Image Credits: Argenis Apolinario
At the SIGGRAPH 2024 Labs, “Tonii: Customizable Amulets That Activate Augmented Reality Suits” brought ancient symbolism into harmony with cutting-edge AR innovation, creating a powerful platform for inclusivity, storytelling, and self-expression. By transforming personal values into immersive digital experiences, “Tonii” reimagines how technology can connect individuals across cultures while preserving collective heritage. This project not only challenges the boundaries between the physical and digital but also inspires a shared vision of equity and creativity in the future of digital spaces.
SIGGRAPH: Share an overview of “Tonii: Customizable Amulets That Activate Augmented Reality Suits.” What inspired the creation of the “Tonii” project, and how did you envision its intersection with art, technology, and social activism?
Adelle Lin (AL) and Matthew Pinner (MP): “Tonii” is a transdisciplinary project that blends ancient symbolism with experimental technology. It explores how ritualistic practices and embodied knowledge can integrate with wearable augmented reality (AR) amulets to create new forms of connection, empowerment, and storytelling. These amulets act as portals between physical and digital realms, extending the traditional symbolic power of amulets through AR.
At its core, “Tonii” takes a speculative design approach, reimagining artifacts from the past as objects of the future, working with personal narratives and values co-created in workshops. As someone who has worked at the intersection of wearables, machine learning, and speculative design, I have often seen emerging technology prioritize innovation over inclusivity, leaving marginalized communities out of the conversation. “Tonii” challenges this by emphasizing collective responsibility in both physical and digital spaces. Through “Tonii”, participants interact with technology and embed their values into the future of digital spaces.
In collaboration with Nour Batyne, we examined how principles of accountability and stewardship — integral to cultural traditions — could shape digital environments. For the workshops we ran, our design process considered ethical governance models and cultural influences in future web spaces, encouraging participants to feel a sense of ownership in shaping the metaverse. The workshops were structured around grounding meditations, facilitated discussions on ancestral knowledge, and collaborative value-building exercises, ensuring that digital interactions remained tied to embodied, real-world experiences. These values are encoded into the amulets, turning them into tangible artifacts that bridge the digital and physical, reinforcing personal agency and communal responsibility.
SIGGRAPH: How does “Tonii” address inclusivity and accessibility challenges in AR/VR/XR spaces, particularly for marginalized communities?
AL and MP: “Tonii” is situated within the emergent field of technology and magic, where traditional magical practices intersect with technological artifacts. It prioritizes care, ritual, and community-driven technology, ensuring that historically marginalized communities are not only participants but also co-creators of digital futures.
A critical aspect of inclusivity is understanding the internet as a site of negotiation. According to the Feminist Principles of the Internet, “The Internet is a space where social norms are negotiated, performed, and imposed.” As future ancestors responsible for shaping digital spaces, we must ask: What values do we want to center, embody, and carry forward into future tech spaces?
“Tonii” invites people to answer this by embedding their principles into amulets — living artifacts that serve as personal affirmations and public signals of identity and accountability. Wearing an amulet or digital suit in the metaverse becomes a way to express personal values, create solidarity, and invite connection, while also serving as a reminder of one’s commitments to ourselves and our communities.
Through a community participation and tech literacy model, “Tonii” ensures that the amulets and AR extensions reflect the lived experiences of different groups. A powerful example of this occurred during a Tonii workshop at the Lower Eastside Girls Club in NYC. The young participants designed personal textures based on issues they cared about, using craft techniques that were later translated into AR suits. Initially hesitant, they became animated as they saw their work projected onto their bodies in real-time, which was incredibly moving. This co-creative process transformed their engagement with technology, demonstrating how digital tools can be used for self-expression and empowerment. This reinforces a participatory rather than passive approach to technology.
SIGGRAPH: How has the concept of creating amulets as keys to virtual suits advanced the narrative of inclusivity, self-awareness, and equal access to information?
AL and MP: Embodiment is central to “Tonii”. The amulets are more than wearable objects; they function as ritualistic tools that bridge physical and digital realities. Whether activated through AR, performance, or daily wear, each interaction is intentional, reinforcing mindfulness and presence in an increasingly digital world. Through speculative scenario-building, workshops encourage participants to imagine how digital artifacts evolve, what values they carry, and how they can serve as tools for care. By grounding technology in lived experience, “Tonii” ensures that digital agency is shaped by personal and collective meaning.
My research draws on historical and cultural symbologies, including Underground Railroad Quilt codes, Hobo codes, Adinkra symbols, Tarot symbols, and others — systems where symbology was essential to community survival and navigation. Honoring these traditions deepens “Tonii’s” commitment to storytelling, accessibility, and self-determined digital identity.
For SIGGRAPH, my collaborator Matt Pinner and I experimented with machine learning models that recognize everyday objects as symbolic keys, expanding “Tonii’s” accessibility toward customizable objects. This allows participants to engage with the project in ways that align with their cultural and aesthetic preferences. During Labs, participants selected symbols for their amulets, which then generated a custom AR suit, reinforcing the idea that digital presence can be personalized, meaningful, and inclusive.
SIGGRAPH: Explain how Toni Cade Bambara’s concept of “sister”ing shaped the design philosophy behind “Tonii” and its focus on community and mutual support?
AL and MP: Toni Cade Bambara’s idea of “sistering” is deeply embedded in “Tonii’s” design philosophy. She spoke about sistering not just as a relationship between people but as a practice, one of mutual support — also an architectural term referring to the way beams hold each other up. This concept strongly resonates with the way I approach technological design. Instead of envisioning digital tools as isolated experiences, I see them as part of a collective scaffolding — technologies that support and uplift communities rather than extract from them.
At the core of “Tonii” is an emphasis on listening. Slowing down, truly hearing each other’s experiences, and creating space for those whose voices are often ignored. The workshops and amulet-making process are about collaboratively building a shared future where technology serves as a tool for connection, helping us to find common experiences amongst our unique backgrounds.
SIGGRAPH: How do you see “Tonii” influencing the broader discourse on technological equity, inclusion, and the future of digital spaces?
AL and MP: “Tonii” seeks to reconnect us to invisible realms — spiritual, emotional, and communal. It fosters stewardship and accountability within local networks, encouraging communities to imagine a more equitable and inclusive digital future. By embedding cultural memory into digital artworks, “Tonii” ensures that technological evolution is guided by principles of care rather than efficiency or commercial gain.
The project has been exhibited in diverse settings — art galleries, technology conferences, and community gatherings — and consistently elicits emotional responses. People’s body language shifts as they engage with the work; they soften, open up, move organically, and share personal reflections.
At SIGGRAPH, “Tonii” resonated particularly with women, sparking discussions about inclusion and representation in the tech industry. One of the most memorable responses came from the conference chairperson’s wife, who remarked, “Your project makes all this technology stuff seem more human — you can dream with it.”
This is particularly critical as government and companies start to roll back their DEI (diversity, equity, and inclusion) initiatives. In a climate where inclusion efforts are deprioritized, “Tonii” demonstrates that inclusion is not just about representation but about participation — actively inviting communities to shape technology and create shared spaces that reflect their values. I think it is all the more important to bring work like “Tonii” to conferences like SIGGRAPH. I want to continue our work with organizations and companies to run workshops and create amulets around stories and issues that people are passionate about.
By exploring what it means to be a “future ancestor” — a steward of digital and cultural spaces — “Tonii” encourages participants to reflect on their digital presence and how they can contribute to building more responsible and accountable digital environments. These amulets serve as daily affirmations — reminders of the principles individuals wish to uphold. On some days, they may simply be beautiful objects of adornment. But on others, they may act as powerful talismans, reinforcing the wearer’s commitment to equity, empowerment, and care in both digital and physical spaces.
SIGGRAPH: What advice do you have for someone who wants to submit to Labs for a future SIGGRAPH conference?
AL and MP: SIGGRAPH Labs is a hands-on, interactive space — your project should invite participation, curiosity, and dialogue. Instead of simply showcasing a finished work, design for engagement, considering how people will interact with and experience it. Be prepared for a wide range of questions from artists, researchers, and industry professionals. Labs fosters real-time feedback that can refine your ideas and open doors to unexpected collaborations. Stay open to discussions beyond just technical aspects — conceptual and ethical conversations can be just as valuable.
Since Labs is a dynamic environment, ensure your setup is functional, intuitive, and resilient to high foot traffic. Plan for accessibility and ease of interaction so attendees can engage with minimal guidance. Beyond presenting, Labs is a space for networking and future opportunities. Have a clear vision of where your project is headed, and be ready to connect with potential collaborators. Document interactions and feedback to refine your work — Labs is as much about learning and evolving as it is about exhibiting.
Feeling inspired? Don’t wait — submit your work to SIGGRAPH 2025! Many exciting programs are still accepting submissions, offering you a chance to showcase your creativity and innovation on a global stage.
Adelle Yingxi Lin is a Malaysian artist, activist, and creative technologist based in Brooklyn. She holds a master’s degree in Art and Engineering from NYU Tandon and a Bachelor of Design from the Royal Melbourne Institute of Technology in Australia. Previously, Adelle worked as an innovation engineer at Intel and served as a key technologist for Leo Villareal Studio. Her expertise spans a range of disciplines, including wearables, machine learning, virtual/mixed realities, and large-scale architectural immersive environments. Notable projects include contributions to Illuminated River, Paris Fashion Week, and the Tokyo Olympics.
Adelle is a member of NEW INC, the New Museum’s art incubator program, and has participated in residencies such as One of Many “Wadi Rum” in Jordan and Harvestworks “Creativity + Technology = Enterprise” in NYC. She has been recognized with grants and support from Meta Open Arts, Onassis Foundation, and PlayNYC. Her artworks have been featured in group shows at NEW INC’s Demo Day, FiveMyles, Ed.Varie Gallery, and the ChangWon Sculpture Biennale. Adelle is also known for live calligraphy rituals performed at events like One of Many’s “Gathering Future Ancestors” and has appeared on Al Jazeera’s The Stream for their activism work within virtual worlds.
Matt Pinner is an artist, creative technologist, and engineering leader originally from Colorado, now based in Brooklyn, NY. With a background in software architecture, robotics, and physics, he merges engineering and art to create immersive, interactive lighting sculptures and volumetric installations that explore the intersection of technology and human experience.
Holding a degree in Mathematics and Astrophysics from the Colorado School of Mines, Matt has played key roles in projects such as The Illuminated River Project, where he designed large-scale, networked lighting systems along London’s Thames bridges, and Intel’s Robot Dance Party, where he orchestrated synchronized robotic performances. As a Director of Engineering, he has led teams in automation, machine learning, and distributed systems, applying his expertise at companies like Amazon and Intel.
His work extends beyond traditional engineering, collaborating with artists such as DJ Qbert and Lady Gaga at events like the Grammys and CES. His recent projects focus on interactive sculptures and intelligent systems that provoke discussions on the future of technology through novel interactions, human-centric automation, and dynamic spatial experiences.
