¡AU!
LightNews LightNews
banner
auworks.bsky.social
¡AU!
@auworks.bsky.social
53 followers 82 following 68 posts
Moving fast and fixing things in the creative industries.

The latest issue of our magazine, ¡AU! Journal: https://au-works.com/au-journal-autumn-2025/

Lots of ways to follow us on our Linktree: linktr.ee/auworks

http://au-works.com
Posts Replies Media Videos
auworks.bsky.social
So we launched Monster Lab! 👽 Discussion covered everything from category-breaking to imperialism to artist intuition to The Muppets. Monster-sized thanks to our inaugural speakers, historian @drsurekhadavies.bsky.social & sculptor Esti Reich.

Next Monster Lab is in December. 👹
Headshots of historian Surekha Davies (left) and sculptor Esti Reich (right) Cover of book Humans: A Monstrous History by Surekha Davies Four monster sculptures by Esti Reich
October 20, 2025 at 1:42 PM
auworks.bsky.social
Today we’re at the Be You Festival in #London, by Soho Media Club, featuring guests like the great Ash Atalla.

Attendees here are figuring out the future of UK media. They’ll get back to you.
Producer Ash Atalla talks with moderator Muki Kulhan in an onstage interview at Soho Media Club’s Be You Festival in London.
October 6, 2025 at 12:47 PM
auworks.bsky.social
"There is a continual arms race in content safety, with pirates sooner or later finding ways to get around new technologies"

Check out our piece on the tech challenges of keeping you intellectual property safe in the latest issue of ¡AU! Journal:

heyzine.com/flip-book/e3...
Article from ¡AU! Journal, Autumn 2025 - "IP Predators: The tech arms race against packs of pirates" by Neal Romanek 1/6 Standfirst: Content piracy is happening worldwide on an industrial scale. Protecting copyright is a battle that never ends "What we see is increasingly connected to organized crime,” said Miruna Herovanu, Executive Director of the AAPA, at ¡AU!’s Content & IP Defense Summit in June about the ever-growing threat of content piracy. “It’s an organized network that takes place in many countries.” The AAPA (Audiovisual Anti-Piracy Alliance) is an EU organization fighting piracy through lobbying, law enforcement, and partnerships. Its working groups focus on hosting infrastructure, social media, artificial intelligence, and piracy disruption. Members include Canal+ Group, beIN Sports, DAZN, the Premier League and Sky, plus tech providers like Friend MTS, Irdeto, Verimatrix and Synamedia. In 2022, an AAPA study, “The impact of illicit IPTV in Europe” calculated that in the previous year, rights holders in the EU and UK lost €3.21 billion to IPTV piracy alone, while pirates made €1.1 billion in revenue. The report also estimated that in 2021, 4.5% of the EU/UK population used illicit IPTV services. Users of those services spent, on average, a bargain €5.22 per month. Herovanu has worked in European trade associations and regulators her entire career, with a special focus on intellectual property and copyright. She sees education as an important part of the AAPA’s strategy. Pirates are often legally as well as technologically sophisticated, taking advantage of the differences in legal frameworks across countries to circumvent some copyright regulations. “Also there’s the training of law enforcement on the specificities of these crimes, which are very technical and complicated. And there are different legal regimes, because copyright is territorial.” Earlier this year a report published by Enders Analysis accused the big tech companies of..." Article from ¡AU! Journal, Autumn 2025 - "IP Predators: The tech arms race against packs of pirates" by Neal Romanek 3 & 4 of 6 - with a video play window from the ¡AU! Content & IP Security Summit "...a year’s worth of security audits to allow our CoralOS to transmit live streams.” There is a continual arms race in content safety, with pirates sooner or later finding ways to get around new technologies. Different approaches are required for live delivery versus OTT or on-demand. While the protection of live content can often be managed by the latest delivery technologies, OTT relies more on a wider distribution network that is upgraded only gradually. “With OTT, you are working with technologies that are three, four or five years old, which have already been exploited and that’s where the breaches come.” OPEN OR CLOSED, You’re vulnerable Ammirata’s experience heading up the RIST Forum, which promotes an open source, open-specification video transport protocol, has attuned him to tradeoffs between easy universally accessible tools and security needs. The transparency of open source tools means hackers know what the vulnerabilities are upfront—and can exploit them. “Open source, by itself, isn’t necessarily secure,” he told the Summit. “It’s up to the mplementor to harden it. A lot of times you see open source workflows, but they haven’t closed the holes in them. Or they did close the holes but did it years ago in the first version of the application, and they haven’t kept up with the updates.” Continuously upgrading and patching software, open source or not, is just good hygiene when it comes to preventing attacks. But open source software, because of generally slower development times, suffers from a longer updates cycles. Closed-source software, which does not have the public-facing record of updates, vulnerabilities or versioning, is generally assumed to be more hacker resistant. But this is based on “security by obscurity”, assuming..." Article from ¡AU! Journal, Autumn 2025 - "IP Predators: The tech arms race against packs of pirates" by Neal Romanek 5 & 6 of 6 with spooky illustrations of wolves "...If you look at security, you see everything is encrypted based on the owner’s keys. We've been involved in a successful major pilot this summer with one of the biggest leagues in the world. Those sessions are under their control, end-to-end.” CLAIMING WHAT’S YOURS Dr. Manny Ahmed, founder of OpenOrigins and a researcher at the University of Cambridge, has been tackling the content control problem from the point of view of content provability, particularly important in a world of material infuenced by AI. Authenticating provenance of content at its source is a key part of the OpenOrigins toolkit and includes authenticating pre-existing IP libraries. “There is a lot of attention focused on content that is being created now or in the future, but no one was thinking in depth about what we do with all this historical content,” said Ahmed. “How do we know that your version of Obama’s speech from 2008 is the real one, when we could create an alternative version that looks just as photorealistic?” Organizations like C2PA are working on methodologies to certify the provenance of content, but these still rely ultimately on the authority of a specific organization of individual. OpenOrigins aims for a solution for content authentication that is decentralized that doesn’t have to refer to gatekeepers or nodes of authority. “I think C2PA is fine if you are working within a very limited information silo,” noted Ahmed. “If you are in an organization and you have end to end control over what software everyone is using. But the moment you put it on Twitter and someone takes a screenshot, the metadata gets ripped out. You have similar issues with water-marking, which is always going to be an arms race.” With OpenOrigins, blockchain is used to store proof information as content is ingested..."
September 26, 2025 at 11:36 AM
auworks.bsky.social
Our special guests will be historian & monster expert @drsurekhadavies.bsky.social and sculptor Esti Reich.
Front cover of the book "Humans: A Monstrous History" by Surekha Davies Four monster sculptures by Esti Reich
September 18, 2025 at 7:36 PM
auworks.bsky.social
¡AU! has launched a new event series, MONSTER LAB, where creatives of all types (from painters to brain surgeons) gather to talk monsters & see what we can learn.

First MONSTER LAB is Oct. 18, 2-4pm UK time, online. Get your ticket now!

www.eventbrite.co.uk/e/monster-la...
Monster Lab poster with a cluster of comical - slightly friendly looking monsters at left - and the Monster Lab logo in spooky green text at right
September 18, 2025 at 7:36 PM
auworks.bsky.social
Our guests will be @drsurekhadavies.bsky.social, author of Humans: A Monstrous History, and Esti Reich, ceramicist & monster sculptor.
Cover of book Humans: A Monstrous History by Surekha Davies Four whimsical, colorful ceramic monsters made by Esti Reich.
September 6, 2025 at 6:34 PM
auworks.bsky.social
And use the QR code to watch our interview with Graham Lovelace, an expert on Gen AI's effect on the media industry.

Subscribe to ¡AU! Journal - free! - here: dashboard.mailerlite.com/forms/131217...
From ¡AU! Journal - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 5/6 On a black bg with a Seussian green bare hill, plus an thumbnail image of a video with QR code to access '...pervasive attitude becomes “who knows what’s real anyway”, social contracts, democracies, and even markets start to weaken. Untrustworthiness is built into the DNA of Gen AI itself. The purpose of Gen AI is not to deliver something true, but to deliver something you feel to be true. A chatbot’s entire goal is to make you satisfied with its response. “The technology can’t help but give you an answer to a question,” Lovelace said. “No chatbot will every say ‘I don’t know the answer to that.’ They will always have a go, based on the corpus of data they’ve been trained on, and try to infer an answer.” I. DAMAGE TO INTEGRITY When companies use AI to create content they might be playing with fire as far as brand integrity and public image are concerned. The point that needs to be stressed repeatedly is that Gen AI is designed to satisfy. And it’s easy for us to confuse feeling satisfied with getting the truth. Fun fact: The truth often leaves us feeling unsatisfied and uncomfortable. If you’re feeling satisfied all the time, you may not be getting enough truth in your diet. Every week there is a new example of AI making someone look ridiculous. One recent AI self-own was perpetrated by Vogue, a brand which has spent decades honing an image of quality, exclusivity, and elite glamour. But for an internet moment this summer, they are a laughing stock—along with their advertiser Guess— for running an ad featuring an AI-generated model. Unrealistic body proportions have been a staple of fashion since ancient times. The fact that the photorealistic model in the ad is about 10 heads tall, though weird, is in keeping with tradition. The laughable part is the rest of its anatomy which includes a unnerving mermaid-like waist, a suggestion..." (more) From ¡AU! Journal - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 6/6 On a dark bg from black on the left side to brown on the right. 'At a glance, most people are convinced by the ad. Their eyes take in the image, and their brain says “Yep, an attractive woman.” But designers, brands, and others who know quality— Vogue advertisers, for example—will care. Vogue’s brand is about adorning real human bodies. While AI is a tool to make it easier to avoid human bodies—with all their whining and their need for money, food, and time. The AI fashion company commissioned by Vogue, Seraphinne Vallora, is run by two London architects. Their website says “We want to harness the incredible power of AI to revolutionize marketing images. We realized that AI offered a hassle-free path to design brilliance.” The company has created AI campaigns for Elle, Grazie, WSJ and the Financial Times. Of course, we only have the word of Seraphinne Vallora that this is an entirely original AI creation. The training data is likely to remain forever obscure. Could it be, in part, based on the likenesses of real people? When you use Gen AI, you are exposing yourself to potential lawsuits later. Lovelace explains: “We will very soon have some massive scandals where we see the interior of people’s homes or hear things that have been said in private moments which will appear for everyone to see because of what these have been trained on. Identifiable images of our children will start to be available.” II. Financial instability As a “disruptor” technology, AI is luring media companies into jettisoning current business models, perhaps without thinking through the consequences. In a very short time, Google has ceased to be useful as a search engine, with its AI having been pushed forward to answer questions directly—based on other people’s content—to keep you from clicking out of the main Google search page...' (more)
September 5, 2025 at 9:38 AM
auworks.bsky.social
From the new issue of ¡AU! Journal: "Content by no one, for no one: Surviving the #AI bubble" - an overview of the top threats #GenAI content poses to creative businesses, including erosion of trust, damage to integrity & financial instability.
From ¡AU! Journal, Autumn 2025 - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 1/6 Standfirst: Can the media & entertainment sector put the brakes on its toxic relationship with Gen AI? Background image is a colorful image of a landscape in the style of a Dr. Seuss illustration. In small type at the bottom of the page: "Photo by ChatGPT Prompt: In the style of Dr. Seuss a hilly landscape covered in Truffula tree" From ¡AU! Journal - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 2/6 On a black bg with colorful Seussian trees '"The creative spirit of humanity is an incredibly important thing. And we want to build tools that lift that up, that make it so new people can create better art—better content, write better novels that we all enjoy. I do believe that humans will be at the center of that. “I also believe that we need to figure out some sort of new model on the economics of creative output. I think there are incredible new business models that we and others are excited to explore...” Thus spoke Sam Altman, CEO of OpenAI at TED early this year. he interview has been watched1.7 million times at this writing. OpenAI, you will recall, is a company founded by Sam Altman, Elon Musk and other online technology experts in 2015 “with the goal of building safe and beneficial artificial general intelligence for the benefit of humanity”. The OpenAI founders are all pretty smart people. Neither Sam Altman nor OpenAI President Greg Brockman graduated from university, which is certainly evidence of just how smart they are. Smart people graduate from Stanford. Really, really smart people drop out. Apparently. rockman actually dropped out of two elite universities, so that may make him some extra extra smart. In 2023, Altman and Brockman also both dropped out of their own company when they were offered a sweet deal to leave OpenAI for a new AI team at Microsoft. The two were quickly lured back to their alma mater by shareholders where they remain, for now. It would be churlish not to admit that Gen AI has positive qualities. But fidelity and integrity are not among them. I gives the appearance of performing great feats mostly because we can’t see what goes on behind the scenes. We can’t see what’s happening in the kitchen. So here is a quick recap of how your favorite Gen AI tool actually works (spoiler: there is no kitchen): ...' From ¡AU! Journal - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 3/6 On a black bg with a couple Seussian trees & severed tree trunks "HOW GEN AI ACTUALLY WORKS Gen AI works like a wacky restaurant from a Dr. Seuss story. Imagine you’re sitting at your eat-a-ma-thing. You type out what you would like to eat. You describe it in detail. What then happens is your fancy robot waiter zips downstairs into a deep vault containing every imaginable thing that could be eaten. The owners of the restaurant have travelled the world and stolen every version of every sandwich and pie and salad and crab fried rice and stored them in a temperature-controlled facility as big as Ireland. Speeding through the vault, your robot waiter picks a meal off the shelf which looks closest to the meal you described. It zips back up to the restaurant and presents that meal to you. You are delighted. You say “My compliments to the chef. He’s a genius. Just like Sam Altman.” Of course the chef is not a genius. There is no chef. There is only a vault filled with every meal that anyone has ever made. You decide you would like your meal with pepper on it. But the robot waiter doesn’t add pepper. What it does is zip back down to the vault and find a version of your meal with pepper on it, which has also been waiting in the vault, all this time, ready to go. If you would like even more pepper, the robot waiter does not add even more pepper. It goes back and finds yet another version of the meal, with even more pepper, that has also been stored in the vault all this time. If you decide you want to add ice cream, the waiter doesn’t go and retrieve ice cream. It goes and retrieves the version of your meal (with the extra extra pepper) with ice cream this time The reason your waiter can bring back your meal so quickly is it uses a jetpack powered by truffula trees. Alright, so Gen AI doesn’t actually work like that..." (more) From ¡AU! Journal - "Content by no one, for no one: Surviving the Gen AI bubble" by Neal Romanek 4/6 On a black bg with a few Seussian trees & many severed tree trunks, plus an image from The Lorax (2012) of the Onceler. "THE AI THREATS Lovelace explained to the Summit that the threats that AI poses to content businesses fall roughly into three main categories: I. Erosion of trust The ability for anyone, anywhere to instantaneously produce highly convincing text, image, audio and video content interferes with our ability to tell what is true. en AI content can be very convincing—you could say its primary purpose is to be convincing. Even when we intellectually know what we’re seeing isn’t true, our brain still may still register it as a real event, something we have an opinion and feelings about. Remember the clip of Volodymyr Zelensky knocking out Donald Trump with a right hook—and the subsequent surge of well-being one felt? We react to what we see viscerally, before the rational mind can step in to explain that what we’ve seen isn’t real. Knowing this, and knowing that realistic AI imagery is running loose in the media ecosystem, we may start to experience doubt about what we see. Even blatantly obvious attempts to fool people can do a lot of damage before they are debunked The week of this writing, a deep fake video of Alexandria Ocasio-Cortez, in which she appeared to criticize to absurd extremes a controversial American Eagle jeans ad, was amplified by television host Chris Cuomo. On social media, Cuomo used the video, which he thought was real, as an opportunity to attack AOC. Cuomo was ridiculed online, by AOC among others, for falling for the deep fake. He delivered an apology on his show, which included: “I was wrong...but what is right?” With deep fakes and AI generated content becoming part of regular discourse, it becomes equally easy to ridicule genuine footage as fake AI content..." (more)
September 5, 2025 at 9:38 AM
auworks.bsky.social
"Real psychologists don't respond to people two minutes after a request with 12 carefully crafted paragraphs of copy"

Read about journalist Rob Waugh's hunt for non-existent influencers, who are quoted in real newspapers, in the latest new of ¡AU! Journal...

heyzine.com/flip-book/e3...
Image of article from ¡AU! Journal - On The Trail Of The Ghost Influencers, written by Neal Romanek (though there is no byline on article) 1/4 - 'I was approached by a guest blogger,” recalls Rob Waugh. “But there were no traces of that person on the internet, just dead ends. I thought: This person doesn’t exist.” That was the unsettling moment that started UK tech journalist Waugh on his ongoing investigations into a world where nonexistent experts are making PR agencies and publishers real money. His breakthrough was the discovery of a second “ghost influencer” when he sent out a call for a psychologist who could give an opinion for an article he was writing— ironically as it turned out—on the impact of identify theft. One of those who responded, called Barbara Santini, had already been quoted numerous times in major media publications, including Vogue, Cosmopolitan, and UK papers The Sun, The Daily Mail, and Metro. But when Waugh began browsing through Santini’s credentials, he was surprised to find that, despite her claiming a master’s degree in Psychology, Philosophy and Linguistics from University of Oxford, the only verifiable links to any professional work were with online sex shop Peaches and Screams and some CBD brands. The photo pictured here was used across that handful of profiles. There were other things that seemed suspicious to Waugh: “Real psychologists don’t respond to people two minutes after a request with twelve carefully crafted paragraphs of copy.” Santini’s bio at Peaches and Screams paints a vivid picture of someone “on a mission to make sex advice as accessible as a good cup of tea and to shatter taboos across all cultural corners. When she's not busy revolutionizing the way we talk about sex, Barbara’s diving into her delightfully eccentric hobbies. She floats her way through yoga classes (yes, on water!), hunts down the most fabulous vintage fashion finds, and loves cracking the codes in escape rooms.” Image of article from ¡AU! Journal - On The Trail Of The Ghost Influencers 2/4 - Digging deeper, Waugh began to suspect that Santini, not only wasn’t an Oxford-educated psychologist, but that she wasn’t a real person. Looking at her writing samples, he spotted clues that her content could be the creation of AI. Writing subheads in title-case was one subtle peculiarity. It’s a US stylistic standard, and one that a professional UK journalist would be unlikely to use (UK style favors sentence-case). For a chatbot like Chat GPT, trained on American content, it would be fairly typical output. Santini’s insights and quotes appeared in lifestyle pieces that covered a spectrum or topics—“Cringey or cute?: Top couples' pet names revealed” or “The signs you're primarily attracted to intelligence over looks – and why it can be considered controversial” or “What happens if you don’t cry? Is stopping tears bad?” “Santini would comment on anything,” says Waugh. “She can create comments instantly, using ChatGPT, because she doesn’t exist.” Waugh finally tracked down the home base for Barbara Santini’s expertise. “I looked into who owned the company that she worked for. I realized that Barbara Santini was actually two Lithuanian men who owned a chain of CBD brands and sex shops and who, I believe, employed a blogger in Nairobi who sent out the copy by email.” e fake industrial complex Waugh flagged the fake to the referral service ResponseSource, an agency connecting media outlets with experts and sources for almost every topic imaginable. Services like ResponseSource will often get their expert sources through PR agencies, rarely with diligent vetting of the experts put forward. As long as the PR agency pays its bill, few questions are asked. “ResponseSource said ‘We’ve given the person a final warning.” Waugh laughs. “Why have they given them a final warning? The person doesn’t exist.” In partnership with Press Gazette, Waugh published a full investigation... Image of article from ¡AU! Journal - On The Trail Of The Ghost Influencers - 3/4 - also contains an video thumbnail image and QR code for accessing the video '...generate fake expert content, that make the idea of individual ghost influencer seem quaint. Now there are networks that produce thousands of AI-generated publications which, from server to screen, never pass through a human being. “They spew news 24/7 with the goal of getting onto Google Discover. Some of the people who operate these have become millionaires. These fake publications are outranking real ones staffed by human journalists.” Some news outlets are tightening up the verification process for experts, although it often falls on individual journalists to do the actual legwork. Yahoo News, for example, now requires two kinds of ID verification for any expert a freelancer quotes in a piece. News networks have also sent out warnings for journalists not to automatically trust experts provided by services like ResponseSource, where their identity cannot be independently verified. ResponseSource is also reportedly upgrading its protocols for expert authenticity. In a world where content can be monetized by consistently hitting certain algorithmic targets at scale, these fixes still duck the main problem of a system that rewards dumping hard-won, but time-consuming and expensive, human expertise. “The time pressure on journalists to deliver yards and yards in increasingly less time of copy for increasingly less money means we’re more vulnerable. “The financial motivation for doing this is extremely real. And journalists are going to deal with more and more fake people.”' (ends) Image of article from ¡AU! Journal - On The Trail Of The Ghost Influencers - 4/4 - Silhouette of a collapses marionette
September 2, 2025 at 4:50 PM
auworks.bsky.social
Plus orgs like: #GALSNGEAR#GALSNGEAR#GALSNGEAR, Rise, WIF, CBC, Indigenous Screen Office, ACCESS: VFX, Bread of Life, Inc., RightsTech Women, The New Black Film Collective, Bitmovin and Women in Streaming Media!
First page of the news section from ¡AU! Journal, Issue one - headline: "What now? News & snapshots from an industry" First page of an article from ¡AU! Journal, Issue one - headline: "TNBFC isn't here to change black filmmaking, it's here to change the whole industry"
July 2, 2025 at 7:48 AM
auworks.bsky.social
The brilliant minds sharing their wisdom with us include: Amy DeLouise, Sadie Groom, Kirsten Schaffer, Olu Adaeze, Nick Davis, Cyrice Griffith, Melanie Nepinak Hadley, Simon Devereux, Amanda Sapp, Ellen Walker, Priscilla Igwe, Jasmine Bernard Brooks, Thomas Pearson and Deepali Narsiker!
First page of an article from ¡AU! Journal, Issue one - headline: "White supremacy is not a river in Egypt: The media industry needs to wake up & let go" First page of an article from ¡AU! Journal, Issue one - headline: "A woman's place is in the audience - and other lies"
July 2, 2025 at 7:48 AM
auworks.bsky.social
¡AU! Journal is finally here! The first issue of our quarterly magazine goes deep with the individuals, organizations, and businesses defending diversity in the media & entertainment industry, and how you too can push back against the assault.

Read it now: au-works.com/au-journal-s...
First page of an article from ¡AU! Journal, Issue one - headline: "Welcome to ¡AU!: Get ready to help someone else be amazing" First page of an article from ¡AU! Journal, Issue one - headline: "How to rise when you're below the line: Accessing power behind the camera"
July 2, 2025 at 7:48 AM
auworks.bsky.social
Come hear Felipe Dana & Helge O. Svela - and our other brilliant speakers - on June 24. Bring your questions on preserving factuality, protecting against cyberattack, and battling bots. 🤖 🔫

Agenda & free registration: www.eventbrite.co.uk/e/content-ip...

#C2PA #CAI #cybersecurity
June 6, 2025 at 5:00 PM
auworks.bsky.social
We're thrilled to announce Pulitzer Prize winning @apnews.com journalist @felipedana.bsky.social & Media Cluster Norway's @hsvela.bsky.social will join the Content & IP Defense Summit, June 24.

They'll discuss new tech for telling where the hell that content you're looking at actually came from.
Close up of Felipe Dana, Associated Press Journalist. Black & white photo. Close up of Helge O. Svela, CEO of Media Cluster Norway (color photo)
June 6, 2025 at 5:00 PM
auworks.bsky.social
Delighted to reveal AI expert Graham Lovelace will host a panel “Content by nobody for nobody: How to survive the Gen AI bubble” at Content & IP Defense Summit, June 24. 🤖 💣

Registration & agenda: www.eventbrite.co.uk/e/content-ip...

#AUcontentdefense
Head & shoulders photo of Graham Lovelace addressing an event from a stage - photo by Ed Telling
May 30, 2025 at 12:07 PM
auworks.bsky.social
Today we’re at the Media Production & Technology Show in #London, listening to stories of media biz disruption & transformation and getting out the word on our Content & IP Defense Summit!

#mpts
High angle shot of MPTS show floor at the Olympia, London.
May 14, 2025 at 10:06 AM
auworks.bsky.social
🔥 Carrie Wootten, co-founder of Media Talent Manifesto, will be part of Monday's Emergency DEI Summit! Join us for a fierce discussion on how the global media industry should respond to attacks on diversity in the US.

Mon, March 24, 3pm ET/7pm UK, register now: www.eventbrite.co.uk/e/emergency-...
Carrie Wootten headshot with a logo for Global Media & Entertainment Emergency Summit on the Collapse of DEI in the Entertainment Industry, March 24, 3pm ET/7pm UK, online. An event by ¡AU! - au-works.com
March 22, 2025 at 3:49 PM
auworks.bsky.social
🔥 We're delighted to announce Amanda Sapp, General Manager of Amazing 102.5 FM in #Houston, will join our "Emergency DEI summit" on March 24

Amanda will participate in our panel on diversity in media tech & craft roles.

Join us! Free registration & agenda: www.eventbrite.co.uk/e/emergency-...
Headshot of Amanda Sapp of Amazing 102.5
March 14, 2025 at 6:19 PM
auworks.bsky.social
🔥 We’re delighted to announce Sadie Groom, CEO & Founder of Rise, will speak at our March 24 online event “Emergency summit on the collapse of DEI". Read her new article "The importance of DEI" here: www.tvbeurope.com/business/opi...

Free registration & agenda: www.eventbrite.co.uk/e/emergency-...
March 13, 2025 at 9:43 AM
auworks.bsky.social
🔥 We’re delighted to announce #GALSNGEAR founder Amy DeLouise will appear at our “Emergency summit on the collapse of DEI” on March 24. Amy will join “A woman’s place is in the audience - and other lies” to discuss gender equity in media. Free registration:

www.eventbrite.co.uk/e/emergency-...
Headshot of Amy DeLouise, founder of GalsNGear
March 11, 2025 at 11:57 AM
auworks.bsky.social
Today we’re at Connected TV World Summit, learning about how to get content to bigger audiences in better ways.

#ctvws
March 11, 2025 at 10:18 AM
auworks.bsky.social
“I tell my students, 'When you get these jobs that you have been so brilliantly trained for, remember that your real job is that if you are free, you need to free somebody else. If you have some power, your job is to empower somebody else. This is not just a grab-bag candy game.”

- Tony Morrison
March 8, 2025 at 12:30 PM
auworks.bsky.social
We're ¡AU!

We're a new media and publishing company that puts humans first.

We embrace inefficiency. We admire ugliness. We are suspicious of certainty. We trust in the power of the powerless. We are here to help you leave the 20th century behind and create something completely and very new.
Frames from one of Eadweard Muybridge's famous motion studies. In this one, we see still frames of a nude man performing a standing long jump. The first two rows of frames show still frames of the jump from the side. the bottom row shows still frames of the jump from directly in front of the man.
January 20, 2025 at 10:53 AM