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.
Smart Furigana
The character 一日 can be read as “いちにち” (“the whole day”), or as ついたち (“the first day of the month”). Depending on the context, the readings of some Kanji differ.
Furigana are a Japanese reading aid. They are Hiragana characters that are written next to or above a Kanji in Japanese writing to indicate its pronunciation.
Conventional Furigana software does not recognize the holistic meaning or context of a text, and is therefore sometimes unable to provide the Furigana in the way a Japanese reader would actually read the text.
However, with AI, this is now possible, which is why I programmed this software. “Smart-Furi” analyzes the text for context, tone, etc., to add the appropriate readings as Furigana to the text – so that one does not learn the readings of the characters incorrectly, but as if a Japanese person were reading the text aloud.
Interface for UNESCOs Lists of "Intangible Cultural Heritage"
The UNESCO project “Intangible Cultural Heritage” (ICH) offers an impressive collection of intangible cultural heritage as well as a register of best protection measures. These can be found on the UNESCO website in English, French, and Spanish, beautifully describing the individual cultural peculiarities of the nations of the world.
As a friend of online ethnology, I have set up a new interface in the form of an interactive world map (JavaScript, OpenStreetMap & GeoJSON). By clicking on a country, you gain insight into the culture of that country as registered by UNESCO (UNESCO Open Access Database). Using the ChatGPT API and Python, I translated the entire database into the 10 most spoken languages in the world. Additionally, I improved/enlarged all images from the database with Topaz AI.
By clicking on the cube, a random entry is displayed. Discover the world!
Note: Not suitable for mobile view
Sources:
UNESCO Open Access Database: Metadata, descriptions, and images from the UNESCO ICH database were used for this project.
OpenStreetMap: The map representation is based on tiles from OpenStreetMap.
GeoJSON World Map: The vector data for the country outlines comes from the open-source GeoJSON project.
IPAPI (ipapi.co): Automatic location determination is done via the API service ipapi.co.
Topaz AI: The images from the UNESCO database were upscaled using Topaz AI.
ChatGPT (OpenAI): The translations of the UNESCO data into 10 languages were created using ChatGPT.
This project is an experimental, non-commercial portfolio project and is for demonstration purposes only. All content (images, texts, titles) is the property of UNESCO. The translations were created using AI (ChatGPT). The map tiles come from OpenStreetMap. There is no connection to UNESCO, OpenStreetMap, or other organizations. The complete UNESCO metadata is available for download in English.
AI-Translate
WordPress plugin to automatically translate pages, posts, and custom type posts as well as their titles and custom fields. The translations are stored in the metadata of the posts. Depending on the selected language, the frontend displays the language under the same URL / post ID. In the Gutenberg editor, there is a small dropdown menu that allows you to switch between languages to make individual changes, and in the backend, unlike with Polylang, there is no confusing duplication of content. The translation is done via ChatGPT, which allows for context-specific translation – by specifying what the tone should be, e.g., polite or informal, and what the focus should be, such as project presentation, marketing, etc., better translations can be obtained.
The code for selecting and processing content is available in a git repository.
Jōyō-Kanji
The 2136 Kanji that are learned in elementary and middle school in Japan, which enable one to read most Japanese texts, along with their translations in German.
The meaning of a word often varies depending on the context. Many terms only arise when multiple Kanji are combined – that’s why the term “you” is not found here, for example. It is composed of 貴 (valuable, noble, precious) and 方 (person).
The question of how to comprehensively categorize a language has proven to be very interesting. The categorization by “school year” is a time-honored Japanese method – but the desire for finer granularity was present to make learning easier.
The Kanji list as a JSON file, the Python codes to create them, as well as the chosen categories can be found below in the git repository.
Painted World - Engine for 3D Figures on Pre-rendered Background Images
Inspired by games where 3D characters walk around in 2D images (games with “Pre-rendered background”) such as Final Fantasy VIII, an engine based on JavaScript to develop such games for the web browser.
Walter Giers – Little Star (1990) – Digital Replica
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.
Study on the Topic: Artificial Intelligence (2016-2019)
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:
Gerkzeuk (2016): A computer-controlled object that autonomously downloads, modifies, and sells images from the internet. This object raised fundamental questions about authorship, machine ethics, and the role of the artist. Through a holographic representation (“Iris”), the machine artist was additionally given a human-like persona. Link to project page
Pepper’s Ghost Crystals (since 2016): Interactive showcases that holographically depict virtual humanoids and are equipped with facial recognition, emotion analysis, and speech recognition software. This work intensely researched making artificial and human interaction tangible. Link to project page
Comparison between Artificial and Real Intelligence (2017): A performance in which a digital character, using genetic algorithms, attempts to learn basic motor skills in parallel with a human performer. The work clearly reveals the differences and emotional dimensions between digital simulation and human experience. Link to project page
Anti-Art (2019): A deliberately simple apparatus with a puppet, controlled by unpredictable impulses, humorously and critically reflects the hype around AI technologies and their frequent overestimation. Link to project page
Spatial Installation for the Master’s Exhibition (2019): In a scenographic situation, I subjected visitors to a reflective interaction by automatically photographing them and projecting their faces, making themes such as self-perception, data protection, and echo chambers tangible. Link to project page
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:
AI technologies can imitate human behavior, but they do not generate genuine emotional depth or authentic empathy. The illusion of human interaction created by machines always remains on a superficial level.
The misuse of metaphorical terms from biology and neuroscience in technology (such as “neural network” or “intelligence”) significantly contributes to misunderstandings and a mythical overestimation of technical possibilities.
The use of transparency design and the disclosure of technical processes are essential to alleviate fears and promote critical thinking towards modern technologies.
Randomness and unpredictability in technical systems often create a perception of magic or autonomy, which can lead to overinterpretation of technical capabilities.
The cultural and societal reception of AI technologies and virtual characters is strongly influenced by projections and fantasies that are deeply rooted in our psychological tendency to perceive human-like qualities in technical artifacts.
Despite the apparent autonomy of software and machines, the responsibility always lies with the human who designs, programs, and operates these systems. Machines and software remain tools and will never become independent subjects.
The question of the meaning of “life” gains new depth through engagement with autonomous and self-reproducing programs like the “Forkbomb” and challenges classical biological definitions.
Psychologically, the work of scientists, IT technicians, and artists often reveals an unconscious motivation to create artificial beings, comparable to the “womb envy” discussed in psychology. This reflects the deep need to creatively produce life or living systems.
Object-oriented programming opens up the possibility of reconstructing virtual worlds and invites reflection on the boundaries between reality and simulation.
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.
Studium zum Thema Künstliche Intelligenz
Von 2015 bis 2019 beschäftigte ich mich während meines Studiums an der Hochschule der Bildenden Künste Saar in Saarbrücken intensiv mit Künstlicher Intelligenz, virtuellen Humanoiden, Mensch-Maschine-Interaktionen sowie den daraus resultierenden philosophischen und kulturellen Fragestellungen. Dabei setzte ich mich sowohl theoretisch als auch praktisch-künstlerisch mit den Grenzen und Missverständnissen im Umgang mit KI-Technologien auseinander.
In meiner Bachelorarbeit „Vergleich zwischen künstlicher und realer Intelligenz“ (2017, Abschlussnote 1.0) erforschte ich, wie digitale Avatare mittels genetischer Algorithmen Lernprozesse simulieren und verglich diese mit den realen Lern- und Schmerz-Erfahrungen eines menschlichen Performers. Die Performance „Learning“ nutzte dafür den optischen Pepper’s-Ghost-Effekt zur räumlichen Darstellung eines digitalen Charakters. Die Ergebnisse zeigten deutlich die emotionale Kluft zwischen technischer Simulation und menschlichem Erleben auf.
In meiner Masterarbeit erweiterte ich diesen Ansatz und beschäftigte mich vertieft mit der Wahrnehmung und Inszenierung von virtuellen Charakteren sowie deren Interaktionen mit Menschen. Unter anderem entstanden folgende Projekte:
Gerkzeuk (2016): Ein computergesteuertes Objekt, das autonom Bilder aus dem Internet herunterlädt, verändert und verkauft. Dieses Objekt stellte grundlegende Fragen nach Autorenschaft, Maschinenethik und der Rolle des Künstlers. Durch eine holografische Darstellung („Iris“) erhielt der maschinelle Künstler zusätzlich eine menschenähnliche Persona. Link zur Projektseite
Pepper’s Ghost Kristalle (seit 2016): Interaktive Vitrinen, die virtuelle Humanoide holografisch abbilden und mit Gesichtserkennungs-, Emotionsanalyse- sowie Spracherkennungssoftware ausgestattet sind. Diese Arbeit forschte intensiv daran, künstliche und menschliche Interaktion greifbar zu machen. Link zur Projektseite
Vergleich zwischen künstlicher und realer Intelligenz (2017): Eine Performance, in der ein digitaler Charakter mittels genetischer Algorithmen parallel zu einem menschlichen Performer versucht, grundlegende motorische Fähigkeiten zu erlernen. Die Arbeit offenbart deutlich die Unterschiede und emotionalen Dimensionen zwischen digitaler Simulation und menschlichem Erleben. Link zur Projektseite
Anti-Art (2019): Eine bewusst simple Apparatur mit einer Marionette, gesteuert durch unvorhersehbare Impulse, die humorvoll und kritisch den Hype um KI-Technologien und deren häufige Überschätzung reflektiert. Link zur Projektseite
Rauminstallation zur Master-Ausstellung (2019): In einer szenografischen Situation setzte ich Besucher einer reflektierenden Interaktion aus, indem sie automatisch fotografiert und ihre Gesichter projiziert wurden, wodurch Themen wie Selbstwahrnehmung, Datenschutz und Echokammern greifbar wurden. Link zur Projektseite
Diese Projekte wurden begleitet von theoretischen Reflexionen zu Transparenz im Design, Black Box-Problematik, zufälligen und deterministischen Systemen sowie ethischen und philosophischen Dimensionen von KI. Inspiriert von Referenzen wie Frieder Nake, Andrew Glassner und Richard David Precht, setzte ich mich kritisch mit Begriffen und Missverständnissen rund um künstliche Intelligenz, künstliches Leben und Bewusstsein auseinander.
Aus meiner künstlerischen Forschung ergaben sich folgende zentrale Erkenntnisse:
KI-Technologien können menschliches Verhalten zwar nachahmen, erzeugen dabei jedoch keine echte emotionale Tiefe oder authentische Empathie. Die von Maschinen erzeugte Illusion menschlicher Interaktion bleibt in ihrer Wirkung stets auf einer oberflächlichen Ebene.
Der Missbrauch metaphorischer Begriffe aus Biologie und Neurowissenschaften in der Technologie (wie “Neuronales Netz” oder “Intelligenz”) trägt maßgeblich zu Missverständnissen und einer mythischen Überhöhung technischer Möglichkeiten bei.
Der Einsatz von Transparenzdesign und die Offenlegung technischer Prozesse sind essenziell, um Ängste abzubauen und kritisches Denken gegenüber modernen Technologien zu fördern.
Zufälligkeit und Unvorhersehbarkeit in technischen Systemen erzeugen oftmals eine Wahrnehmung von Magie oder Autonomie, die zur Überinterpretation technischer Fähigkeiten führen kann.
Die kulturelle und gesellschaftliche Rezeption von KI-Technologien und virtuellen Charakteren ist stark beeinflusst von Projektionen und Fantasien, die tief verwurzelt sind in unserer psychologischen Tendenz, menschenähnliche Eigenschaften in technischen Artefakten wahrzunehmen.
Trotz der scheinbaren Eigenständigkeit von Software und Maschinen liegt die Verantwortung stets beim Menschen, der diese Systeme entwirft, programmiert und bedient. Maschinen und Software bleiben immer Werkzeuge und werden niemals selbst zu eigenständigen Subjekten.
Die Frage nach der Bedeutung von “Leben” gewinnt durch die Beschäftigung mit autonomen und selbstreproduzierenden Programmen wie der „Forkbomb“ an neuer Tiefe und fordert die klassischen biologischen Definitionen heraus.
In psychologischer Hinsicht zeigt sich in der Arbeit von Wissenschaftlern, IT-Technikern und Künstlern oft eine unbewusste Motivation, künstliche Wesen zu erschaffen, vergleichbar mit dem in der Psychologie diskutierten “Gebärmutterneid”. Hier spiegelt sich das tiefe Bedürfnis wider, selbst schöpferisch Leben oder lebendige Systeme hervorzubringen.
Objektorientiertes Programmieren eröffnet die Möglichkeit, virtuelle Welten nachzubauen, und lädt zur Reflektion über die Grenzen zwischen Realität und Simulation ein.
Meine Arbeit zwischen 2015 und 2019 stellt somit eine vielseitige, kritische und innovative Auseinandersetzung mit Menschlichkeit, Technologie und ihren komplexen Beziehungen dar und möchte dazu beitragen, den öffentlichen Diskurs zu diesen Themen fundiert und reflektiert zu gestalten.
Overdose
Online gallery for non-narrative exhibitions (random order).
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