A few years ago, in August 2021, I was interviewed by the Danish public service broadcaster, DR, about my work as a Creative Technologist. I just rediscovered the recording of it and thought I’d share it here. It’s a fun one for me to read now. On one hand, a few things have changed, and on another, this is still very much exactly what I believe motivates me.
Transparency on AI use: For this blog entry I transcribed the Danish conversation with MacWhisper using the LargeV3 model and then I processed it with Claude to bring it into a Q&A format in English.
What does it mean to be a Lead Creative Technologist at Manyone?
I first encountered this job title during an internship and was immediately intrigued. After returning to Denmark, I realised no one had this position, but it represented exactly what I wanted to do. I’ve now been working in this field for 10 years. Sometimes you have to wear the clothes for the job you want, start calling yourself what you aspire to be, and eventually, the job materialises.
Can you share some examples of projects you’ve worked on?
My work spans different areas. Professionally, I often handle consulting tasks or build entire projects from the ground up. Our team conducts research and strategy development, then implements the complete solution. The technical development is typically a significant component.
I also work on artistic projects, which can range from theatrical performances to VR documentaries. Last year, I created an AR opera. The scope varies depending on whether the goal is entertainment, inspiring new thoughts, or driving business outcomes like increasing revenue.
Tell us about the AR opera
This is one of the projects I’m most proud of. We premiered an augmented reality opera at Den Frie Exhibition near Østerport last year (2020). Audiences received a phone and headphones, which guided them to a secret room - similar to an escape room experience. Once inside, they spent 10-15 minutes experiencing an opera performance through their phones.
The experience featured a virtual symphony orchestra and opera singers appearing as augmented reality figures in the space. Unlike Pokemon Go, where characters simply appear in the environment, we created precise one-to-one matches with the physical space. The characters inhabited a specially designed apartment, performing actions like removing their jackets or sitting at the dining table.
We even integrated smart lighting control to guide audience attention naturally. When we wanted viewers to look toward the bed, for instance, we would dim all other lights and illuminate just that area, creating an intuitive way to direct focus without explicit instructions on the phone screen.
You’ve also created Snapchat lenses. Why focus on filters?
Filters are accessible - anyone can start creating them. While many of my projects take months to complete, it’s refreshing to create something in an hour that I can share immediately. Companies like Snapchat and Facebook have built powerful engines with advanced capabilities like facial recognition, all packaged in user-friendly tools. As creative developers, we’re living in a golden age with access to these underlying tools that we can extend and build upon.
What are your thoughts on the ethical implications of different platforms?
I made a conscious decision to explore Snapchat over Instagram/Facebook’s platforms, partly for ethical reasons. While Snapchat isn’t the most ethically sound company to support either, I believe they are exploring interesting alternative approaches to solving similar problems as Facebook. Similarly, when working with NFTs, I chose to work on the Hicetnunc platform because it runs on the Tezos blockchain platform, which has a smaller environmental footprint than Ethereum.
How do you view digital ownership and the metaverse?
When we look holistically at where things are heading - what Facebook and Snapchat are developing - there’s a movement toward a digital presence that extends beyond our phones. While Zuckerberg’s vision of the metaverse somewhat concerns me, there’s clearly momentum and financial backing behind these virtual worlds.
The question then becomes: What belongs in these metaverses? This is where I believe NFTs become particularly relevant - not just as digital art in frames, but as cross-platform digital assets. Imagine owning an NFT of a car that works across different platforms like Fortnite or GTA. This creates a genuine sense of ownership that goes beyond simply downloading digital assets. Of course, this raises interesting questions about whether digital ownership itself is beneficial for society.
In that regards I’ve been experimenting with small things like building functional clock shaders that could potentially be embedded into virtual worlds with a simple chromium window as a kind of spatial furniture. It’s impossible to know, but I’d like to think that that is a “healthy” approach to NFT’s for metaverse ownership if they ever kick off: To embrace web technologies more than proprietary technologies, as they are more likely to be applicable in diverse circumstances and to build functioning code into the token.
How important is it to you to work with the latest technology?
Actually, it’s not particularly important. If you asked about my favorite technology or coding language, I’d say CSS. Many might argue it’s not even a programming language, but I find it fantastic because of its simplicity. I’m more interested in technologies that allow for creative expression rather than just building systems. Sometimes the underlying, older technologies can be more fascinating - like shaders, which create organic visual effects in games and digital experiences.
How do you approach the balance between technology and creativity?
I see myself as part of a broader creative ecosystem. While we create using technology, we’re really just building the final 20% - we’re standing on the shoulders of giants who’ve created the underlying tools and platforms. This actually liberates us to focus more on creative innovation rather than technical implementation.
What’s fascinating is how democratised these tools have become. When everyone can access the same powerful technologies, it pushes us to be more creative in how we combine different elements and find unique applications that others haven’t considered.
What role do you see for creative technologists in shaping our digital future?
In the creative industry, we can have a surprisingly significant impact through our daily work. We can quickly move in and out of projects with NGOs and other organisations, making real differences without being permanent employees. I also believe we have a responsibility to help our society, particularly our policymakers, understand these emerging technologies. By exploring these technologies early, we can contribute to more informed regulations and better outcomes for our communities.
What advice would you give to aspiring creative technologists?
Make yourself available to others and be willing to learn what’s needed for each project. Whether it’s blockchain art, Snapchat filters, or controlling smart lights for an AR opera, the information is always accessible. You just need to be a bit persistent and maintain a healthy dose of naivety about what’s possible. I’ve found that sometimes it’s better to be a tool for others who have strong creative visions, helping them realise ambitious projects they couldn’t achieve otherwise.
The tools are more accessible than ever - from Reality Capture for photogrammetry to Unity for game development, from Instagram’s Spark AR (discontinued) to Snapchat’s Lens Studio. Even complex fields like machine learning have become more approachable through collaborative notebooks where you can experiment without deep technical knowledge. The key is to follow what excites you and start exploring, one tool at a time when it makes sense.
That’s it for this interview. I don’t know if this will be of value to anyone but me, but I was very excited when I rediscovered it. And sometimes that’s all that matters.