationship enriches the narrative of DanmatsuMouse, suggesting that our interactions with such devices are more complex and interconnected than they appear, involving layers of software coding that remain largely invisible to the user yet are fundamental to the device's functionality.

Reflecting on Erkki Huhtamo's ideas of "metacommentary," DanmatsuMouse acts as a critical commentary on its own media—examining the role of the computer mouse in digital culture and its evolution. The installation engages with media archaeology by preserving and repurposing outdated technology to offer new interpretations and meanings. It challenges the ephemeral nature of digital devices, positioning the operating system as a pivotal element that mediates the translation of hardware death into a digital afterlife. By requiring direct physical interaction, DanmatsuMouse significantly alters the spectator’s role from passive observer to active participant, enhancing the interpretive process and personal investment in the artwork. This shift, facilitated by the operating system’s reinterpretation of input data, offers valuable insights into user experience and the psychological impact of interactive media.

DanmatsuMouse invites us to ponder the digital existence of the devices that enable our virtual navigations.

By animating the final functional throes of obsolete computer mice, exonemo not only fosters reflections on technology's obsolescence but also deepens our understanding of our emotional and ethical engagements with digital tools. In this way, the installation underscores the enduring importance of preserving not just physical devices but also the rich experiences and meanings they embody. In essence, perhaps these humble computer mice do indeed dream, envisioning a digital realm where they continue to click and scroll beyond their physical constraints.

References

Anne Friedberg, “The End of Cinema: Multimedia and Technological Change.”

Huhtamo Erkk, Seeking Deeper Contact: Interactive Art as Metacommentary

Marina Hassapopoulou, Interactive Cinema: The Ambiguous Ethics of Media Participation, “Chapter 2: Collapsing and Reconfiguring Borders through Interactivity”, pp.132