I'm interested in ways that digital interfaces can be utilized as powerful narrative devices, and to engage people in new and exciting ways.
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
I'm a believer. I'm one of the few standing before you today from a large financial services company that has not given up on digital currencies.
I think that the future of currency is digital, and Bitcoin has a good shot at being the currency of the future.
AIM started in 1997, and I remember when I started using it in earnest, in 1999, when I joined TheStreet.com from 'The San Jose Mercury News'. We digital journalism pioneers communicated obsessively by AIM, and as a newbie, I recall being amazed that the whole newsroom was 'chatting' this way.
As the world becomes a more digital place, we cannot forget about the human connection.
There's no one person that can provide all the insights I need to run the business. There are so many aspects to WeWork: Digital, real estate, operations, space, and design. I pick and choose people who can help in each aspect.
Digital for storage and quickness. Analog for fatness and warmth.
I don't do anything digital. Everything is analog, and that's a limitation for me. However, in my world, it's not a limitation at all because I don't create the type of music that would generally be created by musicians that work with digital recording studios, and/or digital equipment, as far as production is concerned.
In the digital age, there are a million and one ways to find out what someone you fancy is doing - but remember, they can see when you're watching their Instagram stories. If you fall deep into a hole of snooping, resist flicking through the digital diaries of their exes, or at least learn to cover your tracks.