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

April, 2022Red Summers VR Bayaté Ross Smith
NYC
Sound & Exhibit Design by
Carlos Johns-Dávila

For Red Summers, created by Bayeté Ross Smith and published with The Guardian, my approach to sound and exhibit design centered on grounding audiences within a difficult and often overlooked history through spatial and sensory awareness. I developed an immersive audio environment that combined archival references, environmental sound, and subtle compositional elements to evoke the weight and continuity of racially motivated violence across locations like Tulsa and Chicago. In parallel, I designed the physical and spatial experience of the installation to support reflection, guiding audiences through the 360° episodes in a way that emphasized connection across time rather than isolated events. This work reflects my approach to immersive design as a tool for historical reckoning—using sound and space to create conditions for presence, context, and critical engagement with the past and its ongoing impact.