The ribbon was named after the Leipzig mathematician and astronomer August Ferdinand Möbius, whose name thus went down in history. His colleague, the mathematician Johann Benedict Listing from Göttingen, can now only be found in the archives.

Mathematically speaking, the Möbius strip is a “non-orientable manifold.” Top becomes bottom, outside becomes inside, beginning becomes end. In this respect, it not only challenges the established categories of our perception, but also calls them into question. It challenges us to allow new perspectives and to recognize that boundaries are often illusions.

Due to its unique shape, it has become a symbol of what we call infinity. But what is infinity, and what does it mean? Even if we cannot answer this question, the Möbius strip at least offers us the opportunity to realize that there are realities to which the supposed law of nature, that everything must have a beginning and an end, does not apply.

If this exists on a small scale, why not on a large scale?

This exciting question has always preoccupied OUBEY. And when we discussed it, sooner or later we came to the unanimous conclusion that we favor the idea of infinity, even if we ultimately do not understand it and, of course, cannot prove it.

Since its discovery, the Möbius strip has left its own unique mark as a silent mirror of human experience of the world. Numerous references can be found in films, novels, paintings, and scientific theories.

I would like to briefly present two examples that were particularly interesting and significant for OUBEY.

And now, for a brief moment, the Möbius loop also appears in a spark of the cosmic space in the OUBEY MINDSPACE when it comes to the phenomenon of time – as a symbol of infinity.

 

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There are six rooms in OUBEY MINDSPACE. Each of them contains five different Mind Sparks, which in turn contain various impulses. Behind every Spark and every impulse is a story about OUBEY and what interested and inspired him. I will tell these stories here.

At this point, I would like to thank the Kubikfoto³ team for the great design of OUBEY MINDSPACE, which has already won three prestigious international design awards – most recently the Red Dot Award 2025.

Effortlessly, masterfully, and radically, he moved across musical genres, resisting the normative force of the mainstream more stubbornly than perhaps any other musician and composer of the 20th century.

Shaped by Stravinsky, Puccini, Webern, and Varèse, his musical output remains a unique convergence of avant-garde, classical music, rock, jazz, and electronic sound. Whether one likes his work or not, this alone makes him a rarity — and a stroke of luck. Kent Nagano conducted Zappa’s orchestral works; Pierre Boulez attended a Zappa concert in Paris in 1980 Boulez Conducts Zappa: The Perfect Stranger – Wikipedia, which led to a fruitful collaboration. In Europe, Zappa’s compositions found appreciation and recognition unmatched anywhere else, least of all in the United States.

Zappa not only dissolved boundaries between musical styles, he also violated the behavioural codes of a society that preferred the façade of truth to truth itself. In the 1960s and 70s, his fiercely independent spirit unsettled the puritan-influenced social fabric of the United States. It brought him trouble from many sides, yet never stopped him from following his own uncompromising path.

Frank Zappa could be razor-sharp and humorous at the same time — witty, profound, blunt, satirical, political, courageous.
Free in spirit, inventive in composition, and strict with his band while on tour. Admired by some, despised by others, often triggering tumult during concerts — concerts he sometimes ended prematurely or finished with his back turned to the audience.

A notorious chapter in pop history is the 1971 incident at the Montreux Rainbow Theatre, when an audience member threw a flare onto the stage, igniting a fire that destroyed not only the hall but the entire theatre. Deep Purple immortalized the event in their song Smoke on the Water

OUBEY’s fascination with Zappa and his music began in the mid-1970s, when he first heard the album One Size Fits All. A concert by Zappa and the Mothers of Invention in Cologne at the end of the decade was the first major live concert he had ever attended. That Zappa arrived in a limousine seemed odd but acceptable. That he played the concert rather “unfriendly” due to bottle-throwing from the audience was, however, a sobering experience. For a while, other composers and musicians moved to the foreground.

Screenshot from The MIND SPARK “Music – Frank Zappa”

When The Yellow Shark The Yellow Shark – Album von Frank Zappa | Spotify  was released in 1993, his interest resurfaced and matured into a deep appreciation for the work’s complexity, originality, and brilliant live performance with Ensemble Modern. It was the same Zappa — and yet not the same he had seen live at 18. When he learned of Zappa’s early death shortly afterwards, he revisited the discography and rediscovered him all over again.

I vividly remember an afternoon when a fascinating spectacle of sound filled the room — played loudly through the magnificent B&W speakers with tweeters and subwoofer. OUBEY had chosen the speakers and the system after extensive research and countless tests, connecting them with a high-end power cable. Sound quality mattered to him deeply. Years earlier, he had equipped his studio with excellent T&A speakers that remain there to this day.

I listened carefully. I did not recognize the music. It was The Yellow Shark. Until then, OUBEY had only played it in the studio. I asked him what this wonderful music was. “That’s Zappa?” I exclaimed in surprise. It was fantastic. I myself had gone through an earlier Zappa phase — long before I knew OUBEY — with Camarillo Brillo and 200 Motels. From then on, we appreciated him together.

On November 4, 2005, Ensemble Modern — which had collaborated closely with Zappa in his final years and had already performed and recorded The Yellow Shark live under his direction — played the “Shark” at the Konzerthaus Baden-Baden. It was an unforgettable, magnificent concert.

 

Screenshot from the MIND SPARK “Music – Frank Zappa”

Nearly twenty years later, when the question arose which musicians and which original works should appear in the OUBEY MINDSPACE, it was clear to me that Frank Zappa had to be included — ideally with a track from The Yellow Shark. This choice was about both his music and his unwavering commitment to artistic creativity.

To use the music, I needed an author’s licence. I could only obtain it from Zappa’s family, who have preserved his musical legacy since his death. To my delight, the licence was granted without difficulty, and I would like to express my heartfelt thanks to the Zappa family.

The MindSpark, in which we now hear a one-minute excerpt from “Uncle Meat” from The Yellow Shark is, for me, not only a musical highlight but — through the previously unpublished painting from OUBEY’s computer-art series Zosch and Zorro — also a visual one within this room of the OUBEY MINDSPACE.

“ZZZ” – OUBEY Computer Art

Through the integrated Frank Zappa quote, it also reflects OUBEY’s own view of the relationship between art and the market: “I think that any artistic decision that is based on whether or not you are going to make money is not really an artistic decision. It’s a business decision.”

To anyone who wants to learn something genuine about Frank Zappa, I highly recommend Thorsten Schütte’s documentary Eat That Question – Frank Zappa In His Own Words .

 

The OUBEY MINDSPACE consists of six rooms. Each contains five different Mind Sparks, each offering impulses of its own. Behind every Spark and every impulse lies a story that tells us more about who OUBEY was — and how he was. These stories are told here by me.

My thanks go to the team of Kubikfoto³ for the outstanding design of the OUBEY MINDSPACE, which has already received three prestigious international design awards — most recently the Red Dot Award 2025.

After all, there have always been more than enough examples of the anti-thesis at all times, including the present day.

OUBEY came across the Monadology at an early age and was fascinated by the metaphysics of Wilhelm Gottfried Leibniz on which it was based. As a philosopher, mathematician, physicist, metaphysician, mastermind of what we now call the computer and much more, he is still regarded by many as the last true universal genius.

And so OUBEY dedicated one of his early paintings not to the celebrated Isaac Newton but to Leibniz and his Monadology which had long gone unrecognised, calling it “The Journey of the Monads”.

Over the past four months, as part of the “Art of Resonance” show in the Mind Museum in Manila this painting has been viewed and enjoyed by more people than ever before. This alone would be reason enough to take a closer look at Leibniz’s Monadology

Then recently I read a commentary that referred to the thesis of the best of all possible worlds, only to reduce it to absurdity in light of the abysses into which peoples and nations are still plunging in the 21st century – as though history were nothing to learn from for the future and with this justification at the same time to call into question the divine origin of the world.

I do not feel called upon to philosophise on the existence of a God at this point. But I will say this much: it is striking how easily the inadequacy or even non-existence of a God comes to mind when bad things happen to us whether individually or collectively, caused by natural forces or by the brutal violence people and entire nations inflict on other people and other nations, as we are experiencing directly or indirectly today. And this is especially true when even the most barbaric atrocities are committed in the name of a god.

What fascinated OUBEY about Leibniz’s monadology was less its associated theodicy (justification of God) than its inherent understanding of the freedom, uniqueness and indivisibility of every monad, i.e. every soul in this universe. Bold and still far ahead of even many of today’s thinkers, for Leibniz not only his own human species, but everything that exists in the universe belonged to the animated beings.

Humans – at least according to the current state of knowledge – are the only species on this planet with a free will that goes beyond innate instinctive and generic behaviour and enables decisions that no other being can make. And, if the situation requires it, human will can even go against its own instincts and drives. Decisions such as whether one is prepared to harm another person for whatever reason, whether one is prepared to kill one or even many people, or whether one is able to forego one’s own advantage in favour of another living being are just a few examples of decisions of the will.

According to Leibniz, this world is not the best of all possible worlds because it is perfect, i.e. perfect and flawless in every respect. Rather, it is because it has endowed humans with free will as the only species in this world. A perfect world and the free will of its inhabitants to choose one behaviour or another are mutually exclusive. The question of how free human will really is has also been debated down the ages.

 

Let’s just imagine the opposite: a truly perfect world. People have been dreaming of a perfect world, a paradise on earth, not just since Thomas More published his philosophical treatise entitled “Utopia” in 1516. Just how intelligent Leibniz’s view of the world and mankind was can be seen from the attempts to realise such utopias. Both in the form of small, sectarian communities and in the form of large social attempts at realisation, all ended with the greatest possible lack of freedom for the individual. The fact that these systems are repeatedly abandoned by individuals or overcome by the social collective is a very strong testimony to the strength and power of free will.

For Leibniz, there is no perfect, ideal or even paradisiacal original state of this world and there never was. Quite unlike the belief that human sin was the reason for the expulsion from such a former paradise – as a kind of punishment – and that every human being since then has been born with an “original sin”. I clearly prefer the idea of a universe that accepts human error and even catastrophes and crimes in favour of freedom. In any case, neither the one nor the other can be proven.

Freedom creates space for the possible, for crossing boundaries – in thought and in action, in both positive and negative ways. But freedom also always means responsibility. Everyone decides every day how they use their freedom to make this world a better place or not, and bears the responsibility for doing so. Be it on a small or large scale.

In the “best of all possible worlds”, freedom is a prerequisite. This was probably one of the reasons why an irrepressible free spirit like OUBEY dedicated a painting to Leibniz’s idea. And perhaps this spirit of freedom lives on so strongly in this painting that to this day it immediately casts a spell over almost everyone who sees it.

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