Severin Matusek

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.

As the rest of the internet gets overtaken by bots and AI-generated content and oligarch-owners livestreaming megalomaniacal presidential candidates, the self-contained publications controlled entirely by professional humans win out.

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.

Has anyone wrote anything good on the technological effects on human affectivity? The ability of humans to feel?

In fact, if I sense that an artist is creating, saying or doing things just to win public approval, or to yield to the demands of the market, well, that’s when I tend to turn away.

The line between our personal and professional lives has become so blurred that social media feels less like a place for genuine connection and more like a stage for curated performance.

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? ‍