I like playing with media and technology to design stories, products, and experiences.
I'm currently leading bizdev for Fake Love, the experiential agency for creative futurism at The New York Times. I'm the founder & principal at Bit Experientialist, a production and strategy consultancy. I'm also serving on the board of UnionDocs, a non-profit supporting documentary art. And I have a few side projects, which you can read about here.
I began my career working primarily as an artist, recording and performing music with groups such as Voxtrot, Beirut, Yellow Ostrich, Bright Moments, Adam Green, and others. I was a sound recordist for the 2013 film Cutie and the Boxer, which was nominated for the Academy Award for Best Documentary Feature.
I joined Pond5 as one of its earliest employees, and helped build it into the largest global marketplace for royalty-free media. I then helped launch TapTape, an equity crowdfunding service for creative ventures, before joining Sketchfab, the leading online platform for 3D & VR, as head of creative development.
I have a thing for bad wordplay, and I generally enjoy spending time with bicycles, languages, bodies of water, and other modes of discovery.
Years ago, I made the decision to focus my creative efforts outside of commercial contexts, which has resulted in a few sprawling art projects in various states of disrepair.
I'm also working on a few pretentious essays that explore concepts such as environmental communication, the meaning of authorship & authenticity, and theories of cultural evolution and memetics.
A fragmented transmedia art project unfolding over the course of 24 years, and an exercise in gross self-indulgence.
A collection of art.tech pranksterisms and various explorations of ideological futility. Design of the apocalypse.
A project that employs diverse modes of digital preservation to encourage cultural and environmental conservation.