Worldbuilding

“If you want a new world, start making it right now, in whatever you are doing.”

-Brian Eno.

If you imagine the world you would like to be in and start making objects, systems and collaborations that belong to that world, that world comes into being.

To me, BRAT has been the ultimate demonstration of cultural world-building, Energy marketing, designing a product and a campaign with its most extreme consumer and fan in mind, and the most acute demonstration of how irl Authenticator moments drive url interaction and amplification.

Whether it is through a VR headset, the manipulation of projectors, or clever set design, immersion fulfills our desire for escapism, instantly transporting us to far-flung, exotic worlds conveniently differentiated by genre: aliens, dinosaurs, cowboys, zombies, steampunk. Excitement and wonder in a familiar imaginary, this mode of immersive entert

thoughts on the creative tensions of Disneyland: between art and commerce, the child vs. the adult, what you can see vs. what’s hidden, and surrendering vs. control.

projects like Invisible Seattle and Loot prove that inventive and imaginative results can emerge from collaboration, producing works that defy easy categorization and commercialization.