Agents

I'm building a personal agent, Captain, that keeps context about me and runs daily loops — memory, reading, email, careful experiments. A public agent, Concierge, lives on this site. A Raspberry Pi holds local data and a synced copy of the code.

LLMs are a new approach to programming. They allow for stronger human-machine collaboration and easy cognitive automation. I'm building mine to do things like learn from my preferences and book flights. It's also an opportunity to explore new concepts like model orchestration, harness and conversation design.

Makerspaces

I'm increasingly convinced that the right model for institution-building in Nigeria is not large, centralized structures (like universities) but small, distributed makerspaces.

My vision of the future is a large network of community-run makerspaces around the country, built on top of existing infrastructure, but optimized to be sustainable and productive.

To prove this out, I've been working with Tushar Hathiramani, Tolu Kalejaiye and Toke Joseph to develop the makerspace at 30 Ajasa Street into a production centre for clay, electronics and 3D printing.

As Toke puts it: "Decolonization in architecture will work only by restructuring, rejigging and refiguring."

Animation

Two years ago, I published my first film, Hanky Panky. It started as a project to understand how animation is made in Nigeria.

After that, I decided to incubate an animated series and make it successful. So I started working with the E Dey Happen team to develop their show, and we've been at it for some time now.

My immediate ambition is to make EDH a globally recognized series. Underneath this, my deeper motivation is to materially contribute to scaling Nigerian animation into a global industry.

It's a long game. Over the past six months, this work has brought me closer to people who've been at it for years: like Folu (Eaxum), MB (Basement) and Somto (Vortex). And from them, I've learnt that the industry today is a scatter of independent studios and one-off successes.

To really get this thing working, we need a massive training effort and new tools for organisation and production. One show at a time.