IMMORTAL -BÖSE x RS.TSR

IMMORTAL

BoESE x RS.TSR VIDEO SERIES

IMMORTAL – An Artistic Exploration of the Idea of Immortality

What does it mean to be immortal? Between myth, technology, and memory lies the ancient human fascination with immortality a place of longing, a projection, a paradox.

In their collaborative work IMMORTAL, artists Buse Simsek (sound design) and Martin Böttger (video creation) approach this complex concept through an open-ended investigation. Their audiovisual piece does not offer answers, but rather creates a space for reflection.

The work unfolds in three interconnected chapters:

INSECTS AND BACTERIA represent the microscopic, the resilient, the self replicating forms of life that seem to exist beyond time.

MACHINES embody the technological vision of immortality: replication, data preservation, artificial consciousness.

BONES speak of what remains : the archaeological, the fossilized, the physical trace as a final imprint of impermanence.

IMMORTAL not only asks what eternal life might be – but also what we choose to preserve, and what we might be ready to let go of.

CREDITS

Concept & Production

Martin Boettger | Buse Simsek

Sound Design

Buse Simsek

AI Video

Studio.TS

BÖSE

Chapter I – Insects & Bacteria

Insects and bacteria are survivalists. They inhabit extreme environments, reproduce with astonishing efficiency, and adapt at rapid speeds. In this first chapter of IMMORTAL, they serve as a metaphor for a non-human form of immortality – one not rooted in consciousness, but in evolution, persistence, and self-replication.

The visual language evokes microscopic worlds: exoskeletons, bioluminescent membranes, permeable cell structures, and symbiotic processes. It suggests a form of life in transition – between organic and synthetic, between organism and machine.

Buse Simsek’s sound design emphasizes the crawling, fermenting, vibrating presence of these systems. The audio creates an atmosphere where microbial life becomes audible, dense, and unsettling – a living frequency beneath perception.

Chapter II – Machines

Immortality as computation. In this chapter, machines become symbols of a technological afterlife – not through the body, but through memory, replication, and data. The machine does not decay; it is repaired, upgraded, copied. It remembers what we forget.

The image of exposed cables, servo motors, and synthetic joints reflects a form of life built from logic and repetition. Yet it remains disturbingly close to us – anthropomorphic, fragile, almost wounded in its openness.

Sound in this segment is marked by pulses, static, and cold mechanical rhythms. It echoes the hum of servers and the breathless precision of automation. There’s no blood here – just circuits, endlessly looping, waiting to be rebooted.

This is not a dream of living forever – it’s a system that refuses to shut down.

Chapter III – Bones

Bones are what remain. Long after tissue dissolves and memory fades, bone endures – as fossil, as structure, as echo of life. In this final chapter, IMMORTAL shifts its gaze toward the material trace of mortality.

These forms suggest no longer a living body, but a post-organic architecture: fractured yet intricate, calcified yet delicate. The image evokes not decay, but transformation – bone as archive, as code engraved in matter.

The soundscape is sparse, resonant. Spoken fragments, brittle shards of words, and hollow vibrations shape a space between presence and absence. It is neither mourning nor resurrection — but something in between.

An immortality of what remains.