The question is always and especially now: How do we deal with those who see things differently? In ›Böse Häuser‹, Turbo Pascal stages thought experiments with themselves and the audience, experiments in rethinking and thinking differently, in checking and toppling one’s own edifice of ideas, in reinforcing or reversing tenets, in entering or leaving other – possibly sinister – worlds of imagination.

In a time in which conceptual spaces on the internet and in the neighborhood appear to be growing more rigid, demarcating themselves more strongly from each other, Turbo Pascal performs ideological mental exercises and thought gymnastics: How flexible do we want to be?