The man in the suit leapt and danced past the giant flying boxes as they tried to crush him.
That’s what I saw when I first laid eyes on Jon Morris. Now, he’s a man in a suit bringing audience-centered experience to change the world.
Jon is a consummate creative from constellations at the waterfront to Nine Inch Nails shows to new frontiers in virtual reality, he seems to be fearless.
What makes him this way? We talk about it in this episode.
Leave us a comment. What’s one thing you would do if I waved my magic wand and you could not fail?
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Watch the episode here
Listen to the podcast here
Turning Experience Into Exponential Change
Early Work And Highlights
In this episode, I get to talk to one of my friends, Jon Morris. He is the CEO of Nowhere, which is an immersive experiential online space unlike anything you’ve ever seen. The funny thing about Jon is I met Jon well before I ever realized I met him. I’d gone to a theater show with the woman who was later to become my wife. We were standing in a small crowd. There were no seats and there were these platforms. Around us on one of those platforms was a man in a suit and there was a generated wind, this huge fan. He was up above us and the wind was blowing and started blowing all this stuff like big boxes this man in this suit was leaping, running, jumping, and pushing against the wind.
It was this incredible display of physical theater. Many years later, after becoming friends with Jon, I found out that he was that man in the suit and he went on to create all kinds of what he calls audience-centered design experiences. He’s done this for people like Nine Inch Nails and big organizations all over the world. The pandemic changed all that. He pivoted to this new idea that he’s also hoping will change the world. We get into some of these ideas in this episode. I hope you’ll read and enjoy it. I’ll see you on the other side.
I’m here with my good friend, Jon Morris. Jon, it’s good to have you.
It’s good to be here. It’s awesome to see you.
I feel like I see you mostly on the internet, even though we live very close to each other.
It’s like the curse of New York friends. Once you move beyond a neighborhood, it’s like, “I got to go to that other neighborhood.”
A friend of mine convinced me to invest in a little hand scooter, not like a cool scooter. I feel like I might have unlocked the bridge between Williamsburg and Clinton Hill. Maybe I’ll venture over there.
I have this theory that the longer you live in a place, the smaller the field of comfort of travel that comes. When you first move to a city, you’re like, “I’ll go anywhere. Do you want me to meet you up there for a drink? I’ll be there.” The longer you’re there in that city, the shrinking starts. That’s a metaphor for life too, like how much we leave our homes.
Maybe it’s an age thing. Maybe it’s a New York thing. For a very long time, I’ve resisted going to Manhattan for almost any reason and age, kids. Although, I had a blast at indoor surfing with you guys. It’s still a high point of my year.
The best reason to go to New Jersey.
It’s the only maybe.
No shade on New Jersey. Sorry, New Jersey people. We love you, America.
I go to New Jersey almost every weekend but segue into the show, I am an athlete. I’m pretty happy with my ability to pick up new things and I was terrible at indoor surfing back of the pack. I was fine and had a great time, but I fell in my face 99 out of 101 of those times. you were up quite a bit.
I’ve been transitioning in my life. I’ve been an athlete my whole life like you. Physical health is an important aspect of my well-being. I’ve been trying to find new sports because I was always a basketball player as my main outlet of training besides my work as a performer. Surfing is my old man’s sport. I’m transitioning from basketball now into tennis and then I’m prepping to transition from tennis to surfing eventually in the next 10 to 15 years. I have been surfing more. I’ve been trying to find more opportunities. This indoor surfing is awesome because it feels like you get a year of surfing in 2 hours because you get 20 waves.
You’d think that it makes it easier. I’ve been surfing in the ocean a handful of times, but it felt very good. I could get up, get on a wave, and go for a little bit. I have a lot to learn, but like I was like, “I got up on the thing.” Even though you knew exactly when the wave was coming and you’re like start paddling now, it’s a video game A, B select start and it’s a formula. I have some friends in Juujitsu who will go surfing after training. I don’t know if it’s an old man’s sport, but it does, it seems like it’s something that you could continue to improve over the course of whatever our second half here.
It’s such a beautiful metaphor for transformation. Sports metaphors work because they’re true. Watching in our group there were maybe 20 of us and there were 2 older guys who were pro. You would watch them and they would position themselves in the exact place then they would maybe do 1 or 2 easy paddles with no effort. Meanwhile, they’re like, “Paddle,” then we’re starting to paddle and they’re like, “No, really paddle,” then we’re like paddling ferociously and then we barely catch the wave.
These guys are like, “Woo-whoosh,” then they’re on the wave and already surfing and then they surf all the way in. It’s like such a metaphor for all the things you do in life. When you don’t know, you’re basically like paddling, like a maniac like a ferret, then when you get comfortable and good and you learn how to not expend unnecessary effort, then everything is a smooth and easy paddle into a much fun wave.
I like that as you gain more experience, you learn how to do less but better.
With all the things I’ve done in my life, I’ve rarely gotten to the two-paddle situation. Maybe I enjoy swimming hard and fast to try to get somewhere. I seem to be making progress, but I don’t know. I feel like I’m swimming hard all the time.
Let’s talk about that because I’ve known you for many years now. I met you maybe even before I moved to New York or might be even longer than that. I remember before I even knew you, when I was visiting New York in 2006, we went to go see this show called Fuerza Bruta and later found out that our now good friend Jon Morris was the guy hitting boxes doing stuff in this incredible like visceral physical live show. Give us the highlights from this. It was off-Broadway. It was in a New York City performance. It’s a very popular show. From there to some of the things that you’ve done to something that I don’t think any of us could have predicted many years ago to what you’re doing now. Give us a little bit of the arc.
My career falls into three phases. There’s the performance phase, which you’re speaking of with Fuerza Bruta. Then there’s the installation experience design phase with Windmill Factory now. The Nowhere is more digital phase, we try to expand that. Essentially how that all happened was since I was a kid, I was always doing athletics and then I was always doing acting, then I wanted to pave a future into a career that would allow me to use my physical abilities but be performing.
I had a fellowship out of college to study Physical Theater around the world. Then I had a fifteen-year career in physical theater and that led me all around from wearing full-mono color yellow suits, fishing out over a new mall to being a clown at Cirque du Soleil then starring in this show Fuerza Bruta that you’re mentioning, which was a massive show in Union Square.
It comes from Argentina. It’s toured around the world, 300 to 500 people a night, top off-Broadway show in New York. It was sold out for many years. I think it ran for eight years. I was in it for 4 years of that 1,200 shows. I definitely in that show got to the two paddle face of like, I could come in and do that show at any moment and feel like I was nailing it.
While I was in that show, it was the first time in my life that I’d had a steady job. I didn’t realize it when I went into it, but it was a year-long contract. It was the longest contract I’d ever had as a performer and always did side jobs and all the other things you do as a performer to make the means when you’re doing experimental theater everything.
It was during that time that I moved to New York to do the show. It was at that time that I was becoming inspired by what was happening in the streets of New York and outside the walls of theater public art and in museums that were starting to get installations were starting to get more immersive, more participatory, and more interactive. I was in this show, Fuerza Bruta, which is not your typical theater show.
My career in the theater was very experimental. It was the first “immersive” experience at the soul where we were interacting deeply with the audience, and it was like a bar lounge experiment for them. Fuerza Bruta comes from the show, De La Guarda, which was the show that blew my mind when I saw that I dedicated my life to doing physical theater.
The audience is a major part of that show. They stand all the sonography moves through the audience and the audience interacts with the piece. It’s not complete without the participatory nature of the performer playing with the audience. At that time, I wanted to share the magic of those projects and the magic that I know and love from the theater that changed my life when I saw the first show, De La Guarda by those creators. I was wondering, “Can I give that same magic? Can I create that magic beyond the walls of the theater in unexpected places?”
That’s how the Windmill Factory was born. That’s how during those four years doing Fuerza Bruta, I was essentially starting this company of the Windmill Factory, which was trying to bring that magic beyond the walls of theater by creating installations, performances, and events in unexpected places. Starting with public art our first dream was to bring these interactive public art pieces to New York City.
Am I remembering correctly, you and maybe Adam swimming out in the Hudson River putting lights onto beams that were out in the water?
That’s right. That was the first major piece that we did called Reflecting The Stars. It all started with like most of our pieces where I’m on my bike looking out over the Hudson River at these decaying pylons where an old transportation pier sticks out into the Hudson where trains used to back in and then load ships. I was looking at these old pier posts and thinking, “Wouldn’t that be cool if they had lights on them?”
That evolved to like, “Wouldn’t it be cool if they were like the stars that we can’t see in the city because of pollution? Wouldn’t it be cool if we could look out over those stars like we look out at stars while we’re laying on a pier in a remote location and look up at the sky? Wouldn’t it be cool if we could look out at these stars and have a newfound humility of being in the universe as a small, tiny piece of sand on this flying rock?” We’re all in a rock in space, but what started is, “Wouldn’t it be cool to put lights on those posts?” turned into, “Let’s invent a new technology of solar-powered wireless LED lights,” then you’re like, “How do we do that?” Thank God we have a friend, Adam, who’s one of the most talented engineers on Earth and is down to clown and down for an adventure. Two and a half years later, we were able to pull that piece off.
Wouldn’t it be cool if we could look out at these stars and have a newfound humility of being in the universe like a small tiny piece of sand on this flying rock?
Windmill Factory
I want to know how you got there. There’s a thread here of you paying attention to what you’re noticing. A lot of people would walk or bike around the city and go, “It’s a bummer. It’s a pollution,” and keep biking. You have this insatiable drive to solve all these different things and you’re not shying off of things like, “The equipment doesn’t exist.” I know you. You call, “Do you know how to do this? Could you do this?” You’re one of these people who connect those constellations to borrow the stars metaphor. I think something was said in one of our previous episodes. We edited it out. I think that a lot of transformation, even personal transformation is collaborative.
I see you as someone who truly, truly embodies that. I’ve never known you to do anything on your own, which is awesome. In everything that you’ve done, you pulled in everybody. You take a project like this and then you start to launch the Windmill Factory, which as far as I remember, big events, big shows stuff for other people. Do you want to tell us a couple of the highlights?
Reflecting the Stars went to be the poster child of Climate Week in New York City and was cited across the internet by WIRED and many different, New York Times, and that led to a lot of different types of interactive installations, premier Slots at Panorama or Coachella to Designs for Nine Inch Nails or Metric or these big bands who are looking to connect with their audiences in different ways, pulling from a theatrical past but also pulling from like this newfound way of interacting with technology. We did a lot of pieces at Burning Man. I think we still hold the record for the most dangerous installation in Burning Man history.
Is that the one that I remember?
The wedge, the slide. I believe many people have told me about this work that we did called Pixel Forest, which was an extension of the wireless LED work that Adam kicked us off doing. We partnered with this amazing LED company from San Francisco to create these tiny LEDs that fit inside of balloons then Leah, my wife sings and controls all the balloons with her voice. That piece was featured as the cover piece of South by Southwest and was in their public Eco Light Garden for one year. Then we did it at Burning Man. Several people who are long-term Burners said that’s the most beautiful installation they’ve ever seen at Burning Man.
Our tagline within Windmill Factory is ‘Manufacturing Dust Sublime,’ which I think is speaking of transformation. It’s our goal to learn from what I learned in the theater with these shows that had the potential to change my life and did change the trajectory of my life and move me to dedicate, to creating work as they presented to me, was to try to create these moments for people with Windmill Factory. At the level of the sublime, it’s an almost impossibility to think of manufacturing the sublime of what nature and of what God and of what gives you the moment of what we call a sublime arc pause where the entire world stops and you reform how you think of things. Of all the many years that we’ve been in existence of Windmill Factory, we’ve maybe hit that a few times in all the works we’ve done.
Your whole thing is manufacturing the sublime and yet you’re telling me that you like truly in your assessment a handful of times. What does that mean about the rest of the time?
They were great attempts, I hope. It’s like life, especially when you’re creating things as an artist, your vision because of X, Y, and Z and this, that, and the other, whether it be limitations of time, budget, or scope or whatever, you can get to your fully completed vision 25% of the time. I said that and I was like, “That would be great.”
I do think we got to the point with Windmill Factory where with several different projects we’re approaching that to go back to the surfing metaphor, the two paddle experience of having enough of a know-how that we can understand how the audience is going to interact with a piece and be able to deliver something that allows them enough freedom to have a sublime moment for themselves. We did a piece several years ago. Half the people were outraged. Another guy came up to me and said, “I now understand why religion exists in the world.” You can’t create a piece for everybody. That’s the thing is like if you’re going for the sublime, often you’re going to create a piece that’s extraordinary for some and some people are going to be like, “That was fun.” I think that’s the nature of most things in life.
NOWHERE
I know it’s something that as a creative, I’ve struggled with and I’ve worked with hundreds and hundreds of creatives. Let’s go back to the beginning and talk about getting to that two-paddle moment. You said with Brute you got to that feeling where you could walk in pretty much and knock it out of the park. Now with Windmill Factory, the challenge is higher because you’re not doing the same thing every time. Maybe there were some projects that you did a couple of times you did here and here and here I got to see some of your interactive live theater, which was cool. I saw a bunch of things things at Burning Man. I saw someone get hurt on one of your things at Burning Man.
Sorry to anybody out there.
Not badly hurt. It was amusing but you said, “With Fuerza Bruta, comfortable,” now you’re like, “Let’s change the game. Let’s make it even. Let’s make it so that it’s harder to get comfortable,” then COVID hits, I remember being in some conversations about with you, about, with you and your team now about what you were thinking about doing. Tell me a little bit about how you went from everything you were doing to this nowhere concept and what that is aiming to do.
At the top of the pandemic, all of Windmill Factory’s work is live. It’s very tangible and practical. It’s building on this immersive experiential theater of tactile interaction with the public and with the audience. In all of our work in the pandemic, we had finally gotten to the point where I think we had a whole year ahead booked out and we were like, “We’re on the move.” All that was canceled, and not only canceled but the money wasn’t coming in, there was no sustainability for our team and for what we were looking at in the future.
We gathered a bunch of people on a Slack creative response group as you know we were taking a step back and saying, “How could we be in service? What are the things we can do right now that might be able to help people at this time?” The thing that we’ve always been very good at is bringing people together through culture, entertainment, and art. What we saw was that there wasn’t a way of doing that in an interesting way online, in a digital capacity. Thank goodness we have video chat. We’re on video chat right now. We’re recording this remotely. That technology has advanced massively over the years to think about.
They had a big boost in funding in 2020.
They might have had a little boost there.
Things are getting good for this thing.
You think about that leap like from when we had Skype for the first time and to where it is now. I’m on my phone recording this, but what we have now is a very static experience that doesn’t involve the possibilities of what the pieces we were creating with Windmill Factory could be, which is like a serendipity adventure, the unexpected encounter and the feeling of a social gathering on the internet doesn’t exist in 2020. Video games exist where you can pick up guns and go shoot people. Roblox exists where you can go.
What we were shocked at is there weren’t any platforms that allowed us to be face-to-face as humans and have the social mobility of a video game. that was the initial impetus for building Nowhere is like, “Can we have a place online that exists to bring humans together in a way that feels more natural and that feels and empowers the player much more to be able to like, ‘I’m not stuck in this box.’ I can be like, ‘There’s Adam over there. I’m going to go talk to Adam.’” Speaking of Adam, Adam built the demo the same. It’s good to know an engineer.
I know a few of the other folks you brought on earlier to build the alpha or whatever of the project. You said a word that I remember very clearly when we were talking about doing this and maybe creating a virtual burn and the thing that nowhere Nowhere does a lot of things. It’s very cool. Something interesting that you said that I’m connecting with now is the idea of serendipity. You go to a performance, or potluck at your friend’s house, you don’t necessarily know who’s going to be there. You’re in this room and you might see someone and you can go over and talk to them or you can pass by a conversation and not participate in it because they’re in a close conversation.
Burning Man is the gold standard of weird serendipitous stuff happening. I thought it was interesting. That’s the thing that you set out to solve. In a way, it’s almost like you brought creativity to this online interaction. There are lots of ways. I do all kinds of stuff on Zoom and on here. There are lots of ways to manufacture creativity and creative conversations. There are lots of rules around facilitation and diverging and converging and all this different stuff that you can structure, but there’s not much that has that unstructured ability for opportunities to bubble up. In a way, like this idea of serendipity, I’m realizing in this moment now that you’re solving for creativity in this world.
We’re still trying to figure it out. It’s like in 2020 when we were like, “Can we put video chat in a video game and can we make it beautiful? Can we make it feel good? Can we make socializing feel good?” I think we’ve achieved much in the last four years as far as technological leaps, to the point now where when they come to Nowhere, they say, “This is the most present I feel with others online.”
I think there’s so much power in that, whereas a few years ago I felt like, “We’re right on the cusp of virtual world’s taking off.” It felt like I was quite a noob to this world and technology. Now, many years later I feel like, “This could be the beginning of this barely starting to go.” At this very beginning stage, the key for us and why we’re building it still many years after the initial challenge of like, “Can we make it feel good during the pandemic is like, ‘Why are we still doing it?’” Is that if I imagine a future without the presence of humans on the internet and in these virtual worlds where it doesn’t feel good, we’re going to run into the same problems we have with social media nowadays. Social media is gone.
If I imagine a future without the co-presence of humans on the internet and in these virtual worlds where it doesn’t feel good, we’re gonna run into the same problems we have with social media today.
Expand on that.
We went head over heels into social media. We were so excited about this promise of connection online and then to find out that we are being monetized and we are the product. It’s quite extractive system that has been set up rather than connecting people globally, which it has done. I have to say Facebook for Windmill Factory was a huge boon for connecting resources and people and everything. I think when you see the issues that have arisen from these platforms being used as tools of misinformation, I’m thinking it’s like a metallic taste in your mouth when you look back at that era of technology and who is building these things.
I’m hoping to be approaching as a person who cares about humans and human interaction and has a lifetime of designing for human interaction that we can bring something to this new frontier of media and technology that is able to deliver something that brings the world closer together and doesn’t pull us apart.
That’s a beautiful sentiment to start to wind things down with. Everyone, go check it out. It’s a pretty fun platform to play on. That’s a beautiful sentiment and I want to bookmark that for people. I don’t hear a lot of CEOs or tech founders, “Are people paying lip service to these things?” The way that you are doing it and I’m on some of the back channel conversations about it. I appreciate the real heart that you bring to this. I do have one question about this whole journey.
The Courage Behind Risk-Taking
You went from this performance phase to creating a company, Windmill Factory, to now creating a whole tech platform bigger and, and being a CEO and, and you know, getting different series of funding and going to this world that I’m guessing you didn’t know a whole lot about, maybe had been next to, you don’t have to answer this right away, but I am curious, as you start to get to the edge of each of these moments where you’re like, “One of the big ones.” COVID hits. It’s not just like, “I wonder what the next thing is. It’s like we have to figure out what the next thing is.” What gives you the courage that it takes to take some of these big risks?
I don’t know. I have never seen it as courage. I’ve been extremely blessed in my life to grow up a White male at the time of White males. I had an ideal childhood. My parents were middle class and I grew up in a small town. They supported me in doing everything. They let my brother and I go after the things we wanted to go after. I was able to have a great education and had great teachers and mentors. As a naturally very social being, I gravitated towards things that I excelled in with my physical athletics and theater which gave me a lot of confidence and a massive community to then lean on when I needed them. You’re 100% right. I can’t think of a project I’ve done alone because I don’t like to work alone.
When I think about being brave, I think about feeling supported and having this massive community behind me who support me and are there for me when I have questions or don’t know how to create something or are willing to connect me and then are there to call me out if I’m messing up. I’ve had an amazing community. I’ve had an amazing partner. My wife, Leah, supports me day in and day out. My work partner, Ana Constantino, who helped me start the Windmill Factory and started Nowhere, then my other co-founder, Maxx Berkowitz. Max Obermiller is my swim coach who is my springboard diving coach who is massively supportive as well. I’ve had mentors and partners who have made it feel quite tangible at all walks along the way. Where does my courage come from? It comes from others. It comes from the community. I don’t know if you heard any of that.
Being brave comes from a strong community that supports and guides me.
To go back, the question is where does the courage come from? I think my courage comes from the community and others. You mentioned that you don’t know me to be a person who doesn’t do things alone, and I don’t do things alone. Why would I do that? I’m such a people person. I love people much and I love collaborating with others. I believe that we, as a species, are much better together.
I’ve had incredible support from my family as a kid through sports and through theater in creating with others. Those two activities taught me to trust others and teamwork. The theater I was in was extremely collaborative. Doing fifteen years of theater and performing, you build a massive network that when you start a company, then I’m not starting that company from scratch. I’m starting that company with a massive amount of people and support to lean into.
There’s a lot of experience and knowledge in that community.
My lovely wife is an incredible inspiration and amused me many times as an incredible artist. She’s always there for me to call me out if I’m not doing something then I’ve never started a company alone. I started Windmill Factory with my partner Ana Constantino, who’s an amazing rock and always believed that we could do everything and always knew how to find a way to do it. We added Maxx Berkowitz, and nowhere who’s an amazing designer and also is one of the most patient, big believers in that you can do anything. My courage comes from all the people around me and from the community that I’ve been blessed to have over the years.
Something that I think is true, I’ve known you for a long time now and I know the people that you surround yourself with and I think you were saying it about Ana, Leah, and Maxx. You surround yourself with people who do believe in creativity, who do believe that you should be able to imagine things and try to figure out how to do them, who do believe that if you don’t know how to do something somebody does and might be interested in helping.
I don’t know if I know anybody through you who’s like a downer on that stuff who we surround ourselves with is so important. Something we talk about a lot in the work that I do with my own creative clients, with our creative group is about like, “Never mind the voices in your head.” We’ve all got that inner critic. That gets pretty loud sometimes, but it’s important to have the people outside who say, “Why not? That sounds interesting. What else could it look like? How could I contribute?”
To challenge you to think like, “Why wouldn’t you do something bigger than that?” To expand your brain to think like, “Why couldn’t we do a public art installation on the Hudson River? Why couldn’t we build a tech platform?” “It looks like a tech platform. Wouldn’t that be fun?” It’s like, “What? I don’t know what to do.”
It’s one of my favorite questions when I’m working with people who are doing things like you’re doing when they’re saying, “I want to create X, Y, and Z,” and instead of saying, “Let’s figure it out,” you say, “What’s the 10X version of that?” “I can’t do that.” “Why not?”
This is a great thing to learn from technology and venture capital. It’s like, “What’s 100X? What would be the largest conceptual possibility of human transformation that you could think about and why are we not working on that?”
I love that you’re working on it with Nowhere.
I want to say one more thing about community building, because I think it’s a trope right now of like, “Build with a community. Start a business as a community. That’s the way to start a business.” That takes time and it takes much effort to show up. That is one of the most important things I think in my life that I’ve tried to do is show up for people. That way whenever I need people in my life, I know that they will show up for me because I’ve been there for them. That’s something people forget about when they’re starting communities is like you have to show up. You have to be the one that’s there for people and be the one that they can count on and also be the one that’s there with people who ever ask me for help or support, I’m always there.
I can confirm that. That’s a good lesson. It’s funny, I took a course from this guy who does a lot of nuts and bolts about how to build online communities and online memberships I was curious to learn from him because he does a great job. There were hundreds and hundreds of people in the group and a lot of people were starting from scratch and it was amazing how many people were brought back. They’re like, “I want all these people to come to me.” We’re like, “Start with the people you know?” It sounds daunting, “I’ve got to go find people and go show up for them. This is a ton of work.” Look at your life. There are people that you know that you’re already showing up for. Start there. You’re already doing it. You happen to have been doing it for 30 or however long.
I also have to be blessed by like being one of the most social butterflies ever. Making the extra effort to go to three things on a Thursday night where you’ve got an art opening, you’ve got a birthday party and you got another thing. Most of that is fun for me. It gives me energy. I am very lucky in that way.
You are extroverted.
I can’t imagine you’d guess that from my work or knowing me for many years.
Exploring The Platform
This has been awesome. I feel like we have a lot more that we could talk about, but I love how through your journey we came to this idea of how important it is to start with community. Start with showing up, start with building, trusting relationships. I think there’s so much that can come out of that. Speaking of, if people want to explore these kinds of things in your platform, which I can confirm is there are all these little, and we don’t have to go over all the features, but there are many things in Nowhere that you won’t find anywhere else. They don’t exist on any of these other platforms. I remember doing some evaluations with you. We’ve already jumped the shark on some of this stuff, but no one was doing what you guys are doing. Where can people go and explore the platform and meet up with friends?
The website is Nowhere.io. We built this cool tool that allows you to do Google Meet but with AI-generated worlds with spatial audio and video chat in these virtual worlds. That’s Meet.Nowhere.io. We can toss all the links in there. We launched our first game that we built in Nowhere with Upland, one of our partners. We can include that in there too, and it’s fun.
You showed me a little bit before we started recording, and it looks amazing. It’s not just like another thing because I know it’s got all the Nowhere technology behind it and connection technology behind it, which is super impressive. This has been awesome. I appreciate you taking the time. I know that you’ve got four other parties to go to right after this.
It’s been a pleasure. It’s always awesome to hang out and chat with you.
Thank you for joining us and we’ll see you soon. Thanks for reading. Jon is such a man, am I right? If you enjoyed this episode, please do us a favor, like it, comment on it, and share it with your friends. Everything that you do to share and like our posts helps us create more of these things so that we can bring more of these great guests to you. I’ll see you in the next episode.
Important Links
About Jon Morris
Jon Morris is the CEO/co-founder of NOWHERE.io & The Windmill Factory. He has helped pioneer immersive theatre, the experience economy, and the metaverse by creating award winning experiences at the intersection of art and technology that have excited audiences around the globe including collaborations with Cirque Du Soleil, NIN, Fuerzabruta, Burning Man, Red Bull, AWS, & Google to name a few. linktr.ee/yojonmorris
