I worked with our brand team to develop the communications strategy of Studio, a spatial computing application that turns your smartphone into an interior design tool. I worked closely with external partners to write and direct the short film that unpacks the product and its features, liaising with CG artists, art directors and sound designers.

Everyday Experiments was a speculative design platform by SPACE10 and IKEA, which partnered with some of the most innovative design and technology studios worldwide to ask them: how can we work with emerging technologies to improve everyday life at home? Working on this project for several years, I produced dozens of editorials profiling each studio and its experiments, alongside conducting countless interviews and writing a short live-action promotional film.

AION offers manufacturers a network of partners to provide detailed traceability and emissions reporting for the plastic used in their products. I worked on the UX/UI for the digital tool that was a part of this process and in developing a short CG film and marketing strategy.

Lord of the Harvest is a browser-based "idle game" developed as a promotional tool for Peter Talisman's debut album. I worked on the game's narrative design, as well as the story, characters and dialogue, building off concepts created with the artists themselves.

På(fyll) is a circular service that uses smart logistics and refillable packaging to deliver everyday household items directly to people’s doorsteps. Working closely with the design team, I developed the tone of voice, brand guidelines, website copy and social media content.

I was commissioned to help a Tokyo-based auto manufacturer imagine a more sustainable and visionary future of mobility. I developed an immersive, live-action role-playing game exploring different speculative scenarios centred around transportation. Individuals were given different personas that forced the player to confront new subject positions and raise questions about climate change and the impact of new technologies.

Green Screens is an ongoing research project that explores the relationship between ecology, environment and cinema. Through screenings and discussions, we explore the intersection of ecological concepts and science-fiction tropes. The series has thus far been hosted by the Sandberg Institute, where events have bee open to all students, staff and graduates of the Sandberg and Rietveld. The latest series, 'Green Screens: Animal Anxieties' will begin in January.

*Schemas of Uncertainty* is a research project on the relation between prediction and prescription within current socio-political structures. The project examines the risks and possibilities emerging technologies pose to the imagination of other possible futures or realities. From divination to machine learning, the project looks at the potentials and problematics that exist at the limits of knowability. It considers uncertainty as a generative condition upon which other forms of sociability can be imagined.

Initially starting as a cross-departmental research group at the Sandberg Instituut in 2018, the project has taken multiple formats, including a publication, a symposium and various workshop series. *Schemas of Uncertainty* is initiated by Callum Copley and Danae Io and has involved a number of contributors without which it could not exist.

As part of the QANAT initiative at LE18 Gallery, Marrakech, I was invited to organise a series of workshops that used science fiction as a way to think through the politics and poetics of water. Over three weeks, I led a group of local artists through a series of readings, discussions, screenings and collaborative games that explored sci-fi as a methodology to approach questions of water-justice past, present and future.

With collaborator Ben West, I created a tool which automatically crawls Wikipedia articles at random, pulling images and links and arranging the resulting collage into a 'starter pack' tweeted every two hours. We satirised the meme's formulaic nature, which highlights the formulaic nature of subcultures themselves. The meme format becomes the object of humour rather than the individual contents of the specific variants. Amidst discussions of the impact of automation on creativity, we thought it interesting to comment on the format of memes as appearing so algorithmic already.

Over several months of working with three different groups, Students from Birzeit University, teaching staff from the Ramallah Municipality, and a Palestinian Youth Club from Beit Safafa, I conducted a series of writing workshops that explored science fiction as a methodology for political and social change.

Working with web developer Ben West, we created an interactive experience that unpacked the content of my essay 'A Friend is Writing'. The text explores the professionalisation of social media, the politics of group chats and the broader attention economy online.

Registration School was a three-day, free alternative education program at the Old Tide Mill School in Deptford, London, that I co-organised with Ross Bennett and Andrew Thorpe. The event hosted 50+ workshop attendees, with visiting practitioners such as designer Anthony Burrill, illustrator Jiro Bevis, and digital creative Mark Kremers.

In my role, I collaborated with clients like IKEA and SPACE10, focusing on projects in their research and innovation labs that explored the impact of AI, XR, and other emerging technologies on everyday home life.

As a core tutor on the Critical Inquiry Lab Masters programme, I designed a curriculum and lesson plans encouraging critical thinking and hands-on experimentation, emphasising design research and its broader socio-cultural and technological implications.