My paper examines Global Aesthetics through Practice-as-Research (Nelson, 2013), by taking a close look at certain collaborative practices and production pipelines in my two most recent films: The distance between the staircase and the sky (2022) and WAVES (2024). Both filmsdepict celestial bodies and are created through a series of translations - including from Greek to English, from poetry to film, from data to image, from Virtual and Augmented Reality to singlescreen, from mocap to character animation. The first film, created as part of my doctoral study,uses immersive technologies and photogrammetry to document real spaces and translate theminto moving images. The work was deeply informed by the humble school globe, which culturalhistorian of South Asia and the British Empire Sumathi Ramaswamy discusses as a colonialist instrument, but also as an inspiration for journeying (2017). Social anthropologist Tim Ingold asserts the colonialist roots of the globe but highlights the vastly different presence of the sphere within pre-modern and non-western cultures (2002). The distance between the staircase and the sky uses tools stemming from colonialist ideals, but - rather than perpetuating the latter - turns immersive technologies into earth-shaped beach-balls: as playful instruments to exchange and play together. The second film, WAVES, listens to the recently resurrected dreams of colonising outer space. Inspired by the 1972 Pioneer 10 mission and its ‘pioneer plaque’, it imagines an alien woman waving back to an old human message of interplanetary friendship - an interstellar kind of global, bringing Earth and Moon into contact through silent gestures.