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about perceptions and re/presentation

Giving me sea gooseberries

Archive of a visit to the Aquarium

Showing the ocean in a glass for a society of the spectacle. What do we see in an aquarium? How are we influenced by the representational settings, the light diffraction, stagings of animals and plants?

Nature is a thing unreal

Unreal Engine rendering and imaginative attuning

What means to “play nature”, how might it benefit or disturb a connection? And could “playing nature” be a way to end our ‘playing with nature’? What does it mean to combine Motion Capture of Human Attunements and Imrpovisational Dance with 3D Models of Phytoplankton inside a Game Engine? And is this visualisation a way to attune to microscopic lifestyles in the ocean? "Drifting in the waters, stirring yourself, yet remain attuned to the cycles of nature. How does life feel? Do you feel pushed, guided, confined? Trapped or taken care of?Do you feel safe?"

Running through
the hourglass

Bioluminescent Pyrocystis lunula shining light in dark times

growing glowing gleaming Pyrocystis running through the hourglass fleeting  time-transcending naturally oscillating between technological tools and circadian cycles

Illuminated Movers
& Shakers

Cultivating bioluminescence

bioluminescent shimmers blue glitter in shaking flasks looking at species suddenly makes me see searching for light in the dark times Cultivating Pyrocystis lunula in the lab means making kin with other species, other agents, instruments of science. Creating artifical oceanic environments, where artifical seawater is mixed with only a single taxonomic well known strand, mediated and endlessly enhanced by microscopic vision; does that help to attune to the worldings? The sound is created by sonification of Pyrocystis lunula DNA. (Thanks to

Endlessly drifting through Neptuns meadows

Video of underwater meadows, while trying to find the fitting way

Immersion in the atmospheres of Neptuns meadows, endless views of stones and grass in the mediterrean sea, off the italian coast. A single entity of Neptuns grass (Posidonia oceanica) can form endless meadows, making a habitat for a vast amount of species. But leave me getting lost in the thicket of grass and thoughts.

Homo Aquaticus I

Encounters of species: algae, mammal, fish and more

I am not evolved with an aqualung, but I am slowly learning to immerse in these worlds. Feeling like an alien species, augmented to finally breathe and film in underwater habitats. Am I allowed to be here?


A catch of the daily ecologies in late summer mediterrean seas

From driving out on the boat, taking samples of the water and shifting the scales. Going straight from the coast into the laboratory in order to observe the composition of life, and then allowing the plankton to find its way back into the marine food web on the same day.

Representational glasses

Archive of a visit to the Aquarium

Showing the ocean in a glass for a society of the spectacle. What do we see in an aquarium? How are we influenced by the representational settings, the light diffraction, stagings of animals and plants?

Drifting Valsaline Bay

Video of underwater ecologies of a istran bay

Drifting and snorkeling through Valsaline Bay, Croatia: a bay which suffers largely from negative changes. Be it the human influence of building a wall through the bay, parasitic bacteria killing the important Pina nobilis, or tourism. How can species find shelter in these ruins, and thrive in the new environments and how can we help?

Separated presences​

Archive of a visit to the Baltics

reflections after the first visit of IOW - Leibniz Institute for Baltic Sea Research blanketed by mineral year for year waiting in perpetuity in rigidity for the moment The present, what do you think of it how does it find you these changes who will you have been

Harbouring Sea Poem

Underwater film set in connection with the »Sea Poem« by Alice Oswald. SEA POEM what is water in the eyes of water loose inquisitive fragile anxious a wave, a winged form splitting up into sharp glances what is the sound of water after the rain stops you can hear the sea washing rid of the world‘s increasing complexity, making it perfect again out of perfect sand oscillation endlessly shaken into an entirely new structure what is the depth of water from which time has been rooted out the depth is the strength of water it can break glass or sink steel treading drowners inwards down what does it taste of water deep in it sown world steep shafts warm streams coal salt cod weed dispersed outflows and flytipping and the sun and its reflexion throwing two shadows what is the beauty of water sky is its beauty

Video of underwater harbor ecologies and a text by Alice Oswald

Fluid Bodies,
darkest connnections

video work crossing different bodies of water

The life-giving, political, economic components of our „animated waters“ (Vernadsky 1933, Margulis 1990) exemplify a pressing melancholy of our position as human species. Spatially and temporally: as holobionts, as fluid beings, in our own bodies, in urban habitats, in the ecosystem and in the Anthropocene.  This work draws from a stay at the river Schwärze and the bodily encounters occurring during this stay, which reflect the fluidity of water. Along the lifeline and contact zone between the forests of Brandenburg and the city of Berlin, the film immerses in wet ontologies (Gaard 2001, Steinberg & Peters 2015, Neimanis 2016) of multiple phenomena.  Capturing the essence and pains through analogue photoprocesses, hydrotests, creative writing and filmmaking. Texts by me with an exerpt of Astrida Neimanis.

Bodies of Water, Body of Interest

Research Start

„Der Nautilus schien sich nicht von der Stelle zu bewegen. Das lag daran, daß das Auge keinen Fixpunkt fand.“ (Jules Vernes, 20000 Meilen unter dem Meer. Erster Teil, Zürich: Diogenes 1976, hier S. 194.)

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