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For three days in Athens, my workshop with Vicky Spanovangelis, The Worlds Between Us explored how movement, memory and imagination can change the spaces we share. This workshop marks the beginning of the launch of my research and creative exploration of worldbuilding culminating in the release of my book “Spatial Narrative: Designing Worlds Not Stories”

My warm thanks to Vicky Spanovangelis for her creative partnership, and to The Creative Studio, Nomads & Urban Dwellers, for giving this work a home. Thank you to everyone who brought their curiosity into the room and helped shape what it became. Future projects and workshops will certainly follow. #worldbuilding #spatialnarrative #embodied_practice #creative

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Have you ever wondered what sort of classes take place at College? Here’s a rare opportunity to take a look inside.
Last year, David Bassuk and Clista Townsend invited participants to imagine their biggest challenge as a creature they'd meet in the forest — and from that strange, playful starting point, people ended up seeing the hidden patterns behind how they lead, connect, and move through the world. This is the kind of thing that sounds odd on paper and lands completely differently when you're in the room.
We're happy to share that both of them return as Professors at the College this year, and where they'll take participants next, we can't wait to find out ourselves.

#extraordinarycollege #meaningfullconnections

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Four days in Nairobi reminded me that the future is not something we simply inherit—it is something we shape together.

Convened by Karen Palmer at Black Rhino VR, Hack the Future Lab Kenya was a Think and Action Tank grounded in Kenyan, African, Ubuntu, Indigenous, and relational worldviews. Through resistance, recollection, repurposing, worldbuilding, and future artifacts, we explored AI’s connections to hidden labor, mineral extraction, land, data ownership, infrastructure, governance, memory, and culture. The emerging Griot carries this work forward as living memory and relational intelligence.

On Day Two, I led *The Future Watches Back*, a Protopian Worldbuilding Lab grounded in my Spatial Narrative methodology. Participants transformed signals about invisible AI labor, resource extraction, and algorithmic scoring into inhabitable “World Cells”—small, testable futures restoring choice, refusal, repair, accountability, and shared power.

I was honored to work alongside Wakanyi Macharia-Hoffman, Mophat Okinyi, Kambale Musavuli, Rex M. Lee, Odanga Madung, Angella Ndaka PhD, Mary Bitta PhD, Kainyu “Kai” Njeri, Mario Marquez Lartigue, Yvonne Cho, James Oyange, Julita Bhagat, Leonard Kambona, Jabez Mutoria King’ori, Calvin Odera, Kings Korodi, Brian Afande, Bereket Afewerki, and my partner, Clista Townsend.

My deepest thanks to Karen for her vision, trust, and care; to the British Council for supporting this vital exploration; and to every participant who shared lived experience, cultural knowledge, difficult questions, imagination, and hope.

Beyond the Lab, Nairobi offered another kind of learning—from witnessing conservation at the Sheldrick Wildlife Trust and a Kenyan wildlife preserve to visiting Karen Blixen’s home. Across the city, I encountered bold ambitions for technology, culture, work, and community, alongside urgent questions about opportunity, ownership, infrastructure, and who benefits from technological change.

Nairobi is not merely a backdrop for conversations about the future. Its people are actively questioning, building, and negotiating that future every day.

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I’m excited to introduce my upcoming talk, “Theatre, Myth, Music & Games: Designing Live Experiences in Hybrid Systems,” tomorrow at the WXO - World Experience Organization London Experience Week event at the Ministry of Sound.

As live performance increasingly overlaps with games, AR, AI, and participatory media, I keep returning to a central question: How do we design audience participation without fragmenting attention or diminishing the work's emotional meaning? I’ll present AURORA as a case study in entangled experience design: an approach in which theatre, myth, music, and game systems are not treated as separate layers but as a single-authored whole. The most challenging aspect is not simply adding technology to performance; it’s about making technology function as dramaturgical material—shaping agency, pressure, consequences, and emotional transformation. Through AURORA, I’ll explore how interior states can be externalized through playable systems. How can Augmented Reality carry narrative weight? How can AI behavior reinforce the stakes of a scene? How can a game mechanic deepen, rather than distract from, the audience’s emotional experience?

Produced by my company, White Horse Immersive, with Wan Zhao and Clista Townsend, in partnership with Sheung Chueng Performing Arts Center in China and Niall Austin’s Second Screen company in Ireland. The production is now scheduled to open in Hangzhou this November. Also pleased to to sharing on a panel the Business of Experience representing my international work in both Ireland and China.
Also pleased to share on a panel the Business of Experience, representing my international work in both Ireland and China.

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Tours, Part Four.

An hour from Paris with a different rhythm entirely.

Timber-framed facades that feel hand-built, not designed, Cathedrals that hold light like memory and
Quiet courtyards where sound softens and time stretches.

There’s elegance here, It’s lived in. Worn slightly at the edges. Human.

Parks that invite you to sit, not scroll.
Streets that glow at night without asking for attention. Art that appears mid-walk, as if the city is thinking out loud.

This is not a city trying to impress you. It’s a city that lets you arrive.

Close enough to Paris for intensity.
Far enough to build a life.

The question isn’t whether we could live here. It’s whether this kind of quiet clarity is what you want to live inside of.

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Montpellier, Part Three.
A city that layers itself around you.
Morning: narrow stone streets, cool shade, quiet human scale. Afternoon: the river opens, light stretches across Antigone’s geometry. Evening: the opera house glows and the square becomes a stage.
There’s a rhythm here. Not rushed. Not empty. A place where daily life feels… composed.
Coffee. Crème brûlée. Conversation. Architecture that remembers the past and experiments with the future. A city that invites you in—but doesn’t overwhelm you.
The real question isn’t whether it’s beautiful. It is.
The question is, What kind of life does a place like this make possible?

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Dublin, a city that always feels like a threshold. A walk through streets where literature lives in bronze and brick past Joyce mid-stride, past the GPO where history still hums beneath the pavement, past bookshop windows that feel less like retail and more like portals. At the Abbey Theatre, a reminder of what it means to build a national stage to make storytelling a civic act.

Time with friends in Ireland’s XR community conversations circling around worlds, systems, and what comes next when experience becomes infrastructure.

A stop at the last Tower Records Dublin still pulsing, still physical, still insisting that culture needs a place you can walk into.
And then one of those improbable collisions running into my Purchase College classmate, the inspiring Stanley Tucci.

Cities like this remind you:
the world isn’t just connected—
it’s entangled.

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Visiting Ireland 🇮🇪
Cork, Walking the River Lee, through narrow lanes, across thresholds where history, weather, and everyday life quietly overlap.
I’m in the city working with Peter Power on RUIN for the Cork Midsummer Festival—an immersive civic artwork exploring dereliction not as isolated decay, but as a living system shaped by policy, memory, and collective responsibility. RUIN is beginning to take form not as a story to watch, but as a city to read.
More soon.

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Grenoble ⛰️🇫🇷

If Lyon is composed, Grenoble is elemental, the city doesn’t sit on the land—it’s held by it. Mountains rise on all sides like a living amphitheater, not distant scenery but constant presence. You feel them in your body, in the light, in the air itself. They don’t just frame the city—they define it.

Neighborhoods unfold with a different rhythm than Lyon.
Less theatrical, more grounded. Streets open into quiet parks, everyday life layered with views that feel almost unreal. A church, a corner café, a residential block—and suddenly the horizon breaks into stone and sky. There’s a clarity here.
A sense of scale that recalibrates everything.

Up above, the cable car lifts you into perspective—reminding you that this is a city in dialogue with altitude, with weather, with time. Down below, life moves simply: bikes, families, local shops, an ease that feels lived-in rather than curated. Grenoble doesn’t try to impress rather it surrounds you—and in doing so, it shifts you.

As we continue this search for where to land, a new question emerges:

Not just where could we live?
But what kind of landscape do we want shaping our days?

Mountains change the answer. 🌄

#Grenoble #FrenchAlps #CityExploration #LifeDesign #SpatialNarrative ExpatLife

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Lyon, Part One of our exploration of cities to make home 🇫🇷

Lyon is a place of stone and shadow, light and ritual, steep streets that ask your body to lean forward and pay attention. From the kinetic surge of fountains in Place des Terreaux to the quiet gravity of painted walls and museum stairwells, everything here feels composed—like a city that understands staging. From narrow passages opening into sudden plazas, long perspectives breaking into intimate courtyards, food that slows time and insists on presence. Even the evenings carry a kind of soft dramaturgy—strings of light, a sense that the city is always mid-performance. This is our first step in exploring where to land next—testing not just livability, but resonance.

How does a place hold you? Does it invite you to stay, to build, to belong?
Lyon doesn’t answer directly.
It suggests.
More to come as the journey continues. ✨

#Lyon #France #CityExploration #SpatialNarrative #ImmersiveLiving LifeDesign ExpatLife TravelWithPurpose:

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Thrilled to share that I’ve been selected as a speaker for WXO’s London Experience Week 2026. I’ll be presenting “ENTANGLED: Theatre, Myth, Music, and Games – Designing Live Experiences in Hybrid Systems,” drawn from AURORA AR, our new work opening in Hangzhou, China late spring.

Created with White Horse Immersive, Niall Austin, and the Sheung Cheung Performing Arts Center, AURORA AR explores how live mobile gaming, situated AR, and motion-capture AI can deepen liveness rather than fragment attention—treating technology as dramaturgy, not just spectacle.

Grateful to Wan Zhao, Clista Townsend, and our wider international creative team for helping shape this work. If you’re interested in touring, partnerships, or the platform behind the project, I’d love to connect

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January and February in Cyprus gave me exactly what I didn’t know I needed: space.

These two months were quieter, slower, and full of the kind of beauty that makes you pause. Mornings by the sea, golden sunsets behind palm trees, ancient ruins standing still under wide skies, and long walks along nearly empty beaches created the perfect backdrop for reflection. It felt like being somewhere between history and horizon — a place that gently reminds you to look back, look inward, and then look ahead.

I used this time to write, to think more clearly, and to reconnect with the bigger picture. Away from the noise, I found room to plan with intention, not urgency. Ideas that had been sitting half-formed finally had space to grow. Goals became clearer. Priorities became sharper. The year ahead started to feel less like a list of things to chase and more like something to build deliberately.

Cyprus, in its winter light, became a place of reset for me — not just rest, but renewal. A season for reflection, writing, and laying strong foundations for an ambitious year ahead.

Grateful for the stillness, the perspective, and everything these two months made possible

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