All it took to make me a believer of digital truth was for truth to break.

This was the assumed I experienced immediately after about forty five minutes inside my VR headset on a Monday afternoon. I experienced hardly moved. A forest surrounded me. A hen sat perched on a tree department. My hand held a video clip video game controller. But what I saw was a futuristic airbrush, a laser-like paint sprayer that seemed like a prop from a 1940s sci-fi movie.

A contact of a button and I could color the planet. The hen right before me was

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We are within Keith Tolch’s mind. As in, going for walks all-around.

It’s a futuristic landscape, a maze of vacant rooms with soaring ceilings and glowing, neon-lit flooring, anything bathed in an ‘80s-period palette of screaming-pink, orange and lime environmentally friendly. Random objects — a deconstructed 1967 Mustang, glass cubes brimming with swirly paint markings, delicate pencil drawings of butterflies and roosters — float by.

But, hold out. Disrobed of the plastic, padded headset, we are really in a gleaming Eagle Rock warehouse, a previous auto entire body repair service shop-turned-artists’ studio, and Tolch is perched behind a computer console,

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