Not when AI can generate infinite visual variations in seconds.
Not when clients see images as replaceable commodities.
Not when platforms reward speed, not depth.
But this isn’t a crisis.
It’s a shift.
From photographers to producers to system-builders.
Photography was never just about images
The best photographers always operated in layers:
• directing
• staging
• taste
• selection
• storytelling
• emotional design
• authorship
The industry simply pretended that the value lay in the final JPEG. It never did.
What clients actually paid for:
• your eye
• your authority
• your point of view
• your ability to create meaning
• your ability to make a person feel like themselves
• your ability to design a moment
AI doesn’t replicate that.
AI replicates output, not authorship.
The shift: from photographer to director of visual culture
If images become abundant, the scarce resource becomes:
Who defines the world the images belong to?
That’s where photographers must move:
content → codified signature
portfolio → world
style → system
editing → authorship
deliverables → IP
clients → ecosystem partners
Think of your work not as pictures, but as a set of rules:
• how a face is read
• how a space feels
• how light behaves
• how identity is narrated
• how power is expressed
• how vulnerability becomes form
This is the actual asset.
The photo is the residue.
What AI really changes for photographers
Two facts are already documented:
Stock agencies shift rapidly to AI libraries because the cost per image drops close to zero. (Source: Shutterstock Q2–Q4 2023 financial reports)
Corporate clients experiment with AI portraits for internal communications, reducing demand for low-end headshots. (Source: Market reports from Redpoint and Gartner, 2023)
That means:
Everything that can be commoditized will be commoditized.
So photographers must anchor their value elsewhere.
Not in the file, but in the framework.
The real future: photographers as IP designers
The photographers who stay relevant will build systems that outlive any single shoot:
• recognisable visual languages
• codified methods
• signature compositions
• characters and archetypes
• repeatable story worlds
• symbolic assets clients identify with
• frameworks others can license
This mirrors what Disney did:
World first, content second.
IP at the core, images as expressions.
Photography becomes part of a larger world, not the product itself.
The client angle: why this matters
Clients want more than photos.
They want:
• clarity
• identity
• narrative
• consistency across channels
• assets that carry their meaning into the future
That’s why photographers who think like directors will endure
They build a stage,
not just a backdrop.
They create an atmosphere,
not just a portrait.
They give clients a role in a narrative,
not just a file folder.
The copyright dimension: your real leverage
Copyright protects original authorship, not generic outputs.
If you create a signature world, you create:
• ownable frameworks
• distinctive visual IP
• licensable elements
• the right to control derivatives
• the right to control AI training, if your work is distinct and protected under EU copyright law (Directive 2019/790)
Photographers who only deliver files lose negotiating power.
Photographers who deliver IP gain it.
What photographers could build now
A minimal set of assets for the future:
Your visual universe Shapes, moods, rules, rituals.
Your method A documented process clients can rely on.
A character or perspective Your authorial voice.
An aesthetic you control Something AI can imitate but not replace.
A licensing structure a framework that captures value
A bridge to generative media API & fair use protocols (for example like Disneys latest move to include AI onto their platform.
The Myth: “I’m Building the Disney of the Creator Economy”
Every few months a creator announces they want to build “the Disney of our generation.”
Most don’t understand what Disney actually is.
Disney isn’t a content company.
Disney is an IP engine.
Content is expression.
IP is the asset.
This distinction decides whether you build a scalable ecosystem or just a successful channel.
What Disney Really Built
Walt Disney didn’t create a media brand. He created a system that extracts long-term value as:
• world-building
• character IP
• licensing and sub-licensing
• ecosystem design
• emotional ownership
• multi-generational transferability
It’s a machine where stories, parks, merchandise, partnerships, soundtracks, cruise ships and theme hotels all feed the same universe.
The films are not the business.
The films are the ignition points.
Historical data backs this up.
From the mid-1990s onward, the bulk of Disney’s operating income came from Media Networks and Parks, not the studio division. The IP created in films fueled the real revenue engines years later. (Source: The Walt Disney Company Annual Reports 1995–2020)
That’s system architecture, not content strategy.
What Most Creators Are Actually Building
Creators today operate like solo broadcasters:
• personality at the center
• platform dependency
• algorithmic volatility
• attention spikes
• advertiser-driven revenue
• linear growth tied to output volume
This model caps their scale.
It also traps them in a paradox: when the creator stops, the business stops.
YouTube is not a universe.
A TikTok series is not a franchise.
A personal brand is not an IP system.
The Shift: From Episodes to Assets
If creators want “Disney scale,” they need a fundamental perspective shift:
content → codified IP
audience → ecosystem
reach → ownership
presence → transferability
creator → brand universe
Disney works because Mickey is the star, not Walt.
The world survives the founder.
The founder becomes optional.
That’s the missing architecture in the creator economy.
What Codified IP Looks Like for Creators
Creators need worlds, not workflows.
Archetypes, not uploads.
Rules, not routines.
IP emerges when you build elements that work even when you’re offline:
• characters or recurring identities
• proprietary systems or methods
• repeatable story worlds and settings
• consistent iconography
• signature aesthetics
• rituals your audience adopts
• frameworks others can license
Look at Pokémon: a rule-based universe of creatures, conflicts, objects and levels. It survives every trend cycle. Revenue comes from games, cards, series, films, events, and licensing agreements. The IP is the engine. (Source: The Pokémon Company annual financial disclosures)
Creator businesses rarely reach this stage, because most don’t think like system designers.
They think like producers under pressure to upload.
The Copyright Angle: IP Outlives Personality
Under copyright law, creator output is protected, but most creators fail to transform output into structured IP. They create content, not assets. Episodes, not universes. Deliverables, not rights.
Disney’s genius was simple:
Lock the rights early.
Expand the world endlessly.
License everything that can carry meaning.
Creators rarely do this. They hand over rights cheaply, treat their own methods as improvisation, and underestimate the value of codifying their inner logic.
If you want autonomy, resilience, and long-term value, you need ownable structure.
Not a better upload schedule.
Where the Next Creator Empires Will Come From
Not from the loudest voices.
Not from the biggest followings.
From the first creators who master IP architecture.
Creators who think in worlds, not videos.
Creators who design characters, rules, stories, rituals.
Creators who build assets that scale independent of their presence.
Creators who understand licensing the way Disney did in the 1950s.
That’s the actual blueprint.
The creator economy doesn’t need more content.
It needs systems that can outlive their founders.
For example the walking music studio by Ari at Home
Minimal next steps if you want to explore this angle:
• Identify the recurring characters or archetypes in your work
• Codify your method as a proprietary framework
• Create visual, narrative or conceptual assets that repeat across formats
• Map your world as an ecosystem, not a feed
• Define what parts of your IP could be licensed
• Build documentation early, like a show bible for your universe
In a world where technology accelerates faster than our ability to pause, The Creators Foundation stands for something deeply human: creativity with conscience.
We believe in building bridges between art, ethics, and entrepreneurship.
Our mission is to empower creators to live and work with integrity, clarity, and purpose.
These are the values that guide us.
1. Creativity as a Force for Connection
True creativity begins with curiosity & the desire to connect what wasn’t connected before.
We believe that every idea, every piece of art, every portrait or project is an invitation to connect: with ourselves, with others, and with the world we’re shaping together.
Our goal is to turn creativity into community.
2. Integrity over Influence
In an age of filters, fakes, and algorithms, integrity is the new luxury.
We believe that truth and authorship matter.
Creators deserve transparency, fair licensing, and control over how their work and identity are used, especially in the age of generative AI.
Influence fades. Integrity lasts.
3. Freedom through Structure
Discipline and creativity are not opposites, they complete each other.
We teach creators to build systems that support their flow: routines, frameworks, and habits that transform chaos into clarity.
Because freedom doesn’t come from doing whatever you want, it comes from knowing what matters most.
4. Learning by Doing
We believe education should be lived, not lectured.
Workshops, labs, internships, and collaborations are our classrooms.
The best learning happens in motion, when you create, experiment, fail, reflect, and start again.
That’s how creative mastery grows: through real-world experience and shared reflection.
5. Collaboration before Competition
The myth of the lone genius is outdated.
We believe in collective intelligence, in people who build each other up.
The Foundation is a meeting place for artists, founders, designers, and thinkers who see collaboration not as a weakness, but as an amplifier of creativity.
Generosity is our growth strategy.
6. Purpose before Perfection
Perfection is a trap. Purpose is a compass.
We help creators shift from chasing approval to creating meaning.
Every unfinished project, every imperfect draft is part of the process of becoming.
Purpose gives direction. Perfection gives delay.
7. Sustainability of the Self
Creative burnout is real.
We stand for balance: between work and rest, ambition and reflection, giving and grounding.
Because no idea can thrive when the person behind it is running on empty.
Sustainable creativity starts with sustainable humans.
8. From Inspiration to Impact
Ideas are seeds. They need time, care, and community to grow.
We help creators turn their ideas into actions. from concept to collaboration, from vision to venture.
In the end, creativity is not what you imagine: it’s what you build.
A Foundation for the Future
The Creators Foundation is more than an academy.
It’s a home for creators who want to combine art with awareness, freedom with responsibility, and imagination with integrity.
We believe that the next creative revolution won’t be digital — it will be human.
This spotlight is dedicated to Manuela Bosch, a creative professional who has spent decades designing spaces for transformation, activation and realization.
With transformation written all over the walls, now feels like the perfect time to start the creative process again with a blank space.
In this interview, Manuela invites us to consider how dreams evolve and sometimes need to be released, much like the natural cycles of life and creativity. We’ll discuss the process of change, creativity as regeneration, and how we can rediscover ourselves.
The past
Could you tell us about yourself and what Dragon Dreaming means to you?
Dragon Dreaming has been one of my core practices for facilitating transformation in projects and teams for many years, and it still essentially informs my internal operating system.
In 2010, I travelled around India for three months. I had just left my job in advertising, which involved working on the launch of the first iPhone. I am grateful to have been part of this revolution, and I had some really great colleagues. However, it was also a conflicting job because I have always been critical of profit-driven systems, and I was working right in the heart of one.
During this time, I didn’t feel complete; I felt divided. Neither a career in advertising nor simply being a ‘punk’ felt right for me. I hid my profession when I went raving in Bar25, and I kept my critical concerns at work to myself. While travelling, I discovered yoga as a practice and a philosophy. It is a philosophy based on promoting wholeness. I realised that my tension disappeared when I stepped out of an ‘either/or’ mindset and started thinking in terms of ‘both’ and creative complexity, embracing balancing acts.
When I returned from India, I realised that I wanted to adopt this mindset in my life. However, I wondered how I could apply it to work, business and society. With this question in mind, I started working on a social creative project. The vision was to realise a gigantic multi-generational, multicultural endeavour through a collective building project in a central location in Berlin. I quickly realised that the project management and facilitation skills I had acquired in advertising were not transferable to emerging, chaotic and volatile environments. A collaborator and later a close Dragon Dreaming colleague, pointed me towards Dragon Dreaming. And that was exactly what I needed. This framework and methodology was truly the answer to my heart’s longing.
“Everything starts with a dream.” How do you understand this concept today, especially at this stage?
I have to admit, I came to a point where I am questioning the idea of big visions. I don’t believe anymore that one just needs to have a strong enough purpose and vision in order to create something powerful or meaningful.
On the one hand, I feel I have failed so often in my attempts to create something big and successful in terms of numbers. On the other hand, I believe the stories we tell ourselves about success are part of the problems we have in the world today. They promote ideas of ownership, control, and overestimation of one’s abilities.
Dragon Dreaming, as I practise it, helps projects at every stage of their lifecycle, from conception to completion and beyond. When projects follow the Dragon Dreaming cycle, they undergo a powerful test. It soon becomes clear whether the collective dream that the group is carrying is meant to be implemented in this form, with this team and at this time. The process acts as a catalyst, helping to propel a project forward in the direction it is meant to go, rather than according to an individual’s preconceived ideas.
I am currently reading Vanessa Machado de Oliveira’s most recent book, Outgrowing Modernity, which I would highly recommend to anyone who wants to ‘do good’. She writes, ‘Given our socialisation within modernity, we tend to underestimate the depth, magnitude and extent of problems, while overestimating the effectiveness of our solutions, consultations, dialogue, planning strategies and enthusiasm.’ I still believe in dreams and visions. However, I place greater importance on what we call ‘deep listening’ in Dragon Dreaming. This allows me to grasp ‘the depth, magnitude and extent of problems’ before I start planning and taking action. It is a type of listening that continues while I am planning and taking action, allowing me to consider alternatives, realign, and stop what I am doing if necessary. I’m not saying that I’m very good at it, but I can’t help but aim for it.
What have you learned about collaboration from creative, social & regenerative projects?
As early as the beginning of my 15-year journey working with social and regenerative projects, I had a big ‘aha’ moment. Collaborations in this field are not much different to projects in the dominant system. There are issues of power and control, as well as many blind spots.
In a field where people are driven by strong beliefs about right and wrong, they can be even less open and collaborative when things go against their will.
I realized that the challenges around collaboration can be even greater than in work environments with set hierarchical structures and job descriptions, where people know from the outset that their scope of impact is limited by these structures. Anyone who doesn’t understand might want to read the famous article ‘The Tyranny of Structurelessness’ by Jo Freeman.
At the same time, it is especially regenerative and social projects that try new things and question their way of working that are interested in ‘collaborating sincerely’, as my friend Felix Weth promotes. Cooperative working structures and governance systems exist, and many social and regenerative projects apply them.
In summary, I have learned that social and regenerative projects can only work if we dedicate ourselves to developing and expanding our relational and regenerative skills. For example, we must learn to manage conflict together, prevent burnout and exploitation at all levels, and recognise our complicity in creating harm while performing our ‘good deeds’. For me, these are the true future skills.
The renewal
You mentioned the power of letting go and creating space for renewal. How do you see “endings” as part of the creative cycle?
Well, ‘endings’ are simply part of the creative process. I didn’t set a timer and decide, ‘Now it’s time to close’. This phase comes naturally, like the changing of the seasons. It’s been an evolution of events, combined with my desire for change in my life. I don’t feel that I’m ending things; I’m ‘allowing’ things to end. I pay attention to where things want to go. But it’s tricky, as the signals are not always clear.
With all the projects I am closing now, however, I just did not feel I had enough energy, resonance or support to maintain them as they were. For them to be worthwhile, I felt that I would need to invest in them in a way that I am not able to. I would need to focus on one of them to do it justice. However, I did not have enough motivation to focus on one of them. So, although it feels scary and sad to let them all go, it is also actually quite exciting and liberating. I quite like change, and I have a lot of respect for what is coming next.
What does it mean for you to “compost” your work?
I am also inspired by Vanessa Machado de Oliveira’s approach to composting as a process of inner transformation. Of facing difficult feelings. It’s about owning my ‘shit’, such as complicity in destructiveness or even harming, and stories of self-delusion.
I also picture the large, generous compost pile from my childhood home. The fertile soil it produces is used to grow delicious produce in the garden.
The quality of the soil is determined by the ingredients of the compost. I definitely want to reuse what I put into my compost once it has gone through the composting process. Over the past few years, I have been active in many different fields, all of which are related to transformational work. These have included facilitating community projects, co-founding purpose-driven start-ups, operating within large-scale non-profits, working in the wilderness and facing practical ecological challenges, engaging in deeply relational practices involving the body and sexuality, and working on cultural and artistic initiatives addressing questions of power and inclusion. What might grow on such soil?
How do you celebrate this new chapter and the end of the previous one?
I celebrate by reflecting on my failures and successes, and by appreciating the gifts I have received. I am also reconnecting with friends I have met along the way and sharing stories. I also aim to be more open about my process. That’s why I immediately agreed to this interview.
What do you think are the most important human qualities for sustaining creativity and connection in times of change?
I think it is particularly important to be aware of our changing inner states, as well as what is happening around us.
In Generative Facilitation, we assume that our inner state determines the quality of our creations and leadership. It is very difficult to contribute constructively when I am in a contracted, reactive state of separation, or even of hurt, anger or hatred. However, a sense of groundedness and resourcefulness that embraces ambiguity, chaos, openness and receptiveness to emergence will foster similar qualities externally.
To foster this mindset, I believe we need to take good care of ourselves and each other. This involves tending to my physical body, nutrition, movement and touch; tending to friendships, family and contact with natural environments; and engaging in simple rituals, playfulness and stillness. All of these things help me personally. These activities support my ability to slow down and listen, and to sense when something feels “off” or simply right in my gut. I think this capacity is needed to step out of my comfort zone and face difficult issues, taking risks at a time when goals may be changing permanently.
The dreams
What kind of dreams inspire you now?
Currently, my dreams are influenced by the urgent issues facing our planet. I am concerned about extremist tendencies in all areas. I dream of places where we can come together, despite our differences. I feel a strong urge to stand with others and speak out against what I perceive as wrong, while also continuously questioning the basis of my own opinions. I dream of relationships, friendships and communities based on care and kindness. I dream of kindness for no reason. I dream of relationships that can tolerate discomfort and withstand crises. I dream of circles of friends that come together for no reason other than enjoying each other’s company. Just because we enjoy each other’s company. I dream of disentangling the commodification of life.
Another urgency: The Potsdam Institute for Climate Impact Research recently published a report on planetary health. Seven out of the nine critical Earth system boundaries have now been breached. If the Earth were a patient, it would be in intensive care. Even more worrying than climate change is the decline in biodiversity. At the same time, innovative funding mechanisms in this area are accelerating. I hope that they are more than just a passing fad, and that they bridge the gap between the vast sums of financial wealth available and the initiatives in need. What if today’s cattle farmers become tomorrow’s nature conservationists, simply because something like biodiversity credits enables this? We need all our creativity and massive collaboration to get our patient out of intensive care. Success is not guaranteed, yet every metre of unexploited land is worth saving.
Personally, I dream of working inside an organization that is undergoing change. I want to shift more towards taking on a leading role in the hands-on operational and sensitive relational work needed to facilitate the next step in an uncertain, complex and ambiguous setting.
Finally, what advice would you give to creatives who might be afraid to slow down, to change direction, or to start dreaming again?
I would prefer to avoid giving general advice. However, based on my own experience, if I realise that it is my fear preventing me from slowing down, then I have already come a long way. I would acknowledge my fear and try to become more familiar with it. As a creative person who enjoys experimenting, I would try some things that scare me but are safe enough. I might also change my environment. I would realise that I am a different person in a different context because who I am is not fixed, but changes depending on the situation. In my experiments, I would take time to notice what lifts me up and keeps me going. What is difficult but feels right? What have I simply finished doing and am not going to continue? When I am ready to take the plunge, I will ask myself: What could go wrong? I would do it not because it’s perfectly future-proof, but simply because it’s the best I can do based on what I know today. I am ready to be wrong and learn again.
This conversation with Manuela is part of the Creators Foundation’s Spotlight Series, which explores how creativity evolves, adapts and connects us through times of change.
Manuela’s story reminds us that every ending contains the potential for something new and that creativity often begins again in moments of stillness and reflection. As we look to the future, our aim is to continue nurturing honest conversations that inspire courage, care and collaboration among creators everywhere.
It’s a creative playground: an opportunity to gain real-world experience in the fields of media, design, communication, and storytelling, right at the intersection of art, entrepreneurship, and technology.
At Studio Alexander Klebe and The Creators Foundation, we explore how creativity and systems thinking can serve both society and creators.
Together, we build projects, campaigns, and new formats that make ideas visible: from personal branding to visual storytelling, from social design to emerging technologies & events to make memories.
What You Can Expect
🧠 Hands-on experience in media production, marketing & creative direction
💡 Collaboration on real client and foundation projects
🎥 Bi-weekly studio sessions (in-person, Berlin) and online & off-site check-ins in alternating weeks, mostly used for editing& publishing as well as learning to work self-organized.
✍️ Freedom to develop your own project ideas within the internship framework
🌱 Mentoring & feedback sessions to help you grow personally and professionally
Possible Fields of Work
We welcome applicants with diverse skills and backgrounds, especially in:
Marketing & Communications
Business Development
Web Design & UX/UI
Programming & App Development
Photography, Video & Visual Storytelling
Creative Writing, PR & Media Production
Practical Details
Duration: 3 months (flexible start dates)
Schedule: Part-time structure with alternating in-studio and remote weeks
Compensation: Unpaid – we recommend Erasmus+ funding or university support grants
Requirement: Must be enrolled at a university (for insurance and visa purposes)
Location: Berlin, Germany (Ocean Studio Berlin & The Creators Foundation HQ)
Who We’re Looking For
Curious minds who:
Think in systems and stories
Are organized, reliable, and proactive
Value teamwork, focus, and creative independence
Want to contribute to meaningful, real-world projects
How to Apply
Send your CV highlighting your skills, portfolio, and a short motivation note about what you’d like to explore during your internship to:
📧 hello@creators-foundation.com
Let’s create something that matters.
Welcome to Berlin’s creative ecosystem, where vision meets reality.
🌿 What You’ll Take Home
This internship is designed as a transformative learning experience, not just a line on your CV.
You’ll work closely with Alexander Klebe, a creative entrepreneur and photographer with 20+ years of real-world experience in media, storytelling and brand development.
Here’s what you can expect to gain:
🌍 Explore & Experience
Discover the creative spirit of Berlin: its culture, rhythm, and diverse creative community.
Learn to navigate international collaboration, creative communication, and cross-cultural teamwork.
🎓 Learn from a Mentor
Receive hands-on mentorship from a seasoned professional who has built brands, produced campaigns, and guided artists and entrepreneurs alike.
Gain honest, practical insights into the realities of creative freelancing and entrepreneurship.
🧠 Build Real Skills
Learn the workflow behind professional content creation: from concept to shoot, from storytelling to publishing.
Get familiar with tools and platforms used in today’s creative industry (WordPress, social media, Notion, Canva, AI tools, etc.).
💡 Grow Your Creative Confidence
Develop your ideas into real projects with visibility and impact.
Learn to balance creativity and structure, overcome perfectionism, and adopt a “done is better than perfect” mindset.
Gain confidence in sharing your work and collaborating with professionals.
🔗 Connect & Contribute
Become part of a community of creators who believe in meaningful work, shared growth, and mutual respect.
Leave with a portfolio of real contributions and a network that extends beyond your internship.
Check out our instagram and see for yourself.
or just connect to our newsletter and get our Creators’ brief right into your inbox.
One of the most common patterns I notice among artists, photographers, designers, and workshop leaders is this:
they don’t truly value their own work.
They value the art, yes — the output, the joy of creating, the connection with others.
But they rarely put the same value on their time, their energy, or their expertise.
Some even excuse it by saying,
“I don’t have the degree others have.”
“It’s just a side project.”
“I want to do something meaningful, money shouldn’t matter.”
And yet, when we start to unpack what creative work really costs, a very different picture emerges.
The Hidden Hours
A friend of mine gives art workshops in a social community center. A wonderful project helping young adults find confidence and expression.
She gets paid 150 € for two to four hours on site.
After taxes, that’s roughly 125 €.
But here’s what’s not on the invoice:
3–4 hours of preparation
materials and tools she brings herself
setup and cleanup
travel time & travel costs
communication with participants and organizers
social and emotional energy that can’t be measured in minutes
Add it up, and what looks like “two hours of art workshop” quickly becomes ten hours of labor.
That’s a wage close to minimum level, for work that demands skill, empathy, and vision.
The Illusion of the Hourly Rate
When we sell creative work, we often sell moments: a 2-hour workshop, a 3-minute song, a half day photo shoot.
But the moment of delivery is only the visible tip of the iceberg.
Below the surface lies the real work: the years of learning, the cost of equipment, the research, the client care, the trial and error that make excellence possible.
If you charge only for what people see, you’ll always be undervalued.
To build a sustainable creative practice, you have to learn to price the invisible.
Pricing as an Act of Self-Respect
Money is not the enemy of art.
It’s a mirror of the respect we have for our own time and craft.
When we underprice ourselves, we unintentionally teach others that our work and by extension, we ourselves are worth less.
When we price fairly, we create a system where creativity can actually thrive.
The goal is not greed: it’s balance:
enough to create freely, live decently, and sustain the energy to keep giving.
How to Reframe Your Value
Here are a few questions you can ask yourself before you set your next price:
What does it really take to deliver this work? Count every step: preparation, communication, materials, travel, follow-up.
What level of responsibility do I carry? Are you teaching, mentoring, performing, or holding space for others? That matters.
What would it cost to replace me? Think of your unique mix of skill, sensitivity, and reliability. That’s your true leverage.
What lifestyle do I want to sustain? Your price should not only cover today’s costs, but also your health, savings, and creative growth.
Would I still feel inspired at this price? If you feel resentment after delivering — it’s too low. If you feel joy and commitment — it’s right.
For a Healthier Creative Economy
The world needs art, but artists also need rent, food, and rest.
For creativity to be regenerative, it must be valued as part of the economy, not as its decoration.
At the Creators Foundation, we believe that valuing creative work is not about ego, it’s about equity.
It’s about building systems where artistic contribution and financial wellbeing can coexist.
Because when creators thrive, culture thrives.
What about you?
When was the last time you truly priced your work in a way that honored your time, your energy, and your expertise?
For more than twenty years, Oliver Rednitz has been a quiet yet unmistakable force in Berlin’s urban landscape. His work isn’t confined to galleries or museums. It’s on the walls we walk past every day. Starting with a simple yet powerful statement, “Jesus loves you,” Oliver has turned the act of pasting posters into a long-running love letter to the city.
I first encountered his message decades ago at the Carnival of Cultures in 2004, captured in one of my earliest photographs of Berlins blooming street culture. Later, when I finally met Oliver in person, what followed was more than an encounter with an artist. it was the beginning of a friendship between two creators who share a belief in the power of images to transform.
My first visual reference of Olivers Work appeared in a 2004 photo of the carnival of cultures
This week, during Berlin Art Week, I got to know one of Oliver’s most cherished places: the Haus der Liebe on Auguststraße. For over two decades, its façade has been his canvas, layered with poster after poster, until the building itself became a living archive of love. The site, once a Jewish orphanage, revealed its name only recently: Beit Ahawah (House of Love). A name as if written for Oliver’s life’s work.
Oliver Rednitz, creator of Litekultur & Jesus loves you
His latest show, aptly titled “THE SHOW – a SEHSCHAU over the last 22 years”, unfolded as both exhibition and intervention. Announced as a political gathering so that the space in front of the building could be used, it became something far greater: a temporary agora of art, memory, and presence. Visitors encountered collages, torn layers, and reassembled fragments: Oliver’s PAPERWORX. These works, born from décollage and reconstruction, invite dialogue about time, faith, beauty, and, above all, love.
From the world’s religions to goddesses, from divine symbols to the simple recognition that we are all gods and goddesses Oliver’s journey has been one of peeling back illusions and reminding us of the essential: the love we carry for ourselves and each other.
It was an honor and joy to capture this moment through my lens to document not just an exhibition, but the presence of a true legend of Berlin’s street culture.
So here’s to you, dear Oliver: for keeping love alive on our walls, in our streets, and in our hearts.
The photos of Oliver Rednitz at the Haus der Liebe – a visual homage to a man who has been spreading love in Berlin, one poster at a time.
For me, it’s clear: Entrepreneurs and solopreneurs need two things:
👉 The ability to think in systems and build them.
👉 The ability to actively shape their storytelling.
In our new series Ping Pong & Personal Branding, I sit down with people who share sharp, practical insights on exactly that. The very first episode features Alex T. Steffen – speaker, coach, and consultant.
In just 2 minutes and 20 seconds, he shows why storytelling is not a luxury but a craft every solopreneur should master.
🙌 Thanks to everyone who made this first episode possible: Ping Pong and Personal Branding.
Your Action: Discover Your Origin Story
Every brand begins with a story. Yet often, we only tell it on the surface or we think it’s not exciting enough. But the truth is: your origin story is the key to connection and trust.
Ask yourself:
Which turning points in your life became milestones that shaped your current mission?
Which challenge or crisis was not just an obstacle, but the beginning of your actual story?
And what if everything that has happened to you so far was simply a narrative leading to your inner crystal—the core you now share through your brand?
This isn’t a theoretical exercise. It’s an invitation to reframe your story—and in doing so, lay the foundation for authentic storytelling.
Next Steps
If you’d like to start shaping your origin story right now, take 15 minutes and write it down as if you were telling it to a good friend.
And then: test it.
Share your story in a post, a pitch, or even just in conversation. Notice where it resonates and where it doesn’t.
Because storytelling isn’t perfected in isolation. It gets sharpened in dialogue.
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Every artist knows the feeling: ideas are flowing, projects are alive, but when it comes to the business side of things… it often feels messy. Pricing, positioning, marketing, licenses, strategy – they rarely get the same love as the art itself.
That’s exactly where the Creative Business Check-up comes in.
This new pilot service by the Creators Foundation is designed to help artists, creators, and solopreneurs step back for a moment, reflect, and bring clarity into their creative business.
What is the Creative Business Check-up?
A 90-minute one-on-one session with creative strategist and photographer Alexander Klebe, who has spent more than 20 years working at the intersection of art, business, and branding.
In this session, you will:
Review your current creative business model
Identify your key strengths and blind spots
Get clarity on your positioning and visibility
Map out your income streams and licensing options
Receive a one-page Action Plan with 3 concrete steps to move forward
Who is it for?
Artists who want to professionalize their practice
Creators who need structure for their ideas
Solopreneurs who are building their personal brand
Anyone who feels they are “stuck in the fog” of their own creativity
Why now?
Because creativity deserves structure. Not as a limitation, but as a framework for your creativity. When your business has a backbone, your art can breathe more freely.
Special Offer for Young Artists
We believe the next generation deserves extra support.
That’s why artists under 25 receive a 50% discount on the Creative Business Check-up.
How to join
For the launch of this pilot, Alexander is offering a limited number of spots.
👉 If you’re curious, reach out and claim your session.
Pricing & Availability
The regular price for the Creative Business Check-up is €350 incl. 19% MwSt.
Young artists under 25 pay only €175.
To keep the quality high, this pilot will only be available for a limited number of 12 participants in 2025.
Creativity is your gift.
Let’s make sure your business builds a solid base around it.
Some artists are musicians. Others are storytellers. Then there are those who transform life itself into a composition.
Amadis is one of those talents.
A singer, songwriter, educator and experience host, his journey is as fluid as the rhythms he creates. With roots in Lisbon’s vibrant musical scene, he refines his own sound and nurtures the city’s creative spirit, uniting people through music. Whether in the studio, on tour or during impromptu jam sessions, Amadis embodies presence, finding inspiration in the moment and encouraging others to do the same, digging deeper into ourselves and uncovering the people we truly are beneath society’s masks.
He is not just a performer; he is also a curator of experiences and a weaver of connections, seeking deeper meaning through sound. We are honoured to open our Creator’s Blog with this interview about life, love and the creative process.
Q: Music has been your passion for many years, but where did that love first take root?
Both sides of my Family are music lovers. One side musicians and the other side dancers! Through the eclectic music that they listened to, I began my own journey of dance and music, as far as I can remember!
Q: Were there any artists or individuals who deeply inspired you during your early years?
In my early years, I was definitely inspired by watching my father play and other family members at first, but I’d say that the very different styles of music really got me and certainly over time many known artists (too many to mention) had influences on me. I was an avid listener of sounds and melodies and perhaps individual songs were my ear candy as I loved to dance.. Later I would look deeper into different bands and artists and also genres, like funk, Afro music, reggae, neo soul, rare groove.
Q: At what point did you realize that music was not just something you loved, but something you wanted to create yourself?
There was this changing moment in my life, that felt like it was not enough to express myself with just words… and after a fateful meeting with a friend at a pub called The Old Diary, in London… I returned the following week as I had been taken by the open mic occurring while we conversed and that made me want to play. It was here the real beginning of my dance with music started and where I was inspired to create my own songs… by musicians that took me in and guided me and became friends.
Q: Producing an album is a huge milestone for any musician. When did that dream begin, and what motivated you to take that step?
The dream of making an album came at a crucial point in my life where things seemed to align and an opportunity arose and I was able to make a dream a reality when I met Jonathan Rodgers, the producer of the album. He was the missing piece in making this a reality. So I seized the moment. I had the band and this was the moment in which I could find my sound and my place in this journey in music. It took just over a year from planning recording and having the album mixed. There are always challenges when making music and trying your best to convey what is in your mind to everyone involved when making such work. Very personal and profound experience. Through it all I learned new things and I’m ready for the next one.
Q: What does the title of your album “1979 Dig Deeper” mean to you? The song suspicious chicken is dedicated to my grandmother Leticia! While I was writing the song I approached her and asked her to help me write some lines in her language Umbundu. At this point she handed me a Bible written in Umbundo. Upon opening the book I noticed and it read “Printed in Plymouth, England” dated 1979! History has been changed and given to us by people that have sought to change the narrative of the world, so sometimes we have to dig a little deeper and seek truth. Have you ever heard of the slave Bible? I’ll leave it there…
Q: Your music is very present, very much about the moment. How do you navigate between planning and improvisation in your creative process?
The moment you play music you are opening a spiritual channel into the collective consciousness of the frequency of the universe and inspiration arises. Creativity is the outcome and when you’re in harmony, in an almost meditative state, it manifests. The creator can improvise, plan to create and recreate the same work in different ways. I don’t necessarily have a particular structure in which In my writing, composing, I have learned to catch the moments that bring forth fruits of imagination, creation and feelings that transcends our understanding.
Q: You have lived in different parts of the world and music has been your companion on this journey. What is it that you look for in the world around you?
I guess as I travel, I keep my ears ever ready…arriving at a new place, new languages, delicate smells, listening to new instruments, the excitement of learning new scales and rhythms. While playing and jamming with musicians that share the same frequency creating lasting memories through sound that will forever be a part of the journey, binding people alike for a better understanding of humanity and love.
Q: You are deeply connected to the Lisbon music scene, and your “blind jams” bring people together in unexpected ways. What inspired you to create these experiences?
I had a deep connection with the music scene in London and this is certainly happening more and more in Lisbon. The blind jams were born out of this very process. It’s my way to continue to contribute to the very process that helped reach where I am today. I was asked by a friend to create a cool musical concept for an event in Lisbon and via Jose Saramago’s book Blindness, and the desire to create a jam that enhanced the experience of musicians, no matter what level, to play together and listen to each other. After an experience that I had playing blindfolded in India, left a mark on me… so I decided to mix the idea with jamming, for everyone and so the Blind Jam started. One of the persons that experienced it, said she felt free to sing and express herself while not seeing, but just listening. It is deeper than just participating, it brings all kinds of psychological factors into play when you can only listen, it helps to create more space and energetically bring the music together.
Q: Beyond performance, you are also an educator and experience designer. What role does teaching and community play in your journey?
I was helped and encouraged by many unknowing educators, great musicians that became friends and guided me along the way and in the same vein, to share what I have learned about making music.
Q: Music is often a reflection of life. How do you personally stay in balance? What’s your secret to happiness?
Maybe everyone has theirs, but balance is for me a key to contentment. Respecting the balance between us and nature, in this ever changing world. Understanding the energies that are for us and the ones that do not serve us. Nina Simone said “… the artists are the mirrors of the world… ” So I keep it simple and try to expand my knowledge and sing for the freedom of all peoples, physically and mentally.
Q: Many artists have a philosophy that influences their approach to creativity and life. Do you have one that resonates deeply with you?
Maybe my philosophy is more tied with nature and with fair survival and non destruction… all the experiences that I have had so far in my life have given me gratitude, sense of value and resilience to continue to make music and write new songs. My experience as a human being, an observer, was mostly a reflective expression. There is so much to learn that as the human paradigm shifts happen, future philosophies will make us work closer with nature and truly prosper… music is my philosophy!
Q: Looking ahead, what excites you most about your creative journey right now?
I’ve been writing and planning a second album, with the preliminary title “From the root to the fruit” and there’s a song that I have been singing quite a bit called “How does Love grow” so I feel really good about this second album, hopefully we start recording next year. But new music is definitely on the way.
What is the story you tell yourself? And is it still true?
This question kicked off our first Creators Eve formerly known as Solo Salon and it continues to resonate today.
On April 2, 2025, we welcomed Larissa Hellmund as our guest mentor. As a communications strategist, storytelling coach, and digital nomad, she has been traveling the world for some time now with nothing but hand luggage and the openness to constantly rediscover herself and re-writing her own stories in a changing landscape.
“Even if I sort through everything, true lightness only comes when I also examine my inner stories.”
In a wonderfully honest and touching session, Larissa spoke about narratives, beliefs, and the power of changing perspectives through storytelling. About stories that hold us back and those that want to be written. And about how we can learn to lovingly question our inner voice.
A reflecting moment was her story “The farmer and his son” a short story with impact that invited the power of being non-judgemental and letting go of beliefs that don’t really help our own art as the storytellers of our very own life.
What if you simply didn’t judge whether something was good or bad?
What if you gave the story space to unfold?
The Creators Eve became a space for openness, inner realignment, and creative exchange. People from a wide variety of industries and walks of life shared thoughts, experiences, and new perspectives.
Storytelling is not a buzzword. It is what connects us as human beings.
It is the way we create meaning in conversations, in self-perception, in our relationships, in our work.
And sometimes it is a real blessing to discover your own narrative through the eyes of someone else and see, that it makes much more sense, than what it sometimes feels like.
Thank You Larissa for your energy, guidance and presence here in Berlin. We are looking forward to the next stories you will share with the world.
“I would rather pay someone to do marketing for me.”
“I don’t like putting myself out there.”
I get it.
As an artist, it can feel more natural to focus on the creative side and hand over the managing and marketing and business related roles to someone else. After all, the dream is often about freedom – creating without constraints, exploring ideas, and letting the work speak for itself.
If you are one of the few who might be offered a contract by a label or agent, it’s worth pausing for a moment. Make sure you understand, what you are signing.
From what I’ve seen, artists with managers or agents don’t necessarily become happier or automatically more jobs. Yes, they might get a bigger team to help navigate the emotional rollercoaster of being an artist, but this team wants to earn money with you. For some artists this meant to become the racehorse, constantly pushed to perform.
But what if you could build a creative life on your own terms? What if you could find your audience, share your vision, and create meaningful connections without becoming someone else’s product?
The key is to become your own manager.
One of my reasons for becoming an artist was the thought of freedom. The dream of building my own creative machine:
a workplace where I could grow, explore, and feel supported.
For me, being an artist means more than just creating beautiful work. Art is a personal business. It means taking responsibility for the whole process, from the first spark of inspiration to the financial reality of making it sustainable.
It also means coming down from the clouds of ideas to face the bottlenecks and numbers from time to time – to understand them, to make them work for you. This isn’t about killing your creative vibe. It’s about supporting it with a solid foundation. Freedom won’t find you if you keep looking for a savior outside of yourself.
Yes, there are art collectors out there who value creative masterpieces, but relying solely on them can be risky.
What if you could build your own safety net, where your art is not just a passion, but a sustainable practice? What if your creativity could become the engine of your freedom, instead of a source of constant worry?
If you run from the fears, they only become scarier. If you face them, they become part of the creative process, not a barrier to it.
Discipline is the backbone of this. Yes, it’s tempting to follow the flow, to sleep late, to dig for inspiration. But freedom needs a foundation. Discipline means doing what needs to be done, even when you don’t feel like it. Because every successful business – and every successful artist – is built on consistent effort.
But what does discipline look like for you? What small steps could you take to build that foundation, without losing your creative spark?
Marketing is part of that effort. It’s the art of being seen, the art of finding your audience. It’s not rocket science, but it does require clarity and intention. And you have one big advantage – you have a name, a face, a reputation, a story. You are your own brand.
What if you could share your journey in a way that feels authentic to you? What if marketing could become an extension of your art, instead of a chore?
So, instead of making yourself dependent on someone else, reconsider taking this part into your own hands. Tell your own story, because people connect through stories. Be your own newspaper, share your journey authentically. That’s where real connection starts.
And remember, the first rule of good marketing is to listen. Listen to your audience, to your market, to the world and people around you. That’s where real magic begins – solving real problems while staying true to yourself.
In my perspective, being an artist also includes being a marketer, a strategist, and a business owner. Because being an artist means taking responsibility for my own success, life and values.
What is your story?
If this resonates with you, I’d love to hear your story. What do you struggle with as an artist? What would you like to learn? And how can I support you on this journey?
Weil man sie nicht malen kann. Und essen erst recht nicht.
Scherz beiseite. Ich meine nicht Aktien im klassischen Sinne. Nicht die Dinger, mit denen man sich fürs Alter absichern soll, obwohl man sie nicht versteht. Nein, ich meine: Aktien auf Menschen. Auf Ideen. Auf Künstler. Auf das, was entsteht, wenn Kreativität und Lebenszeit verschmelzen.
Firmen, die Milliarden-Schulden machen, werden an der Börse gefeiert, als wären sie Popstars. Ihre „Story“ überzeugt. Die Aussicht auf Zukunft macht sie investierbar. Sie geben Aktien aus – Anteilsscheine an der Vision, mit dem Versprechen auf mögliche Gewinne. Was wäre, wenn Künstler das auch könnten?
Ein Gutschein, der wächst
Vor fast 15 Jahren habe ich einem Freund einen Gutschein geschenkt. 30 Fotos zu seinem 30ten – irgendwo, irgendwie irgendwann mal.
Er hat ihn bis heute nicht eingelöst.
Er sagt: „Ich warte noch. Der steigt bestimmt noch im Wert.“
Ich lache – und denke: Wie schön ist das bitte?
Er sieht meinen Wert nicht in Tagespreisen, sondern in einer Zeitreise.
Vielleicht wird dieser Gutschein nie eingelöst, sondern vererbt. Wie ein Kunstwerk. Oder eine Aktie, nur mit Seele.
Kunst als Genussrecht
Was, wenn Künstler „Genussrechte“ vergeben könnten? Keine Rechte auf Mitbestimmung, sondern auf Teilnahme.
Nicht: Du darfst mitreden, wie ich male oder was ich erschaffe.
Sondern: Du bekommst einen Anteil am Erlebnis. Am Output. An der Idee und den oft nicht so geradlinigen Weg der Umsetzung.
Vielleicht ein Studio-Shooting pro Jahr.
Oder ein Porträt, wenn ich irgendwann richtig alt bin.
Oder das Recht, bei der nächsten Veranstaltung als VIP dabei zu sein, weil du 2010 schon an mich geglaubt hast.
Ein kreativer Markt der Möglichkeiten
Stell dir vor: Du versteigerst Anteile an Deiner kreativen Arbeit, die noch nicht getan ist – Stück für Stück.
Nicht in Knechtschaft, sondern in Verbundenheit.
Deine Unterstützer bekommen kein Mitspracherecht. Aber ein Mitgefühl. Ein Mitwachsen. Ein Miterleben.
Eine Aktie an deiner kreativen Geschichte.
Kein Dividendenversprechen, sondern ein Erlebnisversprechen.
Das könnte sogar nachhaltiger sein als so manches NFT-Experiment.
Denn was wäre echter als ein Mensch, der sagt: „Ich hab damals 500 Euro in deine Idee gelegt. Und schau dich heute an.“
Kunst ist nicht planbar – aber teilbar
Natürlich ist das alles mit Risiken verbunden.
Der Künstler könnte aussteigen, verschwinden, sich neu erfinden.
Die Aktie könnte sich in Luft auflösen. Oder in Musik. Oder in Stille.
Aber vielleicht liegt genau darin der Reiz.
Denn im Gegensatz zur Börse geht es hier nicht um Zahlen.
Sondern um Nähe, Vertrauen und ein bisschen Verrücktheit.
Wie bei Kunst eben.
Also: Warum haben Künstler keine Aktien?
Weil sie selbst der Wert sind. Ihr Leben eine Leinwand.
Und dennoch: vielleicht ist es genau jetzt an der Zeit ist, dass andere auch daran teilhaben dürfen. An den Machern.
Nicht nur mit Geld – sondern mit Hoffnung.
Und einem Gutschein, der mehr ist als nur ein Blatt Papier.
Fragen zur Reflektion als Kreativer:
Welches Erlebnis bietest Du Deinen Kunden?
Und wie kann man Deine Arbeit unterstützen?
Ist Deine Kunst reproduzier- oder skalierbar?
Ich weiß, wie ich mich in meiner Arbeit unterstützt und wertgeschätzt fühle. Abonnier gern den Newsletter und ich halte Dich auf dem Laufenden über kommende Veranstaltungen und besonders schöne Themen.
Hi Philipp, dich durfte ich als Recruiter kennenlernen und habe damals schon gestaunt, wie leicht sich das Arbeiten auf kreativer Ebene mit Dir gestaltet. Da wusste ich, in Dir steckt eine starke schöpferische Energie. Die Macht war stark im jungen Frommer.
Es war dann nur ein Frage der Zeit, bis ich die ersten Tracks von Dir gehört habe und sie haben mich sofort angesprochen, obwohl ich sonst nicht so viel House höre. Vielen Dank, dass Du Dir die Zeit für dieses Interview genommen hast. Ich freue mich, Dich als Creator in unserem Spotlight vorstellen zu dürfen.
1. Wann kam der Moment, in dem du gedacht hast, es ist eine tolle Idee, selbst Musik zu machen?
Erstmal danke für die Blumen, Alex! Kreatives Arbeiten klappt nur, wenn die Umgebung passt. Und ich erinnere mich noch genau, dass das Shooting damals mit dir ein super angenehmes und produktives Setting war.
Tatsächlich ist der Moment eigentlich eine total ernste Szenerie gewesen: Das war am Tag der Trennung von einer langjährigen Beziehung…ein kalter Februarabend, es ist gerade dunkel geworden. Ich habe mir spontan noch irgendein heruntergekommenes Hotel organisieren können, checke ein, komme aufs Zimmer und schmeiß mich erst einmal erschöpft aufs Bett und lege mir Musik aufs Ohr. Und da war ein Track, der hat mich in diesem Moment so gepackt und emotional ergriffen, dass ich mir dachte: “Das will ich auch. Ich will auch Musik machen und es schaffen, andere Menschen mit meiner Kunst zu berühren.”
2. Wow, das ist ja eine krasse Kehrtwende. Ja, “Verschwende keine Krise” ist auch einer meiner Lieblingssätze geworden. Und emotional verstehe ich die Kunst des Gestaltens auch als Therapie. Eine Art Reise zu mir selbst, wo Herz und Kopf wieder zusammenkommen und im Einklang agieren. Und wenn dann noch Talent dazukommt, ist es Magie. Lag die Musik dir schon immer im Blut oder wie hast du es gelernt?
Seit ich 12 bin, spiele ich Schlagzeug und habe eigentlich meine ganze Jugend im Proberaum verbracht. Musikproduktion selbst war mir jedoch immer irgendwie zu komplex und suspekt. Technisch bin ich nicht die hellste Kerze und die Hürde, mich in ein neues Gebiet, in neue Software, in neue Art von Musik reinzudenken, war einfach lange zu groß.
Doch nach dem Erlebnis bin ich einfach ins kalte Wasser gesprungen: Habe mir das ganze Equipment gekauft, ein neues MacBook besorgt, damit es finanziell gleich richtig wehtut und dann erst einmal vier Wochen nichts anderes gemacht, als Tutorial-Videos auf YouTube zu schauen. Das hat erstaunlich gut geklappt.
3. Nice, Du hast den Sprung gewagt. Was hat Dich dann ermutigt, Deine Tracks zu veröffentlichen?
Wahrscheinlich war es die Neugier herauszufinden, was Menschen von meiner Musik halten, die nicht meine Freunde sind. Fremde sind ja erst einmal schwerer zu überzeugen und ich wollte wissen, ob das was ich mache, gut ist.
Sechs Monate später hatte ich meinen ersten Plattenvertrag in der Tasche – spätestens da wurde mir klar, dass ich die richtige Entscheidung getroffen habe.
4. Deine Songs klingen für mich alle sehr persönlich, ich entdecke kleine Textzeilen, die mir sofort im Gedächtnis bleiben. Wie machst du das?
Indem ich einfach nicht darüber nachdenke. Meine Songs entstehen meistens, weil ich irgendwo einen Soundschnipsel oder einen Soundeffekt höre, der mich inspiriert. Ab diesem Moment habe ich den gesamten Song und die Emotionen quasi schon im Kopf und muss es nur noch auf Papier bringen. Das war am Anfang ein riesiges Problem, weil ich im Kopf schon viel weiter war, als ich das Handwerk beherrschte. Mittlerweile kann ich meine Ideen aber ganz gut transferieren.
FROMMER MUSIC
5. Ziemlich bald hörte ich diesen Track von Dir: “Lost in the Ocean” und da wurde der Song zu einer Hymne für mich. Ich spiele ihn gerne im Studio und habe deine Geschichte neulich auch zum “Creators Eve” erzählt. Welche Bedeutung haben der Song und das Thema Ozean für Dich?
Gefühle können meist überfordernd sein. Ich habe das vor allem nach meiner Trennung feststellen dürfen, weil ich mich da das erste Mal so richtig mit mir selbst und meiner Gefühlswelt auseinandergesetzt habe. Und da ich kein riesiger Fan von Wasser bin, steht der Ozean für mich symbolisch für das riesige Chaos an Gefühlen, in denen man schnell die Kontrolle verlieren kann.
6. Wie leicht oder schwer ist es, im Musikgeschäft Fuß zu fassen? Kannst Du als Produzent damit deinen Lebensunterhalt bestreiten oder zumindest eine Auszeit finanzieren?
In der heutigen Zeit bist du nicht nur Musiker – du bist Entertainer, Content Creator, Brand Manager, Moderator, Eventplaner und so weiter. Es gibt so viele talentierte Produzenten da draußen, die nicht gehört werden, weil sie sich einfach nicht in der Rolle der Unterhalter auf Social Media sehen. Und noch nie war Content so schnell so vergänglich wie heute. Da ist es schwer, mitzuhalten und nicht in Vergessenheit zu geraten, bevor man sich überhaupt an einen erinnern kann. Mittlerweile laufen etliche Songs von mir im Radio und die GEMA tut da ihr Übriges. Trotzdem ist es in der Größenordnung nichts, wovon man gut und ausschließlich leben kann.
7. Was sind die größten Herausforderungen als Nachwuchskünstler und wie bist du zu deinem Namen gekommen? Frommer?
Ich kann nur für mich sprechen, aber für mich ist es in jedem Fall eine Herausforderung, meiner Linie treu zu bleiben. In meinem Genre sind zum Beispiel Songlängen von 4-6 Minuten üblich und keine Seltenheit, während die Aufmerksamkeitsspanne der aktuellen Hörerschaft deutlich zurückgegangen ist. Wenn du dir die heutigen Charts anschaust, dann ist da kaum ein Track mehr als 2 Minuten lang. Ich erwische mich dann oft dabei, wie ich darüber nachdenke, ob ich mich einfach den Trends füge und meinen Stil der heutigen Zeit anpasse. Ich glaube, so geht es vielen Künstlern. Frommer ist tatsächlich mein Nach- und Spitzname. Ich dachte damals das passt zu mir, das bin ich, so werde ich gerne gerufen. Mir ein neues Alias anzulegen fühlte sich damals irgendwie befremdlich an, wo doch alles drumherum eh schon neu war. Der Name war da die einzige Konstante.
8. Was würde deiner Meinung nach helfen, deine Reise durch die Welt der Musik nachhaltiger zu gestalten?
So blöd es auch klingen mag, aber ich denke die Coronapandemie hat da mit am meisten geholfen. Du brauchst nur Internet, einen Laptop und Zeit und kannst in deinem Schlafzimmer zum Weltstar werden. Du brauchst keine Tonstudios oder große Bühnen mehr. Die Stars von heute finden im Internet statt. Und das hat automatisch Auswirkungen auf eine nachhaltigere Kunst.
9. Ja, das klingt logisch, wenn mehr Menschen die Möglichkeit haben, Musik zu machen, wird die Welt am Ende bunter und vielfältiger. Wie siehst du künstliche Intelligenz in deiner Mission, ist sie eine Unterstützung oder eher eine Konkurrenz?
Als Konkurrenz sehe ich sie nicht. Man kann sich an Musik nicht satthören, oder sich die Hörer von anderen Künstlern wegschnappen lassen. Musikkonsumenten neigen dazu, ihr Repertoire stetig zu erweitern. Ob da die Tracks von anderen Künstlern von Menschen oder KI kommen, ist mir völlig egal.
In meiner eigenen Arbeit nutze ich KI bei der Musikproduktion gar nicht. Bei der Erstellung von Artworks wie zum Beispiel Albumcover spielt sie aber eine entscheidende Rolle.
10. Wo würdest du gerne einmal live mit deiner Musik die Leute zum Tanzen bringen?
In einer Strandbar im Sonnenuntergang. Unter dem Motto “Lost at the Ocean”.
Der Strand klingt auch nach einem schönen Ort, um Deine Musik zu geniessen. Da wäre ich auch gern dabei. Viel Erfolg bis dahin und darüberhinaus und Vielen Dank für deine Zeit und Offenheit in unserem Interview. Bis gleich.
What exactly is copyright? And why should we care?
Imagine you spend years developing a board game with your friends – purely out of passion and joy. After a lot of late nights, trial and error, and creative sparks, your game is finally ready. You put it out into the world. Congratulations! What you’ve created isn’t just a game – it’s a unique expression of thought and imagination. And that makes it a creative work, protected by law.
Just like a song written and recorded in a studio with fellow musicians. Or a film crafted scene by scene. Or a photo carefully composed and captured with the right light and intention. In each case, the person who brings the idea into form is the creator – and they hold the rights to decide what happens with that work.
At least in theory.
Because we all know how easily things are copied online. The internet treats content like a buffet: take what you want, remix it, repost it. And yes – ideas are meant to travel. That’s part of their beauty. But there’s a line between sharing inspiration and erasing origin.
Let me explain something about Urheberrecht – the German version of copyright – because I think it helps to clarify what’s at stake here.
What does “Urheberrecht” mean?
In German law, Urheberrecht refers to authors’ rights, and it’s different from what most people know as “copyright” in the English-speaking world.
The key idea? The creator is always the author. Forever. You can’t sell or transfer your authorship – it’s part of who you are. What you can do is grant others usage rights (Nutzungsrechte). For example, a publisher can have the right to print and sell your book, but they don’t become the author of it. You stay the source.
If someone buys a copy of your book, they have a limited right of use. They can read it, pass it on, or resell their physicalcopy – but they don’t own the content. They can’t copy it, adapt it, or publish it without your permission.
Same with photography: I take a portrait of someone – I am the creator. My client might get the rights to use the photo for their website or social media, but not to sell it to a third party or make it part of an ad campaign. And if that person is recognizable in the photo, I also need their permission (a model release) before I can license it further. So it’s not just about the creator – it’s also about the person being depicted.
This structure creates a balance between creative freedom, personal rights, and commercial use.
And here’s the problem with AI.
Artificial intelligence doesn’t respect any of this. It doesn’t ask for permission, it doesn’t credit the source, and it doesn’t pay for usage. It learns from the styles, voices, and expressions of creators who spent years developing them – and it spits out results that imitate, remix, or replicate those original works.
That’s not just a technical shortcut. It’s a systemic bypass of the creative economy.
Because creative work is an investment – of time, skill, and soul. And that investment only pays off over time, through licenses, royalties, and long-term recognition. If we remove that possibility, if we make it normal to just take and remix without boundaries, then we kill the incentive for real originality.
We risk a world where the only “content” comes from corporate studios, influencers with agendas, or ad-driven platforms. Where independent creators can’t sustain themselves. And that’s dangerous – not just for artists, but for society.
Because creative voices are part of the public conversation. They add nuance, emotion, and perspective. They reflect the spirit of the time. If those voices fade away, we lose something essential. Not just stories – but the ability to see ourselves and each other in more than just slogans and sales pitches.
So yes, copyright matters.
Urheberrecht matters.
Because it protects the space where real, independent creativity can still exist.
An essay on digital identity, synthetic images and the longing for reality
We live in a time in which machines not only talk to us, but can apparently also ‘see’ us. All it takes is the press of a button, an algorithm, a few data points, and suddenly an image of us appears that seems astonishingly real. So real that we ask ourselves: is this another fantasy about me, or is it really me?
These new tools are not neutral. They create versions of us, portraits of our possible selves, fed from a huge reservoir of collective imagination. And yet an unease remains. A doubt.
‘Why would I want to be someone I don’t know?’
This question is not a technical dilemma, but a deeply human one. We are on the threshold of a new era. Some call it the postmodern age of digitality, others the machine age. It is a turning point: the moment when we have access to tools more powerful than ever before in human history. And it is precisely at this moment that a quiet colonisation begins.
Not by states. Not with weapons. But through data. Through images. Through narratives that do not come from ourselves, but are generated by machine systems. Systems that perfect our needs for connection, expression and visibility and at the same time replace them synthetically.
Content is no longer just expression. It is circulation. Recycling. An eternal reuse of the same thing in a new form. What was once a diary is now a feed. What was a real conversation becomes a comment under an avatar.
We live in the holodeck – or at least in a preliminary stage of it. And sometimes, when the simulation is too good, we forget that it is a simulation. Then we need reality to kiss us awake. A real conversation. A look. A touch.
It’s not about condemning technology. It is a tool, a mirror, sometimes even a muse. But we have to stay awake. Remember that no digital portrait can ever capture our depth. And that our true self is not generated from data, but from experience.
Perhaps future generations will look back on this time and say: ‘That’s when it began. The great divide between who we were and who we thought we were.’
Or they will say: ‘There were people who saw what was coming – and who didn’t run blindly into it.’
Because that is precisely our task: to be aware. Not to lose ourselves in the hall of mirrors of possibilities, but to return again and again. To ourselves. To what really is.
In diesem Creators Post möchte ich euch das Drama, die Kunst des Geschichtenerzählens und eine freie Dramaturgin / Trainerin für diese Kunst vorstellen: Larissa Hellmund.
Ihr eigenes Leben gleicht einer unendlichen Geschichte, garniert mit reichlich Fantasie, einer gehörigen Portion Mut und viel Neugier auf die Welt und neue Technologien.
Viel Spaß beim Spotlight Interview mit Larissa.
1. Wie kam das Drama zu Dir? Gab es einen bestimmten Moment oder eine Begegnung, die Dich zum Erzählen und zur Dramaturgie geführt hat?
Vor ein paar Jahren habe ich beim Ausmisten meines Hab uns Guts unter anderem meine alten Zeugnisse aus der Grundschulzeit wiedergefunden. Da findet sich im Zeugnis von der 2. Klasse als Bemerkung: “Larissa weist eine kreative Neigung zum Schreiben eigener Geschichten auf.” Und irgendwann dann, also so mit 7 oder 8, stand ich das erste Mal im Rahmen einer Schulveranstaltung im Bühnenlicht, um meine selbstgeschriebene Kurzgeschichte “Der Kartoffelkönig” vorzutragen. Wir hatten zu der Zeit im Heimat- und Sachunterricht das Thema “Kartoffeln” behandelt – und das hatte mich dazu inspiriert, mir eine eigene Welt unter der Erde auszudenken, die unter dem Zepter eines mürrischen Kartoffelkönigs steht. Also ja, ich denke, die Begegnung mit Kartoffeln war der Startschuss. Da begann meine Leidenschaft für das Erfinden und Inszenieren von Geschichten. Danach sind dann viele weitere gefolgt: geschriebene, gespielte und erlebte.
2. Was unterscheidet eine „gute“ von einer „großartigen“ Geschichte? Gibt es dramaturgische Elemente, die oft unterschätzt werden?
Es gibt diesen Spruch, dass das Theater der Spiegel der Gesellschaft ist – und ich denke, das ist allen großartigen Geschichten gemein: Dass sie eine Geschichte erzählen, die durch das Erleben einer konkreten Figur führt, aber dabei eigentlich das Menschsein an sich behandeln. In der Dramaturgie unterscheidet man verschiedene Konfliktebenen, die eine Geschichte bedienen kann. Die klassischsten sind die persönliche, die zwischenmenschliche und die übergeordnete bzw. philosophische Konfliktebene. Wenn man sich die Mühe macht, diese sauber auszutüfteln, steigt die Chance, dass sich das Publikum direkt auf mehreren Ebenen der Geschichte angesprochen fühlt.
3. Wenn Dein Leben ein Roman wäre – welches Genre hätte es und gibt es schon einen Titel?
Es wäre wohl so eine Mischung aus Reiseroman und Coming-of-Age. In der Literatur und im Film behandeln Coming-of-Age-Werke oft Themen wie erste Herausforderungen beim Erwachsenwerden, Identitätsfindung und den Umgang mit gesellschaftlichen Erwartungen. Diese Themen ließen sich gut mit meinen Reiseerlebnissen kombinieren. Denn am Ende haben meine vielen Reisen natürlich nicht nur in die Welt, sondern vor allem zu mir selbst geführt. Einen Titel gibt es noch nicht – aber vielleicht wäre so etwas wie “Kultur(schock)verliebt” ein guter Arbeitstitel 😀
4. Wie wichtig ist für Dich das ortsunabhängige Arbeiten?
Extrem wichtig. Es gibt mir die Freiheit, meine Ideen dort entstehen zu lassen, wo sie am besten gedeihen – ob in einem Café, beim Blick auf das Meer oder auf einem Flughafen zwischen zwei Welten. Auch Teamarbeit funktioniert für mich remote sehr gut, also ohne physische Nähe. Allerdings arbeite ich auch gerne multidisziplinär, also nicht nur rein visuell oder auditiv, sondern z. B. auch mit Performance-Ansätzen, Bewegungen und haptischen Erlebnissen. Meinen Workshop zum Überwinden von kreativen Blockaden beispielsweise würde ich nur sehr ungern in die Zweidimensionalität einer Online-Session pressen. Da sind mir Live-Erlebnisse schon lieber.
5. Welche Künstler:innen oder Autor:innen haben Dich am meisten inspiriert?
„The Artist’s Way“ von Julia Cameron ist meine persönliche Kreativitätsbibel. Die Idee, das eigene Leben als persönliches Kunstwerk zu begreifen und für das eigene innere Künstlerkind einzustehen, hat mich sehr geprägt. Ich sag häufiger “Storytelling hilft dabei, Identität zu finden und Integrität zu leben”. Denn die Auseinandersetzung mit der eigenen Geschichte und der, die man schreiben möchte, kann regelrecht therapeutische Züge haben. Genau darum geht es auch in “The Artist’s Way”. Ansonsten inspiriert mich als Künstlerin z. B. Marina Abramovic mit der ausdrucksvollen Kühnheit ihrer Performances. Erzählkunst hat ja ganz viel mit Ausdruckskunst und dem Mut, sich zu zeigen, zu tun.
6. Was hat sich mit KI für Dich verändert?
Für mich war die KI die bisher größte Herausforderung in meinem beruflichen Schaffen. Alles, was ich mir über die Jahre an Expertise aufgebaut hatte, schien plötzlich nichts mehr wert zu sein: Von Korrektorat über Lektorat bis hin zum Texten – das alles konnte plötzlich eine deutliche günstigere Maschine übernehmen. Ich hatte mit großen Umsatzeinbußen zu tun. Dann habe ich angefangen, “dem Feind” – so habe ich die KI zu Anfang wirklich gesehen – ins Gesicht zu schauen und mich mit ihr näher auseinanderzusetzen. Daraus ist dann immer mehr Faszination für die neue Technologie entstanden. Heute sehe ich die KI vor allem als meine kreative Sparringspartnerin. Sie hat mich nicht ersetzt, sondern meine Arbeit erweitert – und letztendlich zu meiner beruflichen Neupositionierung als Trainerin für KI-gestütztes Storytelling geführt.
7. Wie siehst Du die Zukunft des Geschichtenerzählens – insbesondere mit Blick auf digitale Medien und KI?
Ich glaube, dass in einer Welt, die (nicht zuletzt durch KI) immer mehr von Content überflutet wird, die Kunst des Geschichtenerzählens immer wichtiger werden wird. Unser Gehirn sucht nach Orientierung in der Informationsflut – und Geschichten sind nachweislich die effektivste Art, Informationen zu verankern. In einer Welt voller schneller, KI-generierter Inhalte wird die Kunst sein, sich mit authentischem Erzählen von der Masse abzuheben.
8. Gibt es eine Frage, die Du Dir selbst immer wieder stellst, aber die Du oft anders beantwortest?
Die klassische Autonomiefrage: Was ist dir wichtiger; Freiheit oder Verbindung? Mir ist beides unglaublich wichtig. Aber je nach dem, ob ich gerade viel Zeit und Nähe mit wichtigen Menschen verbringen konnte oder nicht, werde ich mal eher mit “Freiheit” und mal eher mit “Verbindung” antworten.
9. Du gibst in Deinen Workshops ja den Rat: “Fangt mit dem Ende an.” Welcher andere Tipp ist aus Deiner Sicht ein Leitmotiv für Dein Tun?
Erzählen fängt mit Zuhören an. Wenn ich Geschichten schreiben will, die Menschen bewegen sollen, muss ich ein Verständnis davon haben, was Menschen bewegt. Und das werde ich nur dann mit Wahrhaftigkeit erfahren, wenn ich eine offene Haltung beim Zuhören bewahre. Auch deswegen reise ich so gerne in möglichst unterschiedliche Kulturen: Denn dort komme ich mit den angelernten Bewertungskriterien aus meiner heimatlichen Gesellschaft nicht weit. Und das übt mich im bewertungsfreien Zuhören – und lässt mich so neue Geschichten sammeln.
Du hast Lust bekommen, die Kunst des Storytelling mit Larissa zu entdecken. Dann schaue doch einfach mal auf Ihrer Seite vorbei. Hier entlang bitte.
Herzlichen Dank auch an Larissa für Ihre Reise nach Berlin und die inhaltliche Abendgestaltung zum unserem 1. Creators Eve am 2.4.2025, als sie uns in ihre Welt der Erzählkunst mitnahm.
