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An Interview With Emily Segal
That's right. I keep going. Something in what you were just talking about reminded me of, you talked about how you're about cultural futurism now. Is that a recent shift or how did you find that place? And what does that mean in how you work?
It is and it isn't. We've always been doing our work like this, where it's always predictive. The whole ide... See more
It is and it isn't. We've always been doing our work like this, where it's always predictive. The whole ide... See more
Peter Spear • Jasmine Bina on Prediction & Brand
Indeed, many of us have found ourselves in some way in the business of creating content, messaging, ideas, designs, identities. Even our leisure time somehow seems bound up in producing or consuming free content for the platforms of the attention economy. All that was solid has melted into air.
Samuel W. Franklin • The Cult of Creativity: A Surprisingly Recent History
We’re very inspired by Factory Records, the Manchester-based label that put out New Order and Happy Mondays and Joy Division. Twenty-four Hour Party People was about Factory Records. In their catalog is release number 51, which is the Hacienda nightclub. The idea of a record label dropping a club as one of its releases, and it’s in their catalog be... See more
Tim Schneider • Is Metalabel, From the Former CEO of Kickstarter, the Cure for the Ills of the Creator Economy? | Artnet News
“Pattern recognition” is often how I describe the work of my life. I remember the moment, a true click, when I realized there was a connection between the increasing precarity of work, the consolidation of ownership in key industries, and the exponential increases in marketing budgets that characterized the hollow corporate structures of the first
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