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Bio
Infinite Drift - Research Lab for Creativity, Technology and Exponential Culture | Essays on Substack
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Recent posts
“Smooth from above, overwhelming from within” New imaginairy merch for Infinite Drift.
03 Nov 2026
Developing my own audio software. New essay „You are allowed to make things“ coming soon!
29 Oct 2026
I’ve been thinking a lot about tokens lately. Not just crypto tokens, but the strange way the idea keeps turning up in completely different parts of our lives: AI, finance, ownership, products, identity, even compute.
Five essential takeaways:
1. Tokenization is moving beyond crypto and into everyday life — turning money, products, ownership, rights and even compute into units that can be tracked, transferred and acted on digitally.
2. The real shift is persistent, machine-readable identities for physical things. Cars, watches, clothes, real estate and luxury goods in general can carry their own histories of ownership, authenticity and use.
3. That makes new kinds of transactions possible. A car can pass verified data from one owner to the next; a luxury product can retain its provenance and relationship with the brand after resale.
4. Most of this may feel less like a revolution than friction disappearing. Buying, selling, authenticating and transferring ownership simply becomes easier.
5. This is part of exponential culture: the distance between information, valuation, decision and execution keeps shrinking — making the consequences economic, cultural and deeply human.
Read or listen: „We Are Entering the Tokenized World“ on Infinite Drift ∞ - Link in bio
22 Aug 2026
From here, Berlin feels kinda cringe.
30 Jul 2026
One of my earliest memories of Billy Idol isn’t Rebel Yell or White Wedding. It’s the video for “Shock to the System” from the album Cyberpunk.
I was 14 and remember sitting in front of MTV in 1993, watching it with equal parts fascination and skepticism.
It was the height of grunge. The glamour and larger-than-life pop star personas of the eighties suddenly felt outdated. Authenticity had become the new currency. No make-up. No spectacle. No excess. Just the direct expression of how you felt. Nirvana had changed the conversation.
Against that backdrop, Shock to the System felt like an eighties video that had somehow landed in the nineties. It seemed out of place—a little too late. The same could be said about much of the Cyberpunk album.
Looking back, I would disagree with my younger self.
Today, I love the sheer ambition of that video: its visual language, its attention to detail and its cinematic production value. Inspired by William Gibsons Neuromancer trilogy, the iconography of films like RoboCop or the work of David Cronenberg, where the boundaries between human and machine begin to dissolve, it almost plays like a condensed cyberpunk movie rather than a conventional music video.
Beneath its futuristic aesthetics, Cyberpunk was never only about technology. It was about identity—about how technology would reshape the ways we present ourselves, communicate, create, exert control, and ultimately redefine what it means to be human.
In a very different way than artists like the Grateful Dead, Billy Idol also reminds us of something pop culture occasionally does remarkably well: it detects cultural shifts before they become obvious. At its best, pop music doesn’t simply reflect its moment—it proposes possible futures.
Looking back, Billy Idol’s Cyberpunk feels less like a detour than a pretty clear-eyed vision of the world we inhabit today.
My full conversation with Billy Idol for Numéro Berlin’s Sexy issue is now live on Infinite Drift. Link in bio
22 Jul 2026
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14 Jul 2026
Listen and read: my essay Liminal Beauty on Substack and SoundCloud. Link in bio.
30 Jun 2026
It took me quite a while to finish this article and the music that goes with it. It still feels a bit embarrassing to also release music — but then I thought I had already done it with Infinite Drift so why not do it again. :)
The text is deeply personal, yet directly connected to a moment in which liminality as an aesthetic is peaking. The movie Obsession — directed by 26-year-old Curry Barker, which has grossed $370 million worldwide on a budget of $ 750.000 thousand — just became the biggest blockbuster of the summer
While Obsession leans into the scary, uncanny side of that spectrum. I wanted to explore the nostalgia and beauty side of the same phenomenon instead.
How much the indie, lofi, and emo records I listened to in my early twenties (and still do today) turned the liminal places of my youth into emotional landscapes — places where the outer and inner world briefly became coherent and aligned. Today’s liminal beauty of the feed — little videos of sunsets, roads at dusk, magical forests — come from a similar lineage and beyond that feel like a third-order romanticism. The cracks in exponential culture where reality shines through and becomes magical again.
Creating music alongside the text isn’t just personal — it’s an attempt to expand journalism, authorship, and storytelling from words to music and back, something technology has made far easier and more intuitive.
If you want to read the whole story, find the link in bio!
29 Jun 2026
One of the core assumptions behind Infinite Drift is that the age of the feed has fundamentally changed the way we communicate.
The principles that once applied mainly to pop stars and public figures now apply, at least in part, to everyone. Having a public presence means maintaining a social media account, curating an identity, and communicating to an audience, if you want to matter.
As a result, the ways we connect, express ourselves, and build communities are inevitably shaped by the logic of popular culture. That applies to each of us individually as well as to brands and institutions.
With that in mind, I started looking back at the past: Which artists, bands, and cultural movements related to music developed communication strategies that still matter today, that endured?
One group I keep returning to is the Grateful Dead. They’ve inspired me since I was sixteen, and their legacy remains remarkably intact. Decades later - and after core members like recently the beautifully resilient Bob Weir have passed - their influence continues to resonate—even appearing in collaborations with luxury houses like Loewe last year.
The iconic hippie band might offer a surprisingly relevant model for both social media presence and modern brand-building. Their greatest achievement wasn’t simply creating fans—it was building a community strong enough to outlast trends, generations, and even the lives of its founding members.
What can we learn from communities that endure? I wrote about the Grateful Dead and their timeless appeal. „They didn’t built a brand they cultivated a vibration“ Read: Grateful Dead and the Geometry of Cultural Resonance
Link in bio. PS: forever grateful for the experience seeing this legendary band live at the Pallace in Auburn Hills in 1995 @volkljoe4 🙏🏻
23 Jun 2026
What we are seeing right now is not just a competition between OpenAI and Anthropic (Google, Meta and Chinese models like DeepSeek).
It is an infrastructure shift. And a race against time.
AI is not simply a product or a service.
It is becoming a new layer of value creation—economically, creatively, and operationally.
And I think much of it is still being misread.
There is a lot of focus on brands.
Too little understanding of what is happening underneath.
Models matter. Claude and ChatGPT feel different. Each has its own trade-offs, strengths, and weaknesses.
But compute, distribution, and applications may matter even more.
At the same time, the scale of investment and capital flowing toward the major AI companies is almost impossible to grasp.
We are talking about growth and valuations that feel surreal—far beyond anything relatable in the everyday lives of most people.
This is the backdrop of an exponential era.
Not linear growth, but curves accelerating so quickly that they outpace our intuition.
And this is also where the risks begin.
When value creation becomes exponential, power, dependency, and decision-making can accelerate alongside it.
What looks like competition today may actually be the construction of infrastructure.
And that infrastructure will continue to evolve.
AI is likely to become more modular.
More customizable.
More localized.
Not just platforms, but adaptive systems. And better compute. Which also means: Apple isn‘t behind in the AI race at all and actually in a perfect position because AI doesn’t necessarily need the internet but hardware that can handle it with ease.
This chart is my attempt to make that visible. And how heated the market is atm.
What do you think? Did I miss something important, or do you see it differently?
↓
20 Jun 2026
This gallery accompanies Authorship as Field, an essay in which I explore my own relationship to creating with AI and the shifting nature of authorship.
Before artificial intelligence entered the creative process, artists, musicians, designers and thinkers were already questioning the idea that creativity originates within a single isolated mind.
At the Bauhaus, authorship often became collective. Designers, architects, craftspeople and artists worked across disciplines, blurring the boundaries between individual contributions. Figures such as Anni Albers demonstrated how creativity can emerge through materials, processes and shared experimentation rather than solitary genius. For the french philosopher Gilles Deleuze, creativity is less an act of invention than an act of orientation—finding coherence within a landscape of possibilies.
John Cage introduced chance into composition, creating conditions in which sound could emerge beyond the direct control of the composer. Brian Eno later treated the studio itself as an instrument, designing environments that allowed unexpected ideas to surface.
Kraftwerk explored the relationship between human beings and technology through a new aesthetic language. In works such as The Robots, identity becomes mediated and partially machine-like. The human and the technological begin to merge into a new form of expression.
Decades later, Kanye West used the vocoder throughout 808s & Heartbreak to create a different kind of mediation. The voice became processed, distant and strangely vulnerable at the same time. Technology did not conceal emotion. It became part of its emotional texture.
These positions differ profoundly from one another. Yet they share a common intuition:
Creativity does not emerge in isolation.
It emerges through relationships, environments, systems, technologies and culture.
In many ways, the questions raised by generative AI belong to this longer history.
Authorship as Field is my attempt to explore what that history might mean in a moment when thinking, writing and image- and music-making increasingly happen in dialogue with intelligent systems.
Link in bio.
19 Jun 2026
For the last few months, I’ve been exploring what happens when creativity becomes a conversation between human and machine.
The more time I spent writing and creating with AI, the less interested I became in the question of whether the machine was replacing the author.
A different question emerged:
What if authorship was never a fixed point to begin with?
What if it was a field?
AUTHORSHIP AS FIELD is a reflection on identity, creativity, AI, and the strange feeling that our ideas are increasingly formed inside networks rather than in isolation or exclusively between humans.
Link in bio.
18 Jun 2026
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