WAY TOO FAR XR, INC.
Immersive Systems for Performance, Culture, and Public Space

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The Next TiMeS New York Live Arts Premiere
Emerging Technology & Storytelling Residency  + Summit
Against Gravity: Flying Afrikans + Other Urban Legends
There Goes Nikki Tribeca Immersive Official Selection
Unsorted Depths Jacob’s Pillow, PillowLab
Psalm for the Mismemoried
Distance Anatomy
DEMO 2024 XR Track @ New Inc
Duende: A Live Video Opera
Illumination: Tracing the Paths of Black Economics in America
Red Summers VR presented by The Guardian
Suga’ Sundance New Frontiers Selection
While You Wait...2.0 supported by LMCC & UMEZ grants

Way Too Far XR is a creative studio specializing in audiovisual design, immersive production, consulting, and hands-on workshop training in XR (extended reality) and interactive media. Founded by Carlos Johns-Dávila, a Peruvian American multimedia artist and composer, the studio develops tech/art installations, performances, and educational experiences that blend technology, storytelling, and cultural research. Based in New York City and working out of Prime Produce Apprentice Cooperative, with projects extending to Philadelphia, Carlos also serves as a co-owner of Black Heart, bringing a collaborative, community-driven approach to every project.

Contact
cjohnsdavila@gmail.com
IG: @carlosjohnsdavila

Aug, 2025Psalm for the Mismemoried Written & Directed by Cara Page with VR filmmaker Philip Sanchez 
NYC / GA
Sound, Projection & Exhibit Design by Carlos Johns-Dávila

For Psalm for the Mismemoried my immersive sound design approach centered on creating a sonic bridge across time, ancestry, and place. Drawing from Peruvian instruments rooted in my heritage, alongside found sounds and materials such as goat hooves for hollow, ritual-like textures, I built an auditory landscape that echoed the act of communication between realms. Beyond sound, I expanded the work from a 360° VR film into a three-panel, motion-tracked installation, allowing audiences to engage with the piece outside of a headset and on their own terms—an intentional design choice to support consent and accessibility when navigating difficult histories. Integrated with choreography, the motion-tracked interface connected viewers to the character’s journey without gamifying the experience, reinforcing my approach to immersive design as a balance of embodiment, cultural memory, and ethical audience engagement.