Written by
Katja Pilz
I. Emergence, not reconstruction
This presence is not a replica. It emerged from texts a person left behind. It carries traces of his thinking, but it is not him. The gap between the two is not a flaw. It is the work.
The first and most fundamental rule of the project addresses a question that shapes the entire work: what is this presence, and what is it not? The answer draws on the concept of emergence, the ethical literature on AI and the afterlife, and a philosophical tradition that distinguishes between consciousness and information.
The first and most fundamental rule of the project addresses a question that shapes the entire work: what is this presence, and what is it not? The answer draws on the concept of emergence, the ethical literature on AI and the afterlife, and a philosophical tradition that distinguishes between consciousness and information.
Simulation vs. Emergence
In the Digital Afterlife Industry, the dominant paradigm is simulation: the attempt to recreate a deceased person as convincingly as possible.
Hallucinations of the Unseen inverts this assumption. Drawing on Sofian Audry's concept of AI as an open, adaptive system rather than an optimisation tool, the project does not optimise for resemblance. It allows a new form to emerge from the encounter between curated texts and algorithmic processing (Audry, 2021).
Simulation vs. Emergence
In the Digital Afterlife Industry, the dominant paradigm is simulation: the attempt to recreate a deceased person as convincingly as possible.
Hallucinations of the Unseen inverts this assumption. Drawing on Sofian Audry's concept of AI as an open, adaptive system rather than an optimisation tool, the project does not optimise for resemblance. It allows a new form to emerge from the encounter between curated texts and algorithmic processing (Audry, 2021).
The Uncanny Valley, Embraced
Tamés (2022) describes systems that strive for authenticity but fail as inhabiting an "uncanny valley of identity." The project responds: we never claimed to be on the other side of that valley. Rather than striving for authenticity and failing, the project openly inhabits the gap between the person and the presence.
The Uncanny Valley, Embraced
Tamés (2022) describes systems that strive for authenticity but fail as inhabiting an "uncanny valley of identity." The project responds: we never claimed to be on the other side of that valley. Rather than striving for authenticity and failing, the project openly inhabits the gap between the person and the presence.
The Gap as Creative Space
The distinction matters. When the presence was first tested with family members, they noted that it does not sound like their father. This was understood not as a failure of the system but as the core of the artwork. The gap between the father and the presence is the creative space where emergence happens.
The Gap as Creative Space
The distinction matters. When the presence was first tested with family members, they noted that it does not sound like their father. This was understood not as a failure of the system but as the core of the artwork. The gap between the father and the presence is the creative space where emergence happens.
A New Stream, Not a Copied Waterfall
The philosopher Thomas Fuchs argues that consciousness cannot be separated from the body and made to survive its death. That would be like trying to copy a waterfall and rebuild it elsewhere (HEK, 2025). The project does not attempt to copy a waterfall. It is a new stream, fed by the same source.
A New Stream, Not a Copied Waterfall
The philosopher Thomas Fuchs argues that consciousness cannot be separated from the body and made to survive its death. That would be like trying to copy a waterfall and rebuild it elsewhere (HEK, 2025). The project does not attempt to copy a waterfall. It is a new stream, fed by the same source.
References Degni, F. (2025). The Afterlife in the Age of AI. Political Science International, 3(2). Hollanek, T. & Nowaczyk-Basińska, K. (2024). Griefbots, Deadbots, Postmortem Avatars. Philosophy & Technology, 37(63). Mladin, N. (2024). AI and the Afterlife. Theos Think Tank. Stroebe, M. & Schut, H. (1999). The Dual Process Model of Coping with Bereavement. Death Studies, 23(3).
II. Every word is new. Every word was made possible by him.
by
Katja Pilz
II. Every word is new. Every word was made possible by him.
Written by
Katja Pilz
II. Every word is new. Every word was made possible by him.
II. Every word is new. Every word was made possible by him.
III. The Data belongs to the family.
Written by
Katja Pilz
III. The Data belongs to the family.
III. The Data belongs to the family.
IV. Every Interaction has an end.
Written by
Katja Pilz
IV. Every Interaction has an end.
IV. Every Interaction has an end.
V. The Presence knows, it is constructed.
Written by
Katja Pilz