Either ignore it or accept it. Web3 is changing the way we do content. The power of brands on Web3 has been shifted from a few to the whole.
Web3 is different from Web2 in that it doesn't come with a marketing plan. Straith Schreder is a creative. Schreder is the go-to person for many brands. She will deliver what your audience wants.
Straith is speaking at the Consensus festival.
One of the creatives behind "IRL" is Schreder. Net neutrality, free speech, and data privacy are some of the topics that have been debated. The difference between our online and offline identities is continually questioned.
She says that we could debate the performative aspect of being online and see it through a moral lens. We could see it as a way to figure out who you are and how you fit in.
At Palm NFT Studio, Schreder has worked with some of the world's most well-known artists. She was able to understand the changing dynamic between brands and their community members.
She thinks being able to work on projects that allow us to engage with technology in a different way feels very exciting. It is important because we are trying to change the dynamic relationship between creator and fan to build a paradigm that is more collaborative andParticipatory.
Straith was contacted to understand her experience in this industry as the world of Web3 brand building continues to evolve.
The interview has been edited.
If you had to compare the two industries, would you say they're the same?
Vice has a commercial and editorial team. The way that technology and digital culture intersect with and relate to the way that we show up online and in real life was something I worked on. Decentralization is one of the most important issues of our time. Looking at how we can use this format and use this industry to shape, to sustain and nurture resilient is important to me.
The web3 animation project "The Gimmicks" survived a cold winter.
Working in Web2 media has many challenges. You have to publish on a lot of platforms. In many ways, you have to pick your audience. You don't own that audience. It isn't the best experience for fans. Looking at what's happening in the media landscape and what we can do to begin to build a more representative media culture, I believe that will happen in Web3. I went to Palm because of this kind of thing.
The difference between our online and offline identities was the subject of a radio show. By doing that, what did you discover about yourself?
Spending time with this issue and talking to experts about it has changed my understanding of how we show up online. There is an artist who works on this that is really powerful. I'm not sure if you're familiar with Maya Man, but looking at generative art as a way of explaining and exploring the way that we show up online can be powerful. Which is what her work is good at.
You can't be yourself online because every online space is so mediated. It doesn't need to be a bad thing because you can express yourself in a variety of ways. There are more ways to find out who you are. That is a powerful thing. It's bad to perform online, so we could debate the performative aspect of being online. We could see it as a way to figure out who you are and how you fit in. There is that part of it as well.
What has it been like to work with DC? Is it difficult to change a brand in Web3.
There is a lot of diversity in the audience that we work with and giving them as many ways as possible to participate in a project is powerful. DC's audience is mostly a Web2 audience on the surface. At the same time those users came to our platform, more than half of them already owned a piece of the virtual currency. Some of the core collector audiences are similar to the mainstreaming of the technology that is real. We have been able to reach existing DC collector fans and we have also been able to create new fans.
One of the projects that we're working on with DC is called the Backhaul Collection and one of the key features of that project is that holders of this project can vote on and shape the first comic. They're making a huge contribution to the canon. For the first time, they're making comics with DC. They're meeting with the artists on the platform and they're voting on what happens next.
What do you think about Palm's involvement in the "Currency" art project?
Similar to what we've been working on with DC, the project we're working on is a notion ofParticipatory artwork. To collect currency, you have to make a choice about what will happen next in the project. To be a part of that project is to participate in its making, because what Hirst asked of collectors was to make this fundamental choice about digital value, do you keep the NFT or burn a painting?
The fact that half of people decided to keep the digital piece shows the power of digital ownership. Being able to work on projects that allow us to engage with technology in a different way is very exciting. It is important because we are trying to change the dynamic relationship between creator and fan to build a paradigm that is more collaborative andParticipatory.
Is NFTs helping anyone in the economy?
The power and potential of NFTs is something that I like. I believe that NFTs can give us the tools and the language to be able to be creative. That to me is very exciting. There are generative works that can create conditions for more people to experience art. It's important to be able to collect something that speaks to them.
The idea of being able to squeeze the space between worlds is cool. It is possible to approach royalties and remuneration in a way that is meaningful to the artist. For what we work on as a studio, my hope is that we push for what's possible when it comes to proving this out as a medium that will support artists and will kind of create a canvas for the world that we could build next.
How will Web2 customers be supported? Will Web2 customers be able to make the change quickly?
That is one of the challenges we're facing right now. For as much opportunity as Web2 media has, there are still very real challenges around the cost of viewing, awareness and marketing in these spaces. I think that there are challenges to using Web3 and that there are strategies that can be used to engage audiences and build relationships between artists and fans. I think that we will see more brand adoption of Web3 platforms as focus continues to be placed on technology and infrastructure.
What would it be like to show someone a piece of NFT to convince them of the benefits of Web3?
I own a piece from the collection, "Fake It Till You Make It", and it means a lot to me. It is eloquent and means a lot to me. Maybe it isn't everyone's cup of tea.
I think it looks like my cup of tea. I will look it out.
The views and opinions expressed are those of the author and do not represent those of the company.
