Sarah Drinkwater

As a result of these much larger outcomes we've built a movie-making system that is focused on big hits because the business model can't really absorb too many massive flops. So you get sequels, prequels, and spin-offs. Established IP and bankable stars. No big risks. And you don't get nearly as much experimentation, innovation, or creativity.

I want this to work, furthermore, whether those people are sharing a random thought every day, a blog post every week, or an art project every two years.And I want it to work, of course, across media, so I can follow writers, musicians, programmers, theorists, troublemakers …

When I was at Index we would include two sections in our memos that were popularized by Larry Summers. We would write about a company's "pre-parade" and "pre-mortem." Not only a "dream the dream" scenario, but a "dream the nightmare."

Because we don’t ship our shit back to where the food comes from, we keep perpetuating the redistribution of nutrients on the planet. Soils grow barren, so we use synthetic fertiliser, which isn’t anywhere near as good as the real shit, and also is very polluting to produce. Scientists call this phenomenon the metabolic rift. 

In Europe, investors in first-time funds have a higher chance of exceptional returns. But why is that?

I found myself dreaming about designs that might satisfy my requirements, while also supporting new interactions, new ways of relating, new aesthetics. At the same time, I read a ton about the early days of the internet. I devoured oral histories; I dug into old protocols.