Digital Interactive Projects
Pillars of Reflection
2024
First Person Interactive Experience
"Pillars of Reflection" is a digitally interactive labyrinth that invites users to reflect on their internal
perceptions of space and purpose while exploring imposing megastructures.
By drawing from the precedent genre of impossible architecture begun by Étienne-Louis Boullée,
this work presents a megastructure that, while navigated, reflects the embodied wonder of the
space on the player. The questions of purpose and origin permeating the space are asked visually
and audibly to the player as well. Visual qualities of fog, obfuscation, and infinitude present the
player not only possibilities of direction, but also reflection.
Users interact with the work on an intimate or 1-to-1 level. They are presented with simple
movement tools to move through space at a modest and smooth pace while also being able to
speed up or slow down to engage with the details as they wish. A spatially controlled soundtrack
and audio cues to support guiding them through space.
The megastructure itself exists in a space between a void and a cave. It resembles a temple with
large flat surfaces and pillars the size of small skyscrapers. It branches off into several different
smaller structures with a figure at the center that will ask questions of the space and player. By using visual obfuscation with fog, deep chasms with sharp ledges, and a droning soundtrack, this space will a have tension that is borderline uncomfortable but ultimately reverent.
This work uses architectural techniques present in reality and in science fiction in which size and
impossibility (with scale, physical resources, maintenance, and function) imply a higher existence
or being. These spaces do this by reflecting power, incomprehensible function, or a reflection of the
being’s opulent impulsiveness. These techniques are reflected towards to viewer with the intention
of self-discovering their own power, possibilities, and the richness of their own life.
Prophecy (Proof of Concept)
2023
Touch Based Game
"Prophecy" explores the intersections between hand gestures, spirituality, and abstract symbology. At this stage of the project, users are encouraged to immersive themselves into the pattern presented before them.
This project will expand, but for now you can find some samples of the touch input working.
Never Again
2023
Interactive Installation
"Never Again" was interactive installation where I explored the opportunity for games to aliterate lived experienced. The source material of this project came from a recurring nightmare that constant challenged my sense of masculinity and value as a person.
Memory Painter
2021
Online Tool
“Memory Painter” is a program that allows users to source from three images built into the program and paint collages with those images. The user also can erase what they have painted and modify the main tool. The modifiable parts are the main tools size, source image, and blending mode (how the tool interacts with images below it). Finally, the tool allows users to export their creations in the form of a .jpg image.
The intent for this project is twofold. Firstly, it is meant to inspire users to reconsider how they recall or remember events in their lives as well as to allow users to consider the “malleability"/"dynamic nature" of their memories and dreams. The program asks the questions what is the mentally generative difference between dreams and memories? Are dreams memories? If memories can be reconstructed or forgotten, are they reliable sources of experiences?
The second goal of this project is more technical: “Memory Painter” is meant to introduce users to the idea of using digital collaging tools. It does this by reducing the number of options that available when compared full-scale image editing tools like Photoshop (whose clone stamp and masking tools were primary sources of inspiration for “Memory Painter”).
My process of making “Memory Painter,” began by outlining the goals intended and limitations of the project as well as the laying out a plan for development. This step also involved sketching the interface and deciding the different methods of interactivity.
When it came to designing the tool, my approach was to develop the primary tool first. After what I imagined would be a simple process of using p5.js’ copy() tool and a couple additional functions, coding "Memory Painter" turned into a much more complicated process than I had expected — I had to incorporate an imagine to use as a custom mask. Then use that mask in conjunction with the createGraphics() to get the basic tool to work. This process of initial simplicity turning into a complex solution for various reasons (efficiency, functionality, variety) defined my project.
You can visit "Memory Painter" by going to its website or clicking on the image below.
I Have No Mouth, I Cannot Speak
Top-Down Video Game
2022
“I Have No Mouth, I Cannot Speak” investigates how ideological extremisms and their related views are used to justify verbal, psychological, and in many cases, physical abuse. Typically, the recontextualization of the abuse as “just” occurs in relation to that ideology’s scriptures. The teachings in these scriptures often place authority to a sole person and “imbues” them with absolute, judgmental, and punitive authorities. This figure is often an older male, and the authority extends to a congregation, spouses, and, most significantly, to their children — the last being the subject of “I Have No Mouth, I Cannot Speak.” Humans are fallible even when it comes to ideologies with a clear moral binary. In the case of the sole authority, even when they make a significant mistake, in can either be dismissed as “not part of the ideology” or could be twisted into a moral good. The experience of a child in this environment is therefore one of a strict lifestyle and worldview, absolute submission, confusing contradiction, and heavy punitive consequences sometimes for nothing.
“I Have No Mouth, I Cannot Speak” uses the medium of video games to immerse the player into a child’s life in the oppressive environment described above by frustrating and trapping the player in all interactions available. Following the interaction design and perspective of a top-down adventure game, an uneasy soundtrack, nuanced monologues, and useless interactions are the player can experience. The environment design focuses on the surreal and dreamlike. The textures present a world that is expansive and unending, but at the same a world that prison-like.
