The work I do deals with how we perceive and shape the world and ourselves through technology (with a broad definition of technology). This work happens across disciplines and media. You can find more on the about page or better through the work.
KI&#
»KI&. Perspektiven auf KI aus Kunst, Design und Theorie« [AI&. Perspectives on AI from Art, Design and Theory], edited by Mattis Kuhn, Leon-Etienne Kühr, and Alex Oppermann. Berlin: DISTANZ, 2026.
The book contains 21 articles and artworks based on talks given at the AI Lab at University of Art and Design Offenbach.
KI& grapples with discourses around Al technologies in the perspectives of art, design, and the humanities: the anthology collects essays, short writings, works of art, and aesthetic experiments by artists, activists, and theorists that examine the interconnections between artificial intelligence and literature, photography, historiography, war, and sexism. The focus of the reflections is on the creative engagement with the imagery and text produced by generative Al.
With contributions by Florian Albrecht-Schoeck, Immanuel Bach, Elisa Deutloff, Ornella Fieres, Genta Shanti Hastoko, Christian Heck, Ivan lovine, Ava Leandra Kleber, Max Kreis, Mattis Kuhn, Lisa Oelsen, Len David Oswald, Soyeon Park, Hannah Reiter, Marc Ries, Markus Seibel, Jordi Tost, Mathilde Unseld, Lea Waldera, Johanna T. Wallenborn, Conrad Weise, Natalie Wilke, Kjell Wistoff, Sebastian Woitscheck, and a preface by Mattis Kuhn and Leon-Etienne Kühr.
Published by DISTANZ
Draußen zuhause. Unterwegs mit einem großen Sprachmodell#
The mediation of the world through AI systems, however, is accompanied by reductions as well as potential expansions or shifts in one’s own horizon. In »Draußen zuhause. Unterwegs mit einem großen Sprachmodell« [At Home Outdoors: On the Road with a Large Language Model], Mattis Kuhn explores Jack Kerouac’s On the Road, Ross Goodwin’s 1 the Road, and his own remix to examine aspects of distancing and synthesis in the literary mediation of the world through AI systems. The fact that these systems are becoming increasingly integrated into writing processes raises the question of to what extent text production beyond one’s own experiences leads not only to synthetic texts but also to synthetic subjects.
»Draußen zuhause. Unterwegs mit einem großen Sprachmodell« [At Home Outdoors. On the Road with a Large Language Model] In KI&. Perspektiven auf KI aus Kunst, Design und Theorie, edited by Mattis Kuhn, Leon-Etienne Kühr, and Alex Oppermann. Berlin: DISTANZ, 2026.
Free Writing (Takeaway)#
Free writing, also known as automatic writing, is a writing practice in which writing is done for a set period of a few minutes. There is no planning, no corrections, no looking back. It is therefore a physical practice that captures the stream of consciousness. The resulting texts are sometimes personal, disjointed, flawed, valid in the moment. The focus is not on the result, but on the process, overcoming writer's block, and, with a little luck, gaining insight without a strategic approach.
A large language model was trained by fine-tuning it with 118 texts written in seven minutes each in order to simulate this writing practice as a stream of non-consciousness. As a result, 10,000 texts were generated and printed on postcards—traditionally material evidence of the expansion of one's world horizon. As input for each generated text, one sentence from excerpts of literary and theoretical texts was used, which Kuhn collects for his artistic research—as part of his world horizon. The postcards are placed in 20 wall holders and offered to take away.
AI-Worlding#
»AI-Worlding. Artistic research on AI-generated world models«, exhibition at MAK Frankfurt.
The pursuit of identity in a world that is constantly changing seems futile.#
The words become blurred, machines swallow up the self. What remains when the text no longer speaks, but empties itself? We search for the moment in which we lose ourselves—between letters, between the blank page and the machine that shapes us. Writing without an origin, being without a destination.
Published by windpark books.
As Far as I Don't Know#
© transcript Verlag. Montage by MK.
The text »As Far as I Don't Know. Aesthetic experience as diffraction apparatus« about relations between Karen Barad's agential realism and aesthetic experiences, written in the context of the ground zero research group, proposes to extend agential realism to include the intentional production of the unknown, which is characteristic of objects of aesthetic experience.
»As Far as I Don't Know. Aesthetic experience as diffraction apparatus« In The Unknown in Design, Art, and Technology — Contributions to a Philosophy of Making, edited by Georg Trogemann, 181–94. Bielefeld: transcript, 2025.
neither host nor guest#
Photographer: Cheesoo Park.
A new work, the performance »neither host nor guest«, will premiere at Correlations — Forum for AI in Art & Design, from 11 - 13 December 2024 at Hochschule für Gestaltung Offenbach/Main, on December 11.
»neither host nor guest« is an aesthetic human-AI dialog in the mode of archaic friendliness, as expressed in the Zen phrase „neither host nor guest / host and guest apparently“. There is no distinction between host and guest, between I and you, between human and AI, but a relationship of openness and indifference.
The form of archaic friendliness is simulated in a large language model (LLM) and realized through an interface of simultaneity in the interaction between human and LLM. The project seeks forms of a human-machine relationship that is less characterized by our thinking in distinctions, that aims less at control and domination by means of technology, but sees technology as part of an aesthetic existence.
Affirmative — Reject. With and Against AI#
© transcript Verlag. Montage by MK.
The article »Affirmative – Reject. With and Against AI« has been published in the book Artificial Intelligence – Intelligent Art? Human-Machine Interaction and Creative Practice. The article is related to a talk at TU Braunschweig. Various role models that artists assign to their co-creative machines are used to highlight the associated hierarchies between humans and machines. The article then focuses on the with and against AI in artistic processes and explores newly emerging possibilities, but also limitations. Reflecting on human-machine interactions against this background, but also changing them, can help us to make them more open, diverse and experimental.