Keiichi Matsuda stormed onto the scene by releasing a cloud of interface and brand-related visual clutter in a nondescript kitchen. His short film Augmented (hyper)Reality: Domestic Robocop proposed a sardonic endgame for augmented reality (AR) and showed it from point of view of a future consumer, who was somewhat empowered but mostly beleaguered by the tyranny of corporate logos and superfluous information; recipes and didactic instructions hovered in mid-air, social networks transcend flatland and become immersive spaces, and the display resolution of texture maps dipped – making the mediated wallpaper that covered everything a glitchy and unreliable affair. This was 2010, two years before Google would release its hokey ukulele-scored concept video for Google Glass. Just wrapping up his architectural education, London-based Matsuda had staked a convincing claim on what AR could be if it was pushed to its limits – and then some.