A browser-based clock that renders the year and month as a dial: all days on the outer ring (Mondays highlighted), the twelve months on the inner ring. New Moon (black) and Full Moon (white) are plotted as small circles in the current month — powered by a 100-year dataset.
Lightweight HTML5 Canvas with continuously moving day/month hands.
The “Virtual Interdimensional Ghost Teleportation Device” is an interactive 3D web application that brings figures from Japanese mythology to life in the browser. Through a digital “Merkaba,” the beings are teleported into a virtual world, can be viewed, and explored via a click in an info box overlay.
A portfolio project aimed at learning about Japanese myths in German and building cultural bridges.
Frontend: Three.js
Backend: Node.js, Express, Websocket
3D Models: Hunyuan3D-2, edited in Blender
Info Texts: ChatGPT
The entire 3D environment including models and textures, such as a 1200px x 900px canopy texture and an HDRI environment map, as well as all the code, is smaller than 500 kilobytes. The 3D models are loaded dynamically; the client has no information about them until the server “pushes” them. The communication with the server as well as the spawn function are integrated into the spinner (Merkaba).
Mobile representation is less computationally intensive than the desktop version. An adaptive fidelity system has also been implemented.
Engagement with the question of how and whether electronic art (digital) can be reproduced, what a replica actually is, and how it works. The resulting by-product in JavaScript can be seen here.
From 2015 to 2019, I engaged intensively with artificial intelligence, virtual humanoids, human-machine interactions, and the resulting philosophical and cultural questions during my studies at the University of Fine Arts Saar in Saarbrücken. I dealt with the limits and misunderstandings in dealing with AI technologies both theoretically and practically as an artist.
In my bachelor’s thesis “Comparison between Artificial and Real Intelligence” (2017, final grade 1.0), I explored how digital avatars simulate learning processes using genetic algorithms and compared these with the real learning and pain experiences of a human performer. The performance “Learning” utilized the optical Pepper’s Ghost effect for the spatial representation of a digital character. The results clearly highlighted the emotional gap between technical simulation and human experience.
In my master’s thesis, I expanded this approach and delved deeper into the perception and staging of virtual characters and their interactions with humans. Among other things, the following projects emerged:
These projects were accompanied by theoretical reflections on transparency in design, black box issues, random and deterministic systems, as well as ethical and philosophical dimensions of AI. Inspired by references such as Frieder Nake, Andrew Glassner, and Richard David Precht, I critically engaged with terms and misunderstandings surrounding artificial intelligence, artificial life, and consciousness.
From my artistic research, the following central insights emerged:
My work between 2015 and 2019 thus represents a versatile, critical, and innovative engagement with humanity, technology, and their complex relationships, aiming to contribute to a well-founded and reflective public discourse on these topics.
A punch card generator for quantum computers (hypothetical). Comparison of bit and qubit.
Practical thinking about interfaces for qubits starting from the idea that logic or computation by qubits can be understood with 3D vectors.
Manual: The left orb represents a bit. “State” controllable by clicking on it. The right sphere represents a qubit. “State” controllable in 3D space by drag’n’drop (x- and y-axis) and mouse wheel (z-axis) via the inner sphere.
Small orbs toggle punch card printing.
Applying functions of interpersonal relationships to NPCs. Original concept: Something with dialectics
100 virtual fountains (Blender particle systems) in the middle of a virtual water basin are controlled in height by a depth map (black/white video). Each fountain is illuminated by a virtual RGB LED (Blender spotlights), which is controlled in color and brightness by a color map (colored video).
Blender is controlled as a server by a client program written in Java to manage 3D animation via video.
There were difficulties in running a TCP server in Blender Python, which controls parameters and viewport of Blender, in a separate thread from Blender’s Python runtime stably – the server quickly became “overloaded”.
The experiment was thus successful in that it showed the limits of what I could do – reprogramming Blender’s threading was not possible for this experiment.
When you enter a name, that name becomes the sender of a positive message for the next recipient. Only then do you get to see the affirmation yourself.
An affirmation to say “Hello” on the street in C++ and Java. Simulated virtual citizens, represented as colored circles, walk through the streets during the day and greet each other, exchanging colors.
The colors of those who communicate mix together. Groups form. At night, the citizens go home (each is randomly assigned a house) and regenerate their own color.
The recipient has the option to observe the simulation or take control of such a citizen and playfully steer them.
A small 3D engine for the Linux terminal can connect to the program as a client and render the houses from the first-person perspective of a citizen (with citizen selection and minimap functions)
Proposal to make gender selection fluid in role-playing games.
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