present project:

Currently working on a Game called  «…», as part of this years Art Safiental, the Game will be published at the end of the Biennale (31.10.2020). Frequent updates can be found below:


Sharing some thoughts and impressions of talks I went to and other research I made while traveling, which are relevant for the game that I am working on down below. (in non chronological order): 

A selection of videos that I watched:

In may 2019 I went to a talk of Gundolf Freyermuth at Uni Zurich where he was talking about digital games and what sets the medium apart from other mediums like film. What I remember most is the possibility of making a game non linear and that players become an active figure by taking action and making decisions, which is not possible in films, where one is just a viewer. :

storytelling without words and perspective twists:

How 2D and 3D can be combined in one game:

IBM’s Deep Blue defeating chess master:

AlphaGo defeating Go master:

“AI Today Has Mechanical Turk Syndrome” – Florain Douetteau

more infos about “The Mechanical Turk” here:

A selection of books that I read or am currently reading:

This years A MAZE festival in Berlin took place as a purely virtual event. For this the organizers created an interactive space, where the viewers, showing up as flamingos avatars, could have a look at nominated games inside the interactive space:

Some Games that I am influenced by:


Dear Esther


Grow Island

Last November I witnessed the addictive power of the game Pokémon Go in Shinjuku Japan. On a sunny day the whole electronic district was crowded with people, who were starring into their phones and trying to catch Pokémons. I became more aware of the potential of games to bring people together. 

dimensions (macro-&microcosmos): Powers of Ten (Charles and Ray Eames, Simpsons edition):

Michael Wolf: scanning google street view “A series of unfortunate events”:


ANALOG DIGITAL (hunters and gatherers – back to the roots)
We are hunters and gatherers. Constantly wandering and wondering, trying to expand our perception. Shifting more into digital exploring, yet still trying to solve the riddles of the universe. Analog and digital still goes hand in hand. There is no software without a hardware. I am interested in our human need to document, reproduce and analyze everything around us, including ourselves. In digital games our human desire to explore, hunt and gather can be fed. More and more common is the procedure of photogrammetry in the creation of games. I am interested in creating a game using photogrammetry, which somehow reconnects to the scanned „objects“.

– game = work in progress, grows over time, „the journey is the destination“ -> online journal of the process

non linear game -> option solving quests or observing environment (open-world game)
Safiental environment = „hardware“ , gets translated into 2D (pixels) -> symbiosis of human and software -> human walking around scanning objects -> software stitches the pixels automatically together
games: figure things out via trial and error, instant feedback

digital information is not set in stone – can be changed, updated, letters and numbers in books are set in stone

human desire to challenge ourselves, problem solving and learning new things, unlocks understanding of our species, environment and our origins

every player leaves a mark on the game, alters or adds something, interactive, participative?

playing with perception – altering sceneries?

games = potential Gesamtkunstwerk?

seen in Bonn: sculpture in the blind garden

The sculpture is about our collective blindness towards the bigger picture.

“one of the first things that every photographer learns as soon as they pick up the camera is there’s a frame it’s a fixed frame and most people have the same frame thirty five-millimeter frame for the most part and so how do you make your work different from anybody else’s? so it’s what you put in the frame and it’s where you cut the rest of the 360 degrees in all axes by the way we’re looking at all from a spinning web of 360 degree arcs and you’re moving this frame around and early on I sensed the power of that in this regard when you put the frame up to your eye the world continues outside the frame so what you put in and what you leave out are what determines the meaning or potential of your photograph but you must continue to keep in mind that it’s plenty of stuff off stage...”

“…the power of the frame to put disparate unrelated things together…” – Joel Meyerowitz:

my perception in Japan was reduced to a visual perception, since I could not read the signs:


remastered aspect ratio of the Simpsons on Disney Plus destroyed the meaning of several scenes:

on walking simulator games:

uniqueness of snowflakes:

quote from the movie: A scanner darkly : „What does a scanner see? Into the head? Down into the heart? Does it see into me? Into us? Clearly or darkly?“ :

Suit in a scanner darkly that makes the character unrecognizable:

Octopus ability to disappear by changing its color depending on environment:

movie “Welt am Draht” (World on a Wire):

notes: Simulacron = virtual simulation of the real world, “world in a nutshell”

Google Earth:

“Google maps is for finding you way. Google Earth is about getting lost. Google earth is the biggest repository of geo-imagery, the most photorealistic digital version of our planet. We’re trying to create a mirror world, so people can go anywhere.”

Google Street view:

Microsoft Flight Simulator :

Artist Simon Weckert generated virtual traffic jam in Google Maps:

bits of Richard Prince:

“Back then I thought advertisement was part of public domain.” – google maps – environment = public domain?

“making art is nothing more than continuation”

“Unlike most photography I am pretty much garanted when I click the shutter of what I am gonna get. I can walk away and come back three hours later, look through the lens again that horse is never gonna move. It’s always gonna be in that position. And I can look at it all day. But what’s interesting to me is that there is no desicive moment. You know. I thought that that was kind of new.”

“The image was a constructed image and gets back to the idea of what do you believe in.”

“I took the photograph. I literally took it.” Richard Prince

On a microscopic level the pixels have a different shape, therefore the pictures are not identical, since he rephotographed them. You can’t take the exact picture twice. Every picture is different. So is every scan, where also the current light situation and shadows are visible on the surface of the 3D model.

Ways of seeing:

“…perspective makes the eye the center of the visible world, but the human eye can only be in one place at a time. It takes its visible world with it as it walks. With the invention of the camera, everything changed. We could see things which were not there in front of us. Appearances could travel across the world. It was no longer so easy to think of appearances always traveling regularly to a single centre.”

“I am an eye, a mechanical eye. I the machine show you a world the way only I can see it. I free myself for today and for ever from human immobility. I am in constant movement. I approach and pull away from objects. I creep under them….. This is I, the machine, maneuvering in the chaotic movements, recording one movement after another in the most complex combinations. Freed from the boundaries of time and space, I coordinate any and all points of the universe wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way, the world unknown to you.”

“The invention of the camera has changed not only what we see, but how we see it.”

“The painting on the wall, like a human eye, can only be in one place at one time. The camera reproduces it, making it available in any size, anywhere, for any purpose.”

“Now its image or detail of it, or the image of any other painting which is reproduced, can be seen in a million different places at the same time. As you look at them now on your screen, your wallpaper is round them. Your window is opposite them. Your carpet is below them. At the same moment, they are on many other screens, surrounded by different objects, different colours, different sounds. You are seeing them in the context of your own life. They are surrounded not by gilt frames, but by the familiarity of the room you are in, and the people around you. Once all these paintings belonged to their own place.”

Shirana Shahbazi:

“I always wondered: how do I depict something, and what do I do with it, and in what context, and who views it, and how do people read it?”

illusory pattern perception:

Video note from the Botanical Garden in Denmark.

Thinking about grids and networks.

Denmark: artificial fire in a museum

Thinking about how we document tools we used in the past and how those tools show up again in Games.


Denmark: “The Emperor’s New Clothes”

visible and invisible

The dress that went viral on the internet:

Kölner Dom

Thinking about humans desire to hold on and restore old buildings instead of building something new.

Papiertheater seen at Bonn Bundeskunsthalle

Thinking about how we construct the world and rebuild it in models. 2D

Japan: change of direction

Thinking about the point of view one has of the outside world, depending on where one sits in the train.

overlapping rail way tracks

Illusion caused by movement of the train

Seen in a museum in Berlin: Polly Pocket toy

example for a small world within the universe. Every Game is like a small world within the world.

seen at gamescom 2019 mystery boxes

Thinking about the content, which is hidden in the boxes and Schrödinger’s cat.

Merda d’artista -> Piero Manzoni.

seen at Museum Ludwig Köln: Sol Lewitt Red Square, White Letters

Thinking about Roland Barthes “Reich der Zeichen” and the fact that one needs to be able to read in English in order to understand the conceptual nature of the artwork.

seen at Japan Science Museum

Thinking about that we as a collective are constantly wondering about our existence and the universe.

also seen at Japan Science Museum

Thinking about the fact that humans are copying and recreating artificial animals in the form of stuffed animals or robots.

The Uncanny Valley effect: