Digital worldbuilding—the creative practice of designing and constructing virtual worlds using technologies like virtual reality, augmented reality, 3D simulations, and other immersive platforms—represents one of the most fascinating frontiers of contemporary art. It is a space where technology and creativity merge to shape “new possible worlds.” Through virtual settings, imaginary landscapes, and immersive narratives, artists explore themes crucial to our time: environmental sustainability, the human-nature relationship, and the potential for harmonious coexistence with the planet.

The core idea of “ecocritical” worldbuilding is that imagination—or rather, the ability to conceive new ecological scenarios—is a fundamental exercise in shaping our future. However, this practice raises fundamental questions: Is it truly an effective means of fostering critical reflection on our ecological impact, or is it merely a rhetorical experiment, even an act of escapism, offering a way to evade the difficulties of reality without proposing real solutions?

Jakob Kudsk Steensen and the “Nature-Tech” Imagination

A quintessential example is the work of Jakob Kudsk Steensen, an artist and director who uses virtual reality to create hypnotic digital environments inspired by biodiversity and natural ecosystems. His project Re-Animated is a poetic and technological journey that digitally reconstructs an extinct bird species, the Kaua’i ‘ō‘ō, weaving together 3D scans, recorded sounds, and immersive simulations. The work invites viewers to reflect on the fragility of ecosystems and the need to preserve biodiversity.

Steensen’s approach is notable for how it leverages technology to amplify an emotional connection with nature, prompting audiences to consider their role within a broader ecological network. “We are often trapped in our patterns of thought,” Steensen explained to me a few years ago, “without questioning the deeper roots of our beliefs and behavior patterns, simply reacting to or expressing them. Worldbuilding allows us to engage with deeper ethos, ideologies, and belief systems because in these worlds, values can take any form. The causes and effects of actions, whether social or environmental, can be explored playfully.”

Yet, one might argue that immersion in digital worlds offers aesthetic gratification that risks replacing concrete action. Indeed, Steensen clarifies: “I think there is a big difference between a more explicitly scientific or activist approach to climate issues and what I do as an artist. It’s connected, but ultimately, I want people to feel and question what it means for them to live in a rapidly changing world.” The underlying question remains: Do such experiences lead to real changes in the daily behaviors of those who engage with them, or do they remain confined to passive contemplation?