ML, Lit, 3D, Cinema

Echo is an ongoing transmedia project focused broadly on cybernetic culture and historical agency. It is composed of XR installations, AI-based audiovisual and narrative transformation tools, and literary and cinematic artifacts.

Echo began as a cyberpunk teen romance film set within the 2008-14 youth and gaming cultures. It was to reinvent the coming of age story for Gen Z-ers, and to re-cast earlier Cyberpunk depictions of cybernetic culture to the lived truth of gamers and young netizens.

Though never quite shaking its teen romance roots, the project quickly broadened in objective to the invention of honest and emotionally rich cinematic mediations of cybernetic cognition.

Mediations The experimental feature-length screenplay Travelers, which focused on the existential emptiness of virtual infinities through the lens of internet roleplaying.

The short screenplay, titled Echo, which focused on the ‘glitch’ as a mind-altering substance. (see also Echo 2-3, First Page Animatic and void life(all, divisions){return null;} life(null, null);)

The cyberangsty short film The Irresponsibles.

The DeepCollage and DeepGlitch projects, which experimented with style transfer as an audiovisual effects tool to make a video appear to depict ‘loading into’ a virtual reality.

The SILENTNet project, which experimented with shot segmentation, action recognition, and text generation as the components in a narrative-remixing tool for films. (see demo)

The online installations Dark Machines and Vibrant Eyes and unfinished Untitled, which are the first in an ongoing series of web-linked multimedia sculptures about digital trash.

The ongoing allofilm project The Burning Spheres of Dionysus, which is an interactive and cinematic XR experience for the Allosphere depicting the realm of a dark hungry AI.

Influences Echo owes an incredible deal of its DNA to the gracious and peerless revelations offered in the physical computing and coding for art classes with Roger Luo and Juan Manuel Escalante respectively, the computing media and audio technology classes with Karl Yerkes, the optics and data visualization classes with George LeGrady, and the THEMAS and Transvergence groups with Marcos Novak and the brilliant students therein.

I would like to highlight the technical influence and creative collaboration of Karl Yerkes, and the culturing and transmedial influence of Marcos Novak.

Textual influences include the historical consubstantiation theme in Joyce’s Ulysses, the dark realms of Beckett’s Company and The Lost Ones, the cybersatire of Neil Stephenson’s Snow Crash and Pynchon’s The Crying of Lot 49, and the dark transcendental cyberpunk of Aaron Aronofsky’s Pi and Shinya Tsukamoto’s Tetsuo.