A collage of various black and white sculptures and art pieces, including human faces, traditional masks, and abstract forms.

How It All Started

The Rock That Changed Everything

I was eight years old when I found my first "special" rock. Nothing fancy, just a generic rock from our garden, but holding it felt different somehow. Important. I started collecting more, then got obsessed with minerals, and eventually became fascinated by meteorites.

The first time I held a real meteorite, I felt something I still can't fully explain. This wasn't just an object, it was a piece of space that had traveled millions of miles, survived incredible forces, and somehow ended up in my hands. It felt alive with meaning, heavy with story and significance.

The Beautiful, Empty Store

Fast forward to 2014. I'm wandering through a design store in Tokyo, the kind of place design magazines write about. Perfect lighting, exquisite craftsmanship, objects so beautiful they belonged in museums. Everything was flawless.

And I felt absolutely nothing.

Standing there, surrounded by hundreds of expertly designed, expensive objects, I realised something profound: meaning isn't about perfect design.

My meteorite, essentially a rock, felt important, deep, almost mystical. These beautiful, thoughtfully crafted objects left me cold. What was the difference?

The Question

That moment in Tokyo crystallised something I'd been sensing for years but couldn't articulate:

meaning doesn't live in objects. It lives in our connection to them.

But if that's true, then why do some things feel deeply meaningful while others feel empty? And more importantly, can we intentionally cultivate that sense of meaning and connection?

This question would consume the next eight years of my life.

The Long Search

I dove deep. Wrote my thesis on how religions create meaning. Built machines to generate personalised meaningful objects. Designed immersive experiences meant to foster connection. Each experiment taught me something, but also revealed how much more complex this was than I'd imagined.

I was still thinking about the problem wrong.

The Real Breakthrough

The insight that changed everything came from the simplest possible approach: I just asked people.

Seventy-three people completed a survey about meaning and priorities. The results surprised me: 91% already knew what mattered to them. The problem wasn't that people lacked meaning, it was that they struggled to stay connected to the meaning they'd already found.

We know our priorities. We just can't seem to stay connected to them in daily life.

From Objects to Connection

That realisation shifted everything. Instead of trying to design meaningful objects or experiences, I started exploring how to help people reconnect with what they already find meaningful.

This led to Workshop Workshop—a simple, experimental format for exploring what matters to you and finding ways to stay connected to it.

Digital graphic with a central pile of various objects labeled 'computation,' surrounded by three clusters labeled 'semiotic caverns,' 'ritual machine,' and 'connected amulet,' on a blue background.

The Question Continues

What started with a meteorite and an empty store has evolved into something much more practical: How do we stay connected to what we've already discovered matters most?

That's what I'm exploring now, one workshop session at a time.

Want to explore this question together? Join the next session

Curious about the full research journey? Read the complete story

Diagram illustrating a smart environment with components like sensors measuring user behavior, AI diagnosing personality, wearable devices taking biometric readings, and environmental controls affecting music, aroma, temperature, and lighting, all connected in a reconfigurable space.
Flowchart illustrating the identification of individual building blocks in stimulation theory, with three circles numbered 1 to 3 connected by arrows. Circle 1 labeled 'stimulation' points downward to circle 3 labeled 'signification' which is linked to 're-assembling.' Circle 1 also points to circle 2 labeled 'interpretation,' which is linked back to 'diagnosing a world view.' The central phrase is 'designing significance.'
Illustration of a robot with sensors, a choosing tray, an outcomes generator, and electronics. Next to the robot, a person pushes a rack of items. To the right, a person stands before a large, vertically segmented display, and another person encounters a humanoid robot with dots on its body, surrounded by a glowing aura.
A detailed, hand-drawn diagram illustrating components of AI systems including mini labyrinth, real-time system, stimuli, training station, component crowdsourcing, AI profile, patterns, scaffolds, amulet, god, text, physical computing, and various others, connected with arrows and labels.
Black and white illustration of various artistic tools and objects, including paintbrushes, a camera, a lamp, a computer, a sculpture, and abstract designs.
Flowchart displaying the process of a media recommendation system with sections for digital sources, physical content, input, storage, processing, and output, including diagrams of data flow, user preferences, and content analysis.
Diagram of behavioral data, with sections for stimulus and content, social and biological factors, including illustrations of a person using a computer in a virtual environment, and icons representing a satellite, a whale, a face, and speech bubbles.
Flowchart displaying four stages: pre-session with user emotional state, personality, goal setting; cosmorama engine with user profile, analytics engine, controller system, session control, and activities; custom session involving media and activities with various icons of people, objects, and emotions; post-session with report and goal adjustment.