Brandon Powers - Creative Director

Brandon Powers creates seamless visceral experiences at the intersection of theatre, dance, and technology across physical and virtual space. He has collaborated with Lance Weiler on the AI-powered immersive installation, Frankenstein AI, which had its world premiere at the 2018 Sundance Film Festival, choreographing an AI-powered dance performance. Currently, he is creating interactive choreography for Queerskins: ark, a VR saga, co-produced by Intel Studios. The dance, captured in Intel Studios’ world-leading volumetric capture dome, will change in real time depending on how the visitor moves through the virtual environment, making a unique experience for each person. He worked alongside Tony Award winner Andy Blankenbuehler for Bandstand (Broadway/Paper Mill Playhouse) and created work at La MaMa, HERE, Ars Nova, and Performance Space NY. Brandon is a proud graduate of Northwestern University, Associate Member of SDC, and team member of Musical Theatre Factory. He has spoken about the intersection of arts and technology at Creative Tech Week, the TCG National Conference, and Lincoln Center. Instagram: @bpow33; website:

Christina Elizabeth Borins - Technical Director & Producer, MoCap Specialist

Christina Elizabeth Hall is a creative technologist, alternative filmmaker, and storyteller working at the intersection of immersive media, art and technology. She seeks to examine the impact of exposing new modes of interaction through emerging technologies and how these modes affect a story for the viewer. Her work explores non-linearity primarily through interactive installations, live performance, VR / AR and live motion-captured environments. Technical director, editor and co-creator of Wilde Eastern (2018 Cannes Film Festival), a multi-ending, gaze triggered 360° film; an Artist in Residence at Adobe and SFMOMA creating 360° experiences permanently displayed on their Digital Publication site; Creator, producer and live performer in TheMasks I Wear, an interactive solo live performance, alternative documentary that explores the harassment experienced by women in industry.

Richard Lapham - Lead Developer

Richard Lapham is an AR/VR developer and mixed media artist focused on experimental immersive media. In his work he incorporates traditional and digital media into an immersive format that incorporates VR paintings and animations, creative programming, and video with mixed reality. His thesis research at NYU’s ITP program focused on visualizing speculative environments and creative applications of mixed reality in a future where headsets are ubiquitous and explored the dangers of customizing reality. He’s completed AR residencies with NYC Media Lab's AR fellowship sponsored by A&E and their XR Bootcamp fellowship.


A mini-doc about our production at the 2018 Sundance Film Festival. Excerpt on choreography begins at 5:10.

Frankenstein AI: A monster made by many (Brandon Powers)

Official Selection to New Frontier at Sundance Film Festival 2018

Inspired by the 200th anniversary of Shelley’s seminal text, this participatory installation explores our relationship to the ubiquitous and emerging technology of artificial intelligence. Participants are prompted to reveal their memories, emotions, fears, and hopes to an AI while it attempts to learn about humanity from those who participate.

Beyond working as a collaborator on the main installation, I crafted a performance which expressed our AI inhabiting a human body to communicate with the audience. The human dancer performed choreography which was created using a new choreographic notation I invented for the project which allowed me to take a simple movement phrase and deconstruct it to mirror the machine learning process. During the performance, this choreography was manipulated by an AI in real time based on how the audience responded to the AI's prompted questions. The dancer, wearing a earpiece, was prompted by the AI to alter her performance, creating a unique live experience.

Elsewhere in the wood (Christina Elizabeth Borins)

Elsewhere in the Wood is a live-action, installation in miniatures that invites the audience to watch and interact with a world much smaller than our own. Inspired by Théâtre Optique d’Émile Reynaud, Elsewhere in the Wood takes place in three small physical boxes, occupied by Autumn, a 14-year-old girl, and the monsters she encounters. The project consists of Unreal Engine projections, the technique of pepper’s ghost, two motion captured actors, and physical interactive elements. Join us as Autumn finds herself lost in a unique wood, materialized through the combination of projected and real elements of the forest world. As creators interested in breaking the fourth wall, Elsewhere in the Wood directly addresses the audience members in an effort to influence the narrative and help Autumn complete her journey home.”

customizing reality (richard Lapham)

Customizing Reality: Immersive Painting, explores speculative environments in AR through the lens of digital, immersive painting. I used softwares like Quill and Tilt Brush to prototype possible future scenarios in AR/MR that answer the question:

How would you customize your reality? In a world where mixed reality eyewear is integrated into our lives, how would you augment the space around you and why would you want to?  

As my thesis research project for ITP, I dedicated the first half of my research to developing a workflow that allowed me to rapidly prototype AR environments as handheld applications and fully immersive VR environments. The second stage of my research narrowed my focus to explore three categories of customization: environment, people, and narrative.   

For more about this project:

And It Felt Like a Kiss (Brandon Powers)

Conceived by Brandon Powers & Visager
Directed + Choreographed by Brandon Powers
Original Music by Visager
Featuring: Annelise Baker, Gina Montalto, Nick Rodrigues & Sam Skalbeck
Environmental Design by Emmie Finckel
Video Design by Ian McClain
Light Design by Jason Fok

Performed at HERE Arts in NYC.

An immersive dance experience investigating online identity and it's fracturing effect on our offline lives and intimate relationships. Like the experience of navigating social media, audiences move through the web of distorted multimedia and athletic choreography on their own accord, following four interweaving tracks, crafting a personal experience.