Severin Matusek

The way that we engage with media on the internet has become laden with fandom energy. All narratives on the internet have become subsumed under the umbrella of‘content’, no matter their scale or veracity. They all have the potential to gather lore, because they can all be read the same way—like fictional media franchises. Thisincludes everyday soc... See more

The rise of Onlyfans can be interpreted as a “commodification of intimacy” where, unlike porn, adult creators can now provide lonely men intimacy at scale over DMs.

AE: Reflecting back on the past year, one project that stands out for me is Mitchell F. Chan’s The Boys of Summer (2023) because I’m interested in how we are all folded into gamified networks. Which works or exhibitions have resonated the most with you over that time? ‍

Any study of worldbuilding would be remiss without mention of Biosphere 2, the experimental facility constructed in Arizona for studying the feasibility of life in a manmade ecosystem. In 1994, Abigail Alling and Mark Van Thillo broke into the complex – or rather, attempted a break-out, and in the process brought the years-long experiment to an abr... See more

Holly+ represents the future that Herndon and Dryhurst anticipate for music, art, and literature: a world of “infinite media,” in which anyone can adjust, adapt, or iterate on the work, talents, and traits of others.

The ways to provide context on our digital profiles (e.g. Linktree) are very limited. The creator economy does a poor job at that.

Web3 is the first time, with the help of great developers like Duncan on our team, an artist can actually build a space that's interoperable on the internet that can handle funds and can handle communities. That's super exciting.

Stories by Stephenson – which tend, predictably, towards singular heroes who win at technocracy – form the inspiration behind Amazon’s Blue Origin and Facebook’s Metaverse.