Keely Adler
@keelyadler
brand strategist by trade; time-traveling futurist at heart. core team @ RADAR. find me most places @keels223.
Keely Adler
Until the year 2000, about 25% of top-grossing movies were prequels, sequels, spinoffs, remakes, reboots, or cinematic universe expansions. Since 2010, it’s been over 50% ever year. In recent years, it’s been close to 100%.
Adam Mastroianni • Pop Culture Has Become an Oligopoly
on Are.na, pieces of information can be arranged in infinite varieties of contexts – their respective meaning shifts as the proximate information shifts. In other words, the more connections a block has, the more opportunities it has to be a nodal point.
are.na • On Motivation
He goes on to list 3 multipliers: I would encourage you to consider public speaking, writing, and negotiating to be three very easy add-ons or multipliers for whatever your core skill or skills might be. Those will give you an immediate competitive advantage.
Patrick Tanguay • Generalists
Keval hypothesizes that this kind of cooking is powerful because of how it grants colonized subjects a degree of agency. By adapting the cuisine of their occupiers and warping the “authentic” flavors with their own, they’re able to reframe that relationship on their own terms.
Taste • Closing, Not Fusing, The Gap
“It astonishes me how much that analysis shows nothing,” says Lang. “It’s still peanut butter and jelly, pizza, ham and cheese, macaroni and cheese, hamburgers. The bulk of the country hasn’t changed at all.”
Jaya Saxena • Why Are American Chips So Boring?
1. On the internet, we are always living in the past.
The mechanics of this permanent state of retrofuturism are simple: if you have access to detailed data about the behaviour of people, editorial control over what information people receive (as social or search recommendation engines), and the means to nudge people using designed affordances then... See more
The mechanics of this permanent state of retrofuturism are simple: if you have access to detailed data about the behaviour of people, editorial control over what information people receive (as social or search recommendation engines), and the means to nudge people using designed affordances then... See more
Robin Berjon • Retrofuturism
If our primary urge when we go online is to avoid remaining static, why should our content be siloed within the enclosed walls of a proprietary platform?
Eileen Isagon Skyers • Dirt: Are we post-platform?
There’s something deeply compelling to me about the idea that research—in some form—can be done by anyone with a serious commitment to intellectual inquiry.