What if in a computer game you weren’t to move through a fictional world, but were to immerse yourself in a 3D world that mirrors your actual surroundings? An experiment, which has been popular since at least 1999: at that time, Valve Corporation published, free of charge, the first level editor for Half-Life. The project ERSCANNE DICH SELBST 2.0 takes up this idea with a 3D model of the KulturBahnhof. In the project, a scanning procedure replaces pure reconstruction. The so-called “Structure Sensor” 3D scanner, which simultaneously traces shapes and textures, creates landscapes and spaces full of digital artifacts (glitches), which develop their own stimuli. The central idea of the project – as the title suggests – is to invite the audience to place their entire bodies in front of the scanner, and thus become a character in the game themselves. This way, the “population” of the game grows during the course of the exhibition. The spectators become fellow players who remain in the virtual community of game characters until the end of the project. In these times of growing awareness of the importance of data protection, of course, the question of the legitimacy of a full-body scan as part of an art project needs to be addressed. The team composed of Jan Reuter, Luna Hirt und Stefan Kreller face this difficulty with a playful concept: In front of the scanner, players can stage themselves spontaneously and improvised, so that personal features are disguised according to their wishes. At the same time, this alienation encourages an intensified self-expression. In connection with the occurring glitch effects, a temporal community develops that, with all its “mutations”, could be understood as a counter project to society beyond the game. The inexhaustible stream of our interpersonal exchange, resulting from the pluralization of social experiences, marks a division of individuals into parttime existences. In the game, every character can be switched with a simple “touch”. Identity is generated in newly acquired surreal spheres of the game and in the fluid role-swaps as a socially transgressive form of community, in which it comes down to what each player can make out of it.