NEWS

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SEP 18 - 01

INITIATIVE OF THE MONTH

Impossible Foods

In recent months we reported a lot about Synthetic Biology and its impact on our environment, because we were involved with this new field of research by consulting our client Joyn Bio. While we were analyzing all these new promising start-ups and their communication strategies, one of them, the fake meat producer "Impossible Foods" came across and we couldn’t resist to try it during our last stay in New York City. The main aim of Impossible Foods is similar to Joyn Bio: The young start-ups try to reduce CO2 emissions by using gene editing. Animal agriculture, particularly cattle, accounts for one-seventh of total emissions, and around a quarter of the global freshwater supply. It’s simply environmentally unsustainable in its current form. But every year across the U.S., people produce and consume around 9 billion pounds of ground beef from cows. Right now, out of its year-old manufacturing facility in Oakland, Impossible Foods is producing enough of its disconcertingly beef-like plant-based meat to account for about .02% of that demand. When the Oakland facility first opened last March, it churned out around 4,000 pounds of product, and the burgers made from the plant-based meat were sold in just around 40 restaurants. After having raised more than $450 million total since its founding, the company is ramping up operations at its Oakland facility to produce 500,000 pounds of meat each month to satisfy demand from the 3,000–and rapidly growing–restaurants that now serve Impossible Foods. When we tried the burger in NCY at Bareburger, we noticed that the fake meat is not yet as good as real meat, but when we heard that the plant-based meat needs around 75% less water, it generates 87% fewer greenhouse gas emissions, and requires 95% less land, we were absolutely convinced of Impossible Foods!
"  Circle Culture  Circle Culture  Circle Culture  Circle Culture
AUG 18 - 01

JOYN BIO

Website launch announcement of the newly formed company “Joyn Bio”

After building name, brand and CI, we are proud to annnounce the launch of Joyn Bio's newly developed Website: www.JoynBio.com. We at Cc are very pleased that we could help our client to build this highly innovative synthetic biology brand. Read the full story  about Joyn Bio at WIRED.  
"  Circle Culture  Circle Culture  Circle Culture  Circle Culture
JUL 18 - 01

PAINTING ROBOTS

How robots create art through artificial intelligence and how people respond to that

Welcome to the information age, a point in time where we question the human ability to be an independent individual within the discourse of hyperreality. We arrived at a point in time, where an eduction on globalization and online behavior becomes essential. Within the discipline of social science and psychology, research on the topic of aesthetic influence already exists for quite some time. Scholars are trying to answer the ‚mysteries of the aesthetic response and the creative impulse'. Whereas humans react to art with ‚aesthetic response‘, artificial intelligence works through ‚visual optimization‘. The New York Times recently highlighted such in the article 'The science of why we like what we like' published July 12, 2018. The way art in our highly technology-driven world influences us, is of great significance, as it highlights certain aspects that haven't been discussed until recently, namely what art is and if we need humans to create it anymore. Responding to that, we see artists that are now being integrated as consultants for businesses and their challenges to restructure. We’d like to argue that a different approach towards structure, responds to the curiosity and natural learning process of a human being. Like when we were kids and tried out new things on a daily basis. Art is, as the The New York Times emphasizes, valued for its specific therapeutical features. Consumer Culture Theory highlights the importance of working interdisciplinary to develop expertise. What we need to learn is to create a collage of societies and tools to reach a higher goal. So as we fast forward to the integration of robots (e.g. E-David) and artificial intelligence creating art through visual response, we receive products creatively produced by (to be quite frank) binary codes. It means that the machine is programmed to paint a face but to a certain extend it works through artificial intelligence, responding to its own applied, yet uncontrollable paint on the canvas, where to add more color. What we experience today is art, something so fundamentally human, that can now be created by a machine without the viewer noticing it. This confusion evokes curiosity, scares, yet highly inspires us. And it further questions the value and importance of the artist himself in our society. A first reaction would usually be a devaluation of machine-made art, as stated in the New York Times: ‚The research was designed to explore why people come to devalue pieces they had once revered after finding out that the works were not actually created by the artist‘. How will art be judged? What are the essential parameters that influence a viewer and can those provide an answer to how we would react to robotic life science? Jean Baudrillard provides an answer to how we react by utilizing our society’s three different capitals such as cultural, social and economic capital. Neither of those are excluding the final decision of preference which describes the discipline of art as inclusive and basis for innovation. Art in that sense should function as the fuel, enriching a culture with an understanding of its fundamental characteristics, being able to lead a future society with its challenges to overcome and its possibilities to be taken on. At Cc we're open towards new approaches and ways to integrate creativity in a modern society. Postmodernity allows the question of how much of a robot are we anyway, especially when thinking about our dependence on quite a few gadgets and technological devices. We'd like to explore more within that field and want to encourage you, to get inspired by the new ways, technology can help and inspire us humans as individuals and as a developing society. To get more information on robot art, click here.
"  Circle Culture  Circle Culture  Circle Culture  Circle Culture  Circle Culture
JUN 18 - 01

SCENIUS

Creativity generated by scenes not individuals

During one of our latest brainstorming sessions, one of our team members dropped the term „scenius“. He explained that composer and ambient music innovator Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes” can occasionally generate. We often get the impression that there is only one “genius”, but in fact there are many people working ingeniously together. Scenius acknowledges that good work isn’t created in a vacuum, and that creativity is always, in some sense, a collaboration, the result of a mind connected to other minds. As an example he came up with the urban art scene in Bristol in the 80’s. Thanks to a lot of engaged people and many coincidences, something like a creative explosion appeared, in which the most famous graffiti artist of the world was created: BANKSY. In our brainstorming session we then recognized that our company culture is based on the scenius concept, too. Only with our network of diverse people and our willingness to limitless collaboration we can come up with new perspectives and innovative solutions. Because we believe in stimulating groups instead of individual work, we frequently organize workshops with creative people of different cultural backgrounds and professions in order to connect diverse perspectives and increase the amount and quality of ideas. After our brainstorming we started to research a bit more about the word “scenius” and came across Brian Eno’s definition: “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.” Scenius can erupt almost anywhere, and at different scales: in a corner of a company, in a neighborhood, or in an entire region. But there are three main factors the geography of scenius is nurtured by. First, mutual appreciation is necessary. Risky moves are applauded by the group, subtlety is appreciated, and friendly competition goads the shy. Scenius can be thought of as the best of peer pressure. Second, a rapid exchange of ideas, tools and techniques is required. As soon as something is invented, it is flaunted and then shared. Ideas flow quickly because they are flowing inside a common language and sensibility. A third factor is failure and success. When there are financial difficulties, or a breakthrough erupts, the failure but also the success is claimed by the entire scene. This empowers the scene to further success. Although many have tried, it is not really possible to command scenius into being. Every start up company, or university would like their offices to be an example of scenius. The number of cities in the world hoping to recreate the scenius of Silicon Valley is endless, but very few have achieved anything close. But even though the ingredients for scenius are hard to control, we at Cc are sure that the term by Brian Eno helps to increase our cultural appreciation for the power of the group in order to foster one of our most important skills: creativity.
"  Circle Culture  Circle Culture
AUG 18 - 02

COLLUSION BY ASOS

The online retailer launches a new Generation-Z focused brand

ASOS seems to be the most popular online retail shop for teens. This is what we always hear at our consumer workshops and that’s why the latest announcement from UK doesn’t surprise us much: With its launch of the fashion line “Collusion”, ASOS again demonstrates its trend affinity and deep understanding of current youth culture. Created by a collective of six young designers, models, artists, and influencers, Collusion’s USP is, that it is designed for Gen Z, but also by Gen Z. “Each with their own influential online voices and diverse followings – have taken the label to places it could never have gone alone. The result is Collusion; a new-to-market fashion proposition anchored by the ideals of collaboration, inclusivity and experimentation,” ASOS said. To bring different kind of perspectives together and involve teenagers to the creative processes, is something we at Cc always tell our clients within the fashion industry. However, this is not the only innovative approach of ASOS. Collusion will be launched alongside a national marketing campaign that captures the lives of 100 young people living in the UK who will turn 18 in 2018. Each was asked the question ‘what do you wish for, in the year you come of age?’. In this way ASOS creates an image of a group portrait and visual census of Britain’s youth at a unique moment in time. We at Cc are very convinced by this social, cultural and also political campaign and the innovative development of the fashion brand. If you can't wait anymore until the launch in October, you can start following the Collusion Instagram profile: https://www.instagram.com/collusionstudios/  
"  Circle Culture  Circle Culture
JUL 18 - 02

THE ONLINE ART MARKET

On the importance of online platforms for today's galleries to reach out to their future clients

With making art available via online platforms such as artsy, Saatchi Art, Paddle8 or Tappan Collective, a different perspective on experiencing and curating has been established. Not only a vast amount of artworks then become to the disposal of a consumer, it further guarantees a greater variety of price categories, hence attracting people of various ages and backgrounds. Such platforms create an easy entry into art buying. Selling art from lower set price categories online, which basically wouldn’t be lucrative for a gallery, starts rebutting the thought of only being able to purchase art, if you’re entitled to, because of your wealth. It encourages a broadening of the horizon and sharpening of senses in terms of buying art. We now see a young generation with the world to their fingertips, being able to conquer an industry that for way too long has been kept exclusive and intransigent in regards to their internal structures and clients. Supportively, galleries already use their social media platforms, in particular Instagram, to reach out to potential clients and art enthusiasts. The platform’s success is undeniable, let alone the possibilities within reach and consumer diversity. The importance of a younger generation, experiencing vanishing boundaries within the art world with social media tools, provides new possibilities for art dealers. The industry itself then develops to be inclusive throughout the implication of online platforms. Where does that lead to? Well, it not only provides confidence in being curious, it further encourages an open minded, ever changing creative industry, aiming for interdisciplinary approaches. When James Turrell’s works are shown in Drakes music video or an artist, such as Ed Templeton, identifies as well as a photographer and skater, we experience a variety of a person’s interests that are being valued by a postmodern society, instead of disregarded as nonlinear. The blending of characters and fields of interest seem to create a new norm of consumption. Such behavior refers to an increasing preference to be highly informed in regards to purchasing. Ultimately, what it means for all kinds of galleries, is to gather an online community around their offline platform. Buying art no longer deprives to be consumed by the economically wealthy, but is open for all kinds of people at any age and budget. At Cc we like to encourage each and everyone to connect and interact with the art world. With our projects and artist collaborations we’re actively engaging in the discussion of who to reach out to and how to create a future of interdisciplinary success in the creative field.
"  Circle Culture  Circle Culture  Circle Culture
JUN 18 - 02

KATRIN FRIDIKS IN GAIA MAGAZINE

'Art Based' explained and introduced as a new form of research

Recently we have had the chance to see Katrin Fridriks getting involved, using her voice to influence and educate her audience to be more aware of the global challenges and international crises of facing environmental issues. She’s not only advocating for culture and nature’s heritage to be preserved, but actively engaging in plenty of conversations, whereas her works had been featured in GAIA magazine. In their subheading one reads ‚Ecological Perspectives for Science and Society‘. With the character of a research question, the headline does implicate a certain kind of way, a direction, a lead for the reader to follow - not to ignore its specific title, GAIA, the ancient greek goddess that would embody metaphorically ‚Mother Earth‘. The big question then becomes what are we? We aren’t gods but we’re in need of their consent and kindness - according to greek mythology. Back to modern times and industrial revolution, introducing pollution, forest clearings and factory farming, the ever more widening gap between rich and poor and a vanishing understanding of nature in itself. Fridriks is calling on to this massiv imbalance of today’s world. And she does that so passionately and straight forward, that one is motivated to become active oneself. GAIA though discusses the arts as something to advocate with. The author states: 'Thus, art-based methods allow for a more holistic understanding as they reveal multiple meanings of phenomena and strengthen empathetic awareness-raising‘. To examine a phenomena from a holistic point is key to provide an understanding on why we are where we are and how we can tackle challenges ahead of us. This anthropological approach, to understand a structure holistically incorporates the theory of culture being an liquid concept, as well as challenges the thought of hierarchies and global dynamics to be reexamined. GAIA reenforces this so called Art-Based research, whereas the potential for ‚establishing multi sensorial research of (un-)sustainable practices’ creating an innovative structure. So what is it that fascinates us when bridging art and science, environmental warriors and fine art students? Well, one answer could be that creativity is leading the individual to think of how and with what to raise a voice, fighting not only global warming, but social injustice and a waste behavior, to collaboratively protect culture and our mother earth that is home to such a diversity of species, humans, spirits and land: ‚What if we see waste not just as something to be discarded but as an opportunity for creation?‘, as Fridriks states.
Lead further by this thought, Cc functions today as the linkage between upcoming global challenges and the individual, finding local solutions. Buy the magazine here.
"  Circle Culture  Circle Culture  Circle Culture  Circle Culture
MAY 18 - 02

PATAGONIA

The Blue Heart Documentary

The last wild rivers in east Europe are about to vanish through dam building in the Balkan region. The initiative, to create energy through hydropower has led banks to invest in 3000 proposed projects, implementing these dams. Between Slovenia and Albania, the river landscape is incredibly sensitive and home to a variety of local communities that are highly dependent on the water that is provided by nature. The region is therefor called the Blue Heart. Local activists are protesting peacefully for nature’s crucial organ not to be destroyed. Their efforts and stamina, to keep on fighting, is incredible, wherefore Patagonia initiated the documentary ‚Blue Heart‘. The powerful visuals, shown in the film, illustrate the beauty and preciousness of the landscape and its rivers. We understand that everything is interconnected and that the dams, which are extremely expensive to built and highly sensitive to maintain, will effect the surrounding and its inhabitants crucially. The inbalance created by such monumental disruptions, such as dams, is important to unveil. The outdoor company, Patagonia is based in Ventura, California. A place on earth which as well has to tackle water shortness and a contaminated cityscape, where incredible outdoor sights are highly endangered by a careless and polluting society. The projects and NGO activities of Patagonia reach out to various projects, taking on global environmental challenges. Aligned with their support of independent organizations, Patagonia also focusses internally on a transparent and fair production of their own products. They advocate for fair labor prices and sustainable fabrics for each of their pieces sold. Patagonia's founder Yvon Chouinard developed a company that is globally respected for its initiatives and products. Patagonia created an innovative approach towards structuring a modern company that is aware of upcoming challenges. At Circle Culture consultancy we like to follow that example within our research and strategy. From the very beginning, Patagonia had been setting new standards of business development and support of cultural heritage. The book written by Chouinard 'Let My People Go Surfing' was, and still is of great inspiration to our team. We support and welcome initiatives like the one’s from Patagonia and want to bring attention to a business model that not only prospers innovative structures but uses its voice to change a global pattern within consumption as well as production. In our upcoming screening on Friday the first of June, we’d like to cordially invite you at our gallery to join us for the screening of the Blue Heart Documentary Film. After the screening, we’ll have a podium discussion where we go into depth with the subject matter and welcome everyone to join. Click here for further information: http://www.circleculture.com/exhibitions/14056/film-screening-of-patagonia-s-blue-heart/about/