00:49:33 · Sofia Puccini, Ruby Justice Thelot
[00:49:33] S1: Yes. Yeah. Yeah. The VEVO era. [00:49:35] S0: It's the... Exactly. VEVO era. And whereas now, I don't know who's behind, like, that girl Lam or, but, like, she's not very big, but the quality because of the use of her... Of different technologies is, like, really incredible. And what it allows me to do is discover, like, without the visual, even, like, a very good song. Yeah. And I think it's, like, an... It's very difficult to... The the media and the content landscape is unforgiving because for every good thing, you also have, like, a a... Just like a company just making a bunch of slop. But... [00:50:15] S1: Yeah. And, also, it's that the feedback loop for, like, when you make something versus when everyone sees it and then everyone starts to copy it is so fast. So now I feel like I I see trends literally in the... Get fulfilled within, like, three days. And it's very... It's extremely fast. Specifically with with with, [00:50:34] S0: I think, pure technology because... K. One of the things that I think larger computer models are very, very good at is coding. And so if I'm like, okay. If I can take a screenshot of the video, I can see the echo effect that they put on TouchDesigner, maybe some generation, whatever it is, I can kind of take that clip, describe it, and then be able to recreate that by the end of the week, if not even faster. [00:50:54] S1: Exactly. Yeah. Yeah. Yeah.
00:50:54 · Sofia Puccini, Ruby Justice Thelot
[00:50:54] S1: Exactly. Yeah. Yeah. Yeah. [00:50:56] S0: So I think the, quote, unquote, mode here for these creators that are dealing with... In the attention economy is in part, like, their their... How rapid they are in executing their Mhmm. Creative visions. But I don't think it's, like, a technical moat anymore. Like [00:51:13] S1: I don't think so. [00:51:13] S0: Like, there's definitely a time where, like, it was really impressive to make a cool interactive website or experience or interface, whatever it was. That seems like that moat has been by and large... Face. I mean, the the cool thing is thinking about it. It's like, think, okay. How does this work with my song about me having my heart broken? You know, my dear friends are are are... They do this thing called danger testing where they, like, drop an app every week. And part of what makes them so special is because they have amazing ideas, like, every week. Kinda like a mischief model or whatever. There's also this other girl, Jess. I have not met her yet, but she... Once again, like, used her personal experience. I think she's going through a breakup and then built kind of a whole story behind how she was using tech to make herself feel better or to... I'm not that... I I don't I don't remember... I don't know if you've seen this exactly, but she she kinda went viral for her use of [00:52:14] S1: What was her name? [00:52:15] S0: Jess [00:52:16] S1: Yee. I think I know her. I I probably follow her. Yeah. Because she do songs about coding and, like
00:52:16 · Sofia Puccini, Ruby Justice Thelot
[00:52:16] S1: Yee. I think I know her. I I probably follow her. Yeah. Because she do songs about coding and, like [00:52:21] S0: I mean, there's... I don't know if she's she's... She does some songs about coding per se. I think she's using creative technology as a way to deal with her emotional turmoil. Yeah. But... Yeah. And then another thing that's, like, very impressive to me is, like, the work of Viola He or people who are, like, live coding. [00:52:41] S1: I love Viola. Yeah. Shout out Viola. [00:52:43] S0: Viola. Sorry. And then that's the whole other thing because then you're getting to the age of... Like, the the the era of, performance. Yes. In which case, like, it doesn't only matter that you have the code to make the music. It has to be good. You have to respond to the crowd. [00:52:56] S1: Mhmm. [00:52:57] S0: It has to be much like any DJ. You have to, like, be there, perform, and there's, like, an embodied experience plus, of course, this amazing use of of creative technology. [00:53:08] S1: Yeah. I agree. I've also been, like, very... Yeah. I think performance is what I'm most excited for. It feels like live coding is, like, one hint of, like, where we could be going with performance that could just be, like, truly something, like, new and novel. On the topic of creative technologists, because I've seen, like, companies like Anthropic post roles for creative technologists. Like, what do you think they're looking for? And also, why has it all collapsed into this, like, very generic title that means literally nothing at this point?
00:53:08 · Sofia Puccini, Ruby Justice Thelot
[00:53:08] S1: Yeah. I agree. I've also been, like, very... Yeah. I think performance is what I'm most excited for. It feels like live coding is, like, one hint of, like, where we could be going with performance that could just be, like, truly something, like, new and novel. On the topic of creative technologists, because I've seen, like, companies like Anthropic post roles for creative technologists. Like, what do you think they're looking for? And also, why has it all collapsed into this, like, very generic title that means literally nothing at this point? [00:53:39] S0: Yeah. Like, I don't Imagineer. Why... I mean, a lot of my friends... I mean, the amazing artist, Maya Mann, of course, was part of the Google and Creative Lab. Tina Tard... Targian is also in there. Famously, Trudy Painter was also in there. So these are all, both amazing thinkers, artists, also technologists. I think these companies realized the same thing that Xerox PARC and Bell Labs, realized at the time, which was that the artist opens up the potential and the possibilities for what your tool could be used for. [00:54:16] S1: Yeah. [00:54:18] S0: The artist usually transgresses upon the original design and breaks it open and then says, hey, what if I use this thing for something else? [00:54:25] S1: Yes. [00:54:26] S0: With all due respect to engineers, that ability, that creativity is literally, like, the the the superpower of the artist. [00:54:34] S1: Yeah. Yeah.
00:54:34 · Sofia Puccini, Ruby Justice Thelot
[00:54:34] S1: Yeah. Yeah. [00:54:34] S0: Yeah. So the product manager, the engineer can, like, come up with features on the road map for the next twelve months, however it is, but the artist is gonna come in, break it, and then do something completely different. Mhmm. And my sense, of course, it's a little bit hard to me. Maybe Google has some good internal numbers on this, is that there is a tremendous enterprise value to be made from listening to the creativity of people as they build your tool and as they transgress upon their intended or designed functions. [00:55:02] S1: I saw a post, I think, or a comment today that was talking about how few share of, like, artist types use coding agents [00:55:10] S0: Mhmm. [00:55:11] S1: In general. Like, it... Like, you and I probably do, but if you, like, look at the whole share of artists, it's, like, such a miniscule amount that's exposed. And if... So if you did, like, onboard artists into things like coding tools, then I feel like what they would create would just, like, blow everyone else out of the water. But it's just that they're, like... They have, you know, just some, like, differences in terms of, like, morals or diff... Perceived, you know, moral implications of AI. And I think, like,
00:55:11 · Sofia Puccini, Ruby Justice Thelot
[00:55:11] S1: In general. Like, it... Like, you and I probably do, but if you, like, look at the whole share of artists, it's, like, such a miniscule amount that's exposed. And if... So if you did, like, onboard artists into things like coding tools, then I feel like what they would create would just, like, blow everyone else out of the water. But it's just that they're, like... They have, you know, just some, like, differences in terms of, like, morals or diff... Perceived, you know, moral implications of AI. And I think, like, [00:55:43] S0: if they want to... Like, nineteen sixty, if they wanna paint, they're gonna paint. Like, they're gonna do whatever they wanna do. Right? Yeah. Like, Pollock could have bought a computer and, like like, that that is, I think, always a possibility, but people people are specific and they do things that they want to do. I do think that, like, getting people in front of these tools, showing them the actual potential and and what it can do, I think, would really open up a a a a, like, a big pain of, like, novel creativity. Yeah. But I don't think you can force that upon people.