Severin Matusek

Creative work by inspiration is seen as unpaid and without value. Creative work for commercial purposes is worth compensation if it meets the brief. Institutions remain the primary mediators of payment, whether they're museums, corporations, or technology platforms.

4/ The internet is rewiring not only the media sector (as with streaming) but the public itself, which is breaking up, or being broken, into multiple — some say parallel — realities.

As you can tell from my attempt to describe it, we do not have a good language for this shift.

Kelin’s students are already power users. “I had one student who has three Claude subscriptions because they keep hitting the rate limits,” she says. “They get timed out of one, switch to the next. Timed out again, switch to the third.” By the end of the semester, several students told Kelin that her AI course was the most practical class they’d... See more

Local communities: we are connecting local communities, so that they can showcase their scenes and artists to the wider COLORS community around the globe.

How do projects, headless or not, find product-market fit in the Web 3 era? Well, in some senses they don't. In a highly decentralized system, these operations invert such that the community finds product solutions themselves: "market-product fit."

1. The emergence of creators as vertical-specific search engines. Creators are often the entry point of choice for people on the internet.

The traditional boundaries of profession and practice blur not because they're being forcibly eroded, but because they're becoming irrelevant to how value is actually created.

New work: All Media Is Training Data, a catalogue of works by @hollyherndon and @matdryhurst, curated by @eva__jaeger. THREAD: (1/) https://t.co/pVcUqSQ3Ln