an artist, filmmaker, and musician working in the fields of virtual reality and
simulation. I explore worldbuilding as a form of multi-dimensional collage that can incorporate elements from both material and virtual worlds, while developing narratives that reflect on alternate histories and possible futures.
CINEMATIC WORKS I’m currently working on building a Sinofuturist cinematic universe — a series of
films, games, and soundtracks that explore the strange and turbulent beauty of
the world to come.
The narratives draw from many sources, including: the geopolitics of technology, tales of empathy and emotion for the other, conflicts of colonialism and capitalism, the psychological effects of a data-driven world, as well as many details and observations drawn from real life.
This series includes the CGI feature film AIDOL, the video essay Sinofuturism (1839-2046 AD),
the AI-coming-of-age story Geomancer, the site-specific video
game 2065, and the
VR simulation Nøtel, and several projects undertaken under my corporate alter ego Farsight Corporation.
These multimedia projects also exist as site-specific
installations that bring together my love of electronic music and architectural worldbuilding. Recent examples of this approach include FTSE at Bold
Tendencies, Temple at 180 The Strand, and Farsight Freeportat HeK Basel.
︎ MUSIC & PERFORMANCE
The sonic world is integral to my projects, and I’ve been releasing soundtracks since Screengazers OST in 2011. More recent releases include Geomancer OST (Eternal Dragonz), Temple OST (The Vinyl Factory), and AIDOL OST (Hyperdub). I also perform live A/V shows incorporating walkthroughs of the virtual environments, often in collaboration with other musicians and artists.
Closely aligned with my narrative worldbuilding is the idea of ‘site-specific simulation’. Virtual representations of reality augment our memories and experience of place, while embodying eternal concerns about alienation, habitation, utopia, and dystopia.
Between 2013 and 2016 I worked on the Bonus Levels series of simulations and video essays. The nine chapters each drew from the context of their real-world exhibition site, using the format of open-world games to map out alternate futures for the city. There’s a website archive of the series, as well as a long-form essay on the concepts behind it. In 2018, I made the video essay
Pyramid Schemes, a sequel that goes in further detail on the language of urban symbols and monuments.