His preferred technique, referred to as “intercultural” today, can be understood in the example of Caliban. He did not commit himself to just one category or technique, but simultaneously worked on several pieces using different techniques – one-, two- and three-dimensional works. It is also important to remember his written comments, which have been recorded, but still need to be interpreted. One of the consequences of his solipsistic approach to his work⁵ as well as his passionate avant-garde approach to art was his sometimes painful position between the all of the fronts defined by the art market.

“Caliban” is one of Czischke’s works in which he showed early on that he was far ahead of his time in several areas of intellectual and artistic work. Before 1975, he adopted a recognisable text structure and design attributes from Schmidt's "Caliban über Setebos" for his own artistic work that was still clearly independent of the original story. Czischke did not “imitate”, as the encyclopaedic article from a distanced observer may insinuate. With his specific technique and his artistic “signature”, he gave Caliban a new visual structure and a “dual voice”⁶ unheard of at the time.

Even if some, especially young viewers, do not recognise the presence of the ancient Orpheus myth or Schmidt’s Caliban story at all, Czischke’s Caliban does not need these models. The impact of his chains of association, humorous and aggressive, striking and full of detail, puts the readers of the original text and viewers of the newly created images under an unexpected spell of artistic appreciation – one reminiscent of other well-made interactive works of recent years. Schmidt really was "not enough of a fool" to make the ancient story of magic unreadable with convoluted text and his own unique turns of phrase (“Verschmidtzungen”).⁷ Otherwise, it would not have captivated so many readers since the 1960s. With Caliban, Czischke spent years on a journey parallel to Schmidt’s, and reached an entirely new destination in the end.

Czischke’s Caliban concept ends with an uninterrupted list of his artistic and occasionally literary techniques: “Phrases positioning eroticisation obscenities, jokes recklessness meanness superficialities alienations quotes kitsch Walpurgian drawing⁸