Movement As Query (MAQ) is an experimental system that treats the body as a search engine. Instead of typing text, a choreographic phrase becomes a movement query — a gesture or sequence of movements is captured, analyzed, and matched against a curated video archive. Using choreographer Jonah Bokaer’s rich movement database of existing works as a starting point, the system retrieves and reassembles movement fragments from the archive into new generative artifacts. The system is a dialogue between live movement, archival memory, and human–computer interaction.

MAQ is currently being developed through a pilot residency in New York City by the Jonah Bokaer Arts Foundation, and undertaken in collaboration with Preform and FuturePerfect Studio.

MAQ sits at the intersection of choreography, machine learning, and embodied research. It is at once a performance tool, a conceptual experiment in teaching AI to “listen” to the body differently, and a prototype with potential applications in archives, education, and cultural technology.

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Movement as Query (Research)



>When my home was demolished, I was in profound shock. I had always believed that ‘home’ was a place of safety and stability—but it turned out to be fragile in the face of change. One day I stood on my balcony and suddenly understood that the entire city was an illusion—shifting, organic, and constantly in motion. Lin Shu-Kai
 
These words come from artist Shu-Kai Lin, whose deeply personal experience has fueled a decade-long exploration of home, memory, and the instability of urban space. They also providethe foundation for his collaboration with Wayne Ashley, Founder and Executive Producer at FuturePerfect Studio, an interdisciplinary immersive media studio based in Brooklyn, New York.

 Though they come from different cultural contexts, both Lin and Ashley are responding to the fragility of cities and the volatile conditions shaping the world today. In the midst of uncertainty, grief, and dislocation, their project offers a different kind of encounter—where art and technology combine to restore feeling, foster connection, and open space for imagining new futures.


>When all that is familiar fades, when the fortress of safety is destroyed—what remains?
As a new world begins to take shape, what do you hope for? What do you imagine?
In a time of accelerated change, how do we respond, and how do we endure?
As a new world begins to take shape, what do you hope for? What do you imagine?
In a time of accelerated change, how do we respond, and how do we endure?
After destruction and loss, are we also given a chance to rebuild? To begin again?

 
City of Apparition is a mixed reality experience with VR headsets exploring the emotional and spatial dislocations caused by loss of home. Created by Brooklyn-based FuturePerfect Studio and Taiwanese artist Lin Shu-Kai, the work blends physical and digital worlds—allowing viewers to interact with fragments of a disappearing city, a childhood home, and the imagined structures that emerge in their place. The project draws on Lin’s personal experience of urban demolition in Tainan. When his family’s home was forcefully torn down, the rupture—both emotional and material—sparked a deep inquiry into the instability of cities and the volatile conditions shaping the world today. Based on Lin’s drawings, sculptures, and installations—Director Wayne Ashley, Founder of FuturePerfect, has interpreted this narrative through an immersive, multi-sensory journey using 3D scanning, game engines, and VR technology. At Der-Horng Gallery, audiences can experience a 7-minute prototype—an early glimpse of a work-in-progress that will continue evolving over the next year into a 50 minutes experience contained within 7 modules or chapters. Wearing a VR headset, viewers interact with digital objects in physical space—a world where sculpture, architecture, voice, environmental sound, and spatial interactivity will converge. The demo introduces the concepts, invites public support, and builds anticipation for the full experience to come.

A Joint Exhibition by Lin Shu-Kai and FuturePerfect Studio

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Unhoming / Reworlding

**Bad, Bad AI** is a multidisciplinary initiative exploring how artificial intelligence is reshaping authorship, embodiment, and expression across music, dance, theater, visual art, and emerging media.

Led by FuturePerfect Studio and the Jonah Bokaer Arts Foundation, the project invites artists from all disciplines and technologists to rethink how we perform intelligence—and how intelligence performs us.

The initiative supports research-based experimentation, public discourse, and new production through residencies, talks, and convenings. Designed to unfold in phases, Bad, Bad AI offers flexible pathways for institutional partners to participate and co-shape the program’s direction.

The title Bad, Bad AI evokes a playful provocation: participants are invited to engage with AI’s failures, biases, and unexpected behaviors (the so-called “bad” sides of AI) as fertile ground for creative experimentation, rather than as problems to be eliminated. In essence, this program is an incubator for imagining choreologic futures – futures in which bodily intelligence and choreographic thinking play a central role in shaping technological innovation.


**Program Modules**

**Performing the Machine: Intelligence, Embodiment, and the Choreography of Systems**
A public series of talks and live demonstrations showcasing how artists use machine learning to train systems that respond to movement, generate choreographies, or act as creative agents.


**Residency Program – Embodied Systems Lab**
An incubator for artist-technologist collaborations to develop new performative and interactive vocabularies of embodiment and intelligence—across dance, robotics, sensing, media systems, and more.


**Convening – Performing Intelligence: Bodies, Systems, and Stages in the Age of AI**
A curated gathering of performances, panels, and talks addressing the cultural implications of AI across artistic disciplines.


**Production & Touring**
Select projects developed through the initiative may receive continued support through co-production and presentation partnerships.

**Collaboration Model**
Each module can operate independently or in combination, offering institutions flexibility to engage at various scales—whether by hosting a talk, supporting a residency, or participating in co-commissioning new work. Artist participation will be shaped collaboratively with presenting partners.

**Exemplary Artists**
The following artists offer concrete reference points for curatorial scope and artistic relevance. Final participants will be selected in partnership with host institutions: Jonah Bokaer, Holly Herndon, Wayne McGregor, Lev Manovich, Rashaad Newsome, Toni Dove, Krzysztof Garbaczewski, Ryat Yezbick, Paola Prestini.

**Join Us**
We welcome partnerships with institutions committed to experimentation, critical inquiry, and future-oriented creative practice. Bad, Bad AI is not a finished package—it is a platform for shared authorship, artistic discovery, and cultural reflection.


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Bad, Bad AI

>When my home was destroyed, I was shocked beyond words. The once-safe haven I had always believed 'home' to be, since childhood, revealed its fragility, susceptible to any change. Standing on the balcony one day, I realized the entire city was an illusionary, fickle organism, in a constant state of floating. 
>— Shu-Kai LIN

FuturePerfect has just completed the _City of Apparition_ demo, a groundbreaking mixed reality experience. Building on a decade of research in immersive storytelling, this project combines visual art and installation with advanced game engines and interactive technologies. 

Set to debut in 2027, the work is a powerful, artistic response to un-homing—a profound dislocation that occurs when individuals are torn from both their physical environments and the cultural and psychological foundations of their lives. It is a trauma that severs the bond between people and place. Far from a documentary, _City of Apparition_ takes audiences on a fantastical and spiritual journey inspired by science fiction, history, speculative futures, and fantasy. The project merges experiential design, theatrical elements, and cutting-edge storytelling, seamlessly blending physical and digital worlds.

Equipped with AR headsets, audience members will navigate a hybrid physical-digital environment where the visual narrative unfolds across multiple realms: the fictive digital space, the actual physical venue, and a constructed artistic world complete with physical objects, lighting, and sound. 

At certain moments, audiences will be completely enveloped by a VR environment that dominates their senses. Occasionally, they will engage with live physical environment that is devoid of technological enhancements. And at other times, audiences will navigate both the physical and digital simultaneously. We anticipate that this dynamic interplay among alternate realities will create compelling tension, strategically utilizing each modality to enrich the narrative and deepen thematic exploration.

**Synopsis**: Amid the chaos of urban upheaval and the devastating loss of his home, Mr. Yang-Tai (陽台先生), an office worker, begins to question the monotony of his daily routine and grapples with the haunting question: "Is this all there is to my life?" Seeking both answers and adventure, Yang-Tai escapes to a parallel universe where he undergoes a remarkable transformation into a fearless intergalactic traveler.

Venturing aboard a space capsule crafted of his own imagination, Yang-Tai embarks on a challenging journey—at times a dream voyage to the future, at times a science fiction odyssey, at times a quest to find home, and occasionally a mythical journey into the past.

Exploring the farthest corners of the universe and its enigmatic uncharted territories—from the celestial metropolis of Manjusaka (曼珠沙華) to the weathered industrial landscapes of Hua-Chin City (華慶之都), and the abandoned underwater multiverse of Vidunas (維度娜斯)—Yang-Tai's whirlwind odyssey forces him to confront the fundamental question: How do I return home when it no longer exists?

Prepare for a journey that will challenge everything you thought you knew!

_City of Apparition_ is a collabortaion between FuturePerfect and visual artist Lin Shu-Kai and set to premiere in 2027.

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City of Apparition (MR)

FuturePerefect's first commercial video game now available on [_Steam_](https://store.steampowered.com/app/2568730/Void_Climber/)

Climb to the top of a collapsing universe in this parkour platformer with roguelike elements. As an interstellar scout, you are sent to probe a cosmic anomaly that has left the world shattered and chaotic. Space fractures, time crumbles, and fragments of a broken world—eroded rocks, rusted machinery, ancient ruins—drift together in a strange, unstable mix. Past and future blur. With each failed attempt to escape, the realm shifts and reassembles. Navigate this ever-changing landscape, where every fall sends you back to the beginning. Conquer the void as fast as you can before it consumes everything.

Inspired by the rise and fall of civilizations, the speculative wonders of science fiction, and the existential questions posed by the nature of the universe, Void Climber challenges players to confront the impermanence of all things and ponder their own legacy.

**Wishlist us on Steam:** [_here_](https://store.steampowered.com/app/2568730/Deep_Time/)

**Merciless Platforming**. 
Jump, dash and grapple through disintegrating cosmic chaos. Deploy your platform spawner to save a fall or forge your own path to the summit.

**Balance Vital Resources**.
Every action drains energy, from leaping between rock formations to executing strategic parkour moves. Replenish your life force by landing on rocky outcrops or collecting scattered matter and minerals. Energy management is crucial in this dynamic struggle for survival. 

**Obtain Game-Changing Upgrades**.
Harness energy at tuning stations to obtain powerful upgrades that turn the tide in your favor. Slow the onslaught of disintegration, dramatically increase your speed, extend dash distance, amplify jump height, and gain access to new types of spawnable platforms.

**Conquer Ever-Changing Chaos**.
Each run reshuffles the cosmos, crafting a uniquely volatile environment. Navigate through ever-shifting pathways as you strive to gather energy, ensuring no two ascents are the same. Speedrun to the summit and compete for a spot atop the leaderboard. 

FuturePerfect's parkour platformer video game with roguelike elements

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Void Climber (Video Game)

From November 16-18, 2022 NORDWIND, FuturePerfect Studio and Denis Semionov in collaboration with Kampnagel and Hellerau - European Center for the Arts present _Cyber Attack: Digital Art and Activism_, an international online conference bringing together over 30 artists, producers and curators to discuss important issues of our time.  

In the last decade digital technologies have ushered in a proliferation of hybrid artistic practices, media forms, and discourses across communities all over the world. These technologies have not only shifted the ways audiences experience art in public spaces, they have enabled artists to expand and connect directly to their audiences, collaborate virtually, and interact remotely. The current global pandemic and the dangerously expanding warfare between Russia and Ukraine make understanding these shifts even more critical. Opportunities for artistic production are continuously threatened by restrictions on public gatherings, new forms of surveillance and censorship are increasingly deployed by autocratic regimes, forced migration due to conflict and violence has devastated entire artistic communities, and an information war has left us all more fragmented than when the twenty-first century began.

Cyber Attack: Digital Art and Activism investigates how and under what conditions artists are deploying technologies and online spaces to build impactful narratives and actions that respond to accelerating political, economic, and environmental crises, while forging new communities and alliances.

**Participants include:** Lev Manovich, Chico MacMurtrie, Luise Kaunert, Team Rolfes, Oleg Nikolaenko, LaJuné McMillian, Anna Shvets, Tosca Terán, Vladimir Storm, AES+F, Nikita Shokhov, Anna Evtiugina, Theo Triantafyllidis, Georgy Molodtsov, Arseniy Zhilyaev, Joshua Citarella, Ellina Gennadievna, Ira Konyukhova, Oksana Syhareva, Alina Mikhaleva, Olga Dvoretskaya, Allen Feldman, Sutu, Jiabao Li, Choy Ka Fai, Johanna Bruckner, Cécile B. Evans, Egor Kraft.

**More Information:** [_here_](https://cyberattack.nordwind-festival.de/)

**Purchase Tickets:** [_here_](https://www.eventbrite.com/e/cyber-attack-digital-art-and-activism-tickets-432446879257?keep_tld=1)


Cyber Attack is funded by NEUSTART Kultur Fonds darstellende Künste and the Checkpoint Charlie Foundation

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Cyber Attack (Conference)

[Will Ryman](https://www.willryman.com/) is a visual artist and playwright creating large-scale sculptures and public art installations. His ongoing interest in literature, philosophy, and the Theatre of the Absurd manifests in his playful investigation of the folly of existence and our shared search for meaning and resolve. Material and subject are of equal importance for his work—revealing his intuitive approach to sculpting diverse materials into expressive forms that examine essential aspects of the human experience.

FuturePerfect Studio is deploying the new tools and procedures of online gaming and immersive technologies to explore alternative ways of expanding Ryman's work and process.

The final project will be a series of episodes delivered online to personal computers and VR headsets, transporting audiences into a story-space that negotiates between Ryman's personal history, his childhood memories, and fiction. Situated in an enormous 3D digital model of his childhood home, audiences will move through a spatialized narrative that unfolds across multiple rooms embedded with video, 3D animation, sound, and digital puppeteering. 

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Studio Visit (VR)

Early mockup showing scanned virtual environment of Ryman's studio and sculptures

In 2020, FuturePerfect invited internationally acclaimed artist William Kentridge to collaborate on a new virtual work called "Starve the Alogorithm." After a series of workshops organized by FuturePerfect, the work grew into an experimental visual and spatial narrative inhabited by fragments and traces of Kentridge's ideas, materials and understanding of history.

In this 10 min exploration, participants encounter an architecture of interlocking rooms—the artist's studio, a kinetic theater, a hall of curiosity cabinets, and finally into an enormous amphitheater taken over by a dancing megaphone and fan puppet. Each audience's interactions form a horizon of meaningful connections—an arc of possibilities, but not necessarily a plot or story. 

The work was developed with financial support from Taiwan Creative Content Agency (TAICCA) and Jacob’s Pillow.

A spatial VR narrative with puppets, video, and animation

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Starve the Algorithm (VR)

Early video showing experiments with bringing scanned physical models into our virtual environment

*Expanded Rolfes Rebuild* is a prototype for a head-spinning online multiplayer interactive performance by the acclaimed experimental design and performance studio Team Rolfes. The work features Rolfes's vertiginous 3-D fantasy landscapes and real-time choreography. Pushing the boundaries of digital expression through body-driven movement and digital puppeteering, *Expanded Rolfes Rebuild* exemplifies the team's high powered dive into the unrequited yearning that drives the messy, contradictory performance of identity online. 

A prototype for a head-spinning online interactive performance

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Expanded Rolfes Rebuild (VR)

With Bridge Over Mud, the Oslo-based art collective Verdensteatret transforms the theater into a complex, multi-channel electro-acoustic space and visual instrument, played and manipulated by a team of artists, software developers, and musicians. Part music concert, part installation, and part performance, Bridge Over Mud features a vast delivery system that includes 195 feet of elevated tracks, 11 motorized vehicles, 60 speakers, and 30 micro-controlled motors. Throughout the hour-long work, the company uses these tracks to literally transport video, sculptures, shadows, screens, and sounds to create a dazzling open-ended story space of immense proportion.

Bridge Over Mud evokes the prehistory and beginnings of cinema with strong metaphorical connections to locomotion and trains. Train travel provided the prototypical experience of looking at a framed moving image, as well as the mechanical double of the cinematic apparatus. Both were means of transporting a passenger to totally different places, and both were highly charged vehicles of narrative events, stories, and chance encounters. While Bridge Over Mud is NOT about cinema, nor is it about trains, the work’s featured miniature vehicles do function in the capacity of both camera and projector. They travel amongst an array of lenses to create much of the work’s sumptuous light-refracted images. Verdensteatret has often built its pieces from “raw” materials collected during journeys and encounters with foreign landscapes and cultural “others.” For example, the company created Tsalal (2001-2002) from a trip to Odessa and Istanbul, Concert for Greenland (2003) engaged the harsh and majestic landscapes of Greenland and other north-Atlantic islands, and Louder (2007) was created after a journey to Vietnam and the Mekong-river.

Bridge Over Mud continues the company’s preoccupation with travel with its tropes of discovery, chance, disorientation, and altered states of consciousness.

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Bridge Over Mud

How is music composed underwater? What are the physics of sound in water? What kinds of instruments can sustain melody in these aquatic environments ? These were some of the questions that Between Music asked us to solve for their latest and most ambitious work AquaSonic.

Over the next two years, FuturePerfect designed and implemented a multi-phase plan for solving numerous acoustic, technical and aesthetic problems in order to complete the work. This involved assembling and managing a team of scientists, artists and inventors including the Danish artistic director and stage designer Kirsten Dehlholm, MIT engineer and artist Andy Cavatorta, UK-based electronic engineer and cymbalsmith Matt Nolan, and University of Texas, Austin aquatic acoustic engineer Preston Wilson. We also located artist-in-residencies, generated marketing and communication materials, found additional funding and sponsorship, and created numerous opportunities for presentation.

After securing a world premiere at the Operadagen Festival in Rotterdam in 2016, we organized a world tour to France, Lithuania, Scotland, Russia, Hong Kong, Sweden, and Australia. AquaSonic was one of the 10 winners of the Music Theater Now competition in 2018.

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AquaSonic (Music Concert)

FuturePerfect worked with director and choreographer Alan Øyen to develop his company’s intercultural masterpiece—Simulacrum / Natsue, a striking visual narrative and dance that weaves together the real and fictional journeys, histories and desires of two dancers from Japan and Argentina.

We traveled to Tokyo and Shikoku Island to conduct primary research that became part of the production; and we devised the project proposal and preliminary dramaturgical structure.

We assembled a pool of artists and engineers to conceptualize scenographic approaches and new projection systems for the final work. After an extensive search and interview process we brought MIT artist and engineer Andy Cavatorta and his associates Marina Litvinskaya and Yvette King into the design and building phase.

A striking visual narrative with electromechanical projections

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Simulacrum / Natsue (Dance Theater)

Brazilian filmmaker Caio Ribeiro brought FuturePerfect in as a creative consultant to devise his latest production *Borges Virtualis*. The work is based on *The Intruder*, a short story by Jorge Luis Borges that tells of two brothers who fall obsessively in love with a young drifter who they eventually murder after failed attempts to share her.

FuturePerfect worked with Ribeiro to transform the story into a platform for interrogating both his own history of trauma and the state sanctioned terrorism perpetrated by the Argentine junta during the Dirty War from 1976 to 1983. We worked with Ribeiro to open up and expand *The Intruder* into a immersive experience that will be part film, speculative fiction, installation and virtual reality.

Movement as Query (Research)

Unhoming / Reworlding

Bad, Bad AI

City of Apparition (MR)

Void Climber (Video Game)

Cyber Attack (Conference)

Studio Visit (VR)

Starve the Algorithm (VR)

Expanded Rolfes Rebuild (VR)

Bridge Over Mud

AquaSonic (Music Concert)

Simulacrum / Natsue (Dance Theater)

Borges Virtualis

Teknopolis (Exhibition)

Richard III (Theater)

Norway Now (Strategy)

Art and Tech at Fusebox

And All the Question Marks

Zee (Installation)

Shuffle (Performance)

Breaking the Game (Conference)

Spectropolis (Wi-Fi Exhibition)

Future of War (Conference)

NikeLab (Online Experience)