Severin Matusek

I’m mostly here in Edge Lanna on a mission myself: To help run a week-long event called Protocol Worlds, a part of the Summer of Protocols program I help run. The event is a simulation focused on the idea of holographic cities — digital city-like social realities (ideally crypto-flavored of course, and preferably Ethereum-flavored) projected onto... See more

For 90 days, I’d meet one new person every day. By the end of each conversation, I’d ask them to introduce me to at least one new person relevant to where I was trying to go. And then I did it. By the end of the summer, I had almost 100 new contacts. Every person is an open door, a potential opportunity, even if it’s not obvious at first. So many... See more

I think everything you write has a purpose, and if you understand the purpose and the audience, you shouldn’t veer too far from what its intention is. I would like to be good at writing ad copy, writing press releases and writing articles in all their correct ways, but then also be able to experiment and expand the form.

The new technologies that we’ve been seeing over the past 20 to 30 years in particular are dependent on a cycle of funding from multiple sources. Notably, sometimes really significant funding from venture capital sources. They almost by necessity have to sell themselves as more than what they feasibly are. They’re selling a fantasy, which in some... See more

Lorecraft is clearly a strikingly millennial school of management thinking. All the thinkers who belong in this tradition are, as far as I can tell, between about 28-35 or so. They are firmly middle-of-the-pack millennials. Founders of startups who seem to practice a sort of management by lorecraft, such as Conor White-Sullivan of Roam Research,... See more

Now, as the newly minted CEO of the brand, he’s taking the reins as it continues into its next chapter: one defined by IRL spaces, physical products, a community-first token, and a new AI platform called DreamNet.

“How do you exhibit that? Does that create a new economy for artists? Does that require new governance structures between the institution and the artists exhibiting that work? How do we show people how exciting this is?”