Product engineer and systems strategist. I like to think a clip wider and longer than the current state, taking the outcome end to end: framing the problem, writing the spec, shipping the code, and staying with it while it grows. The medium is code but I am anchored by fine artists. The rigour is architectural, a way of structuring ideas into tangible models.
The work gets measured by what it turns into — something adopted, a standard someone else can build on, a number that moved. Work should always remain in motion, and by not accepting something as static the world - like plastic - can remould itself to your corner of it.
SELECTED WORK
changeover — An open commitment boundary for cinema exhibition. An agent holds the seat for a stated, irrevocable window and hands the customer back to the exhibitor's own checkout, with the seats still there. Specification-first: the spec, its schemas and three golden digests were committed before a line of implementation existed, so the conformance suite can never be a program agreeing with itself. TYPESCRIPT · POSTGRES · MCP
theatrical — Type-safe SDKs, CLI tools, UI components, a real-time event bridge and analytics for cinema platform APIs. One API surface across three languages. TYPESCRIPT · C# · PYTHON
telecine — A public broadcast network for public-domain cinema. Clock-synced channels, no server, no algorithm. You don't press play; you tune in. ASTRO · STATIC
cinema-ops-platform — A local, fully-proven data platform for cinema exhibition data. Four unlike sources, an append-only bronze layer, a governed gold layer, and an agent tool set with no personal-data field anywhere in it. PYTHON · DUCKDB
MORE
flicks-case-study — A nine-screen React prototype turning a film-listings service into a social cinema ritual.
Letterboxd-live — A SwiftUI prototype reimagining Letterboxd as a bridge between digital film culture and real-world cinema rituals, grounded in Self-Perception Theory.
vista-intelligence — Interactive research visualisations of the technology company powering a large share of the world's cinema circuits.
THE THROUGH-LINE
Agentic commerce is winning the path to purchase. Nobody yet owns the path to meaning.
The agent can book the ticket. It can't manufacture the anticipation.
Cinema's operational layer is being won right now — cloud migrations, agentic checkout, platform consolidation. The cultural layer is the frontier: the ritual, the anticipation, the reason someone chooses the 70mm print at the old room over the convenient screening down the road. I build at the seam between the two, and I think the seam belongs to exhibitors rather than to whoever inserts themselves between a cinema and its audience.
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