Through the Spring of 2025, I was a part of the cohort of Equipment for Living, an online class held at the School for Poetic Computation led by Rosalie Yu and Charles Berret. 

The class had a heavy theoretical backbone that had us read and reflect upon subjects like communication, memory, ritual, identity, collaboration, dreaming, and imagination. As visual outputs, we treated 3D scanning techniques and 3D game engines as technologies for exploring our themes and constructing new “equipment for living.” Our classroom was not simply a site for learning new tools, but also a space for creatively sharing things that help us in our own lives so that these things may also help others.

We brought together 3D scans, textures, and dream sketches into more fully realized worlds using Unity Engine. We found ways to articulate our own philosophies of navigation, memory, resistance, and care through our choice of medium, ranging from the full production environment of Unity to poems and essays that engaged with dreams, imagination, and speculative futures. Our guiding ethos was to take hold of some inner experience, memory, knowledge of personal significance and share it with one another through creative practice. Final projects for this class—which ranged from fantastic cityscapes to intimate memory spaces and symbolic dream rituals—reflected a cumulative layering of weekly themes and personal fascinations into a wide-ranging chronicle of our time spent working and learning together.

My final project for this class was titled Nhandereko (in the words of Ara Rete), a temple on a mountaintop built with the help of Blender and Unity Game Engine, where the user progresses through a series of poetic archways toward a rotating altar at the center, as people would do in a video game. To know more details about this project and get the link to play the game online, please click here.