What neither side contains
The Thaumotrope
I turn a disc and a relationship appears. Four pairs of drawings let you wind, separate, and change what the two sides bring into view.
Take the stringAn interactive essay and a table of discs
One World,
Many Games
The frames we live in shape what we see, what we believe, and who we can become.
These works emerge from a year of lived research and a much longer practice in First-Person Experience Design: making room for many selves, many times, and many ways of being in one world.
Explore the collectionWatch the film and read the research proposal
Windows · Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
The dialogue holds steady while its meaning changes. Moving between three windows makes the frame itself available to experience.
- 12. Interdimensional SelfhoodA single underlying script
The chapter names this project directly: one script can sustain different worlds, and a shift of attention can reveal the frame.
- 4. From Temporal Cuts to Spatial CompositionThe Field, the Threshold, the Trace
Looking, dwelling, and returning compose a path through material that shares one space.
The Hinge · Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
The painting stays still while its reading turns. Arch and sail share a rhyme of form and purpose across one continuous sea.
- 17. Poetics of Dissolution & Quantum SuperpositionCycle 6
Aspect-seeing offers a precise way to discuss the change: the image remains, while what becomes figure or background shifts.
- 12. Interdimensional SelfhoodA single underlying script
This study introduces the design problem Windows develops: what can remain continuous while the surrounding interpretation changes?
The Windows Project
Three windows. One conversation.
Begin with The Hinge — Rob Gonsalves
Count · gamut · gesture · story · palm
Trust the Hand
Count a rhythmic cycle, play the gamut, answer a gesture, compose a phrase with mudras, or follow the lines of a palm. Five studies of the hand as an interface.
Explore the handAn interactive essay
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
Count rhythmic cycles, play a Guidonian pitch map, and explore a historical palm-reading diagram. Each practice gives the hand a different notation.
- 2. Trust the HandIV. The Notated Hand
Learned routes and named lines make the hand legible in different ways. The companion explores relations between bodily technique, notation, and interpretation.
After Alvin Lucier
The Fold
I’ve been exploring sonic ghosts since 2020. Here I give thirty-two transformations of Lucier’s voice a place, and invite you to approach, linger, rearrange, and return.
Begin by listeningAn interactive essay and spatial playground
The Finding of Erichthonius
The Cleaning
Beneath a familiar painting: a hidden child, a myth, and a passage through layers of memory.
Enter the paintingA visual essay in motion
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
A painted surface opens into myth, place, and ritual. Returning to the painting means meeting the same image with a different history.
- 3. The Chronotope of the VirtualThe tunnel
The chapter’s Arrhephoria passage is a direct source: carrying, enclosure, and passage give the ritual its form before its contents are known.
- 16. Narrative Furniture & Memory Palace of SelvesThe Chelsea Hotel, scraped clean
The recovered image gives another form to the palimpsest: different histories remain available in one place instead of replacing one another.
Dorothy Eady / Omm Seti
There’s No Place Like Home
One life between here and elsewhere. A hand in water, a hand in sand; the place remembered and the place inhabited.
Follow the memoryA visual essay in motion
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
A hand in water answers a hand in sand. Gesture and place let two lives, two times, and two claims of home occupy one experience.
- 16. Narrative Furniture & Memory Palace of SelvesThe Chelsea Hotel, scraped clean
Remembered and inhabited worlds overlap. Dorothy Eady’s account gives this question a biographical form without resolving the status of her memories.
- 3. The Chronotope of the VirtualThe seminar, years later: where time takes on flesh
The garden and the desert make time perceptible through a place; the hand carries the passage between them.
A joke in more than one telling
A Debate in Gestures
Two people see the same gestures and inhabit entirely different stories. A joke about the frames we bring with us.
Hear both sidesA scrolling visual essay
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
The gestures are shared; the rules for reading them are not. The joke lets us inhabit each account before seeing the mismatch.
- 6. Language Games, Spatial Inscription, and the Grammar of XR InteractionThe first player writes it down: meaning as use
A gesture gains its meaning within a practice and a form of life. The same sign can therefore perform different acts for its two readers.
- 12. Interdimensional SelfhoodBefore the Name
The chapter traces shifts between frames through Calvino, Carroll, and the pun. Here, the second telling makes an interpretation turn without changing the original exchange.
After Rashomon
The Room of Four Tellings
One death, four accounts. Where you turn and what you listen to become part of the telling.
Enter the roomA spatial listening encounter
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
Four accounts of one event remain in conflict. Turning toward one voice foregrounds it while other tellings continue beyond your attention.
- 17. Poetics of Dissolution & Quantum SuperpositionCycle 3
This is the chapter’s named case: preserve the tension between situated accounts without treating their incompatible claims as equally true.
- 4. From Temporal Cuts to Spatial CompositionThe Field, the Threshold, the Trace
The room makes attention consequential. Its record of your route lets you return to what you followed and what was happening elsewhere.
Two appeals for justice
Two Kings
A half-turn changes the court, the complaint, and the terms of judgment. Cross through the image and take the seat.
Approach the courtA diptych and a 3D encounter
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
Two appeals to royal judgment expose different conditions for justice. A half-turn changes the world in which the judge must answer.
- 12. Interdimensional SelfhoodCatching the frame in the act of framing
The chapter moves from the Solomon position to the siege of Samaria. The question is what shared ground a judgment needs, and what happens when that ground fails.
- 3. The Chronotope of the VirtualThe seminar, years later: where time takes on flesh
Court and siege give action different possibilities. Space and historical circumstance are part of the meaning of the appeal.
39 games of thought
Eloquence
Pull a thought apart. Make an echo. Break an expectation. Each rhetorical device becomes its own game of rhythm, space, logic or meaning.
Choose an instrument39 playable rhetorical devices
Twelve ways through one night
Interdimensional Seder
A shared ritual holds many worlds around one table. Fifteen moments unfold across twelve interpretations.
Come to the tableA ritual for reading and gathering
Read alongside
From Carmen et Error: Manual for Navigating Multiplicity
Fifteen ritual moments hold twelve interpretations together. Participants can keep the same place in the sequence while inhabiting different worlds of meaning.
- 12. Interdimensional SelfhoodEvery spring
The chapter discusses the Seder directly: a stable ritual lets different readings coexist, and lets a present participant speak from an ancestral past.
- 11. Ritual Design and the Kitchen as Sacred InterfaceDress and toss. Do not speak.
The order of actions provides more than procedure. A shared act can carry commitment, memory, and transformation for those performing it.