Speaker 1: Welcome to story. First live production brought to you by story prima Dao. In our live series, we bring the topics from the story first podcast to life, through discussions, with thought leaders, builders, and creators in the web three space.

Speaker 2: Um, and we're really excited to come back and, and have some further discussion on the topic. I know I've got some follow up questions, um, but before we get into that, um, I wanted to, um, just give you an opportunity Alessandro to, uh, introduce yourself, um, your project and, um, just kind of give us a recap of everything you're doing over at impossible.

Speaker 3: Yes, yes, absolutely. And actually, so hi everyone, like for, for the ones that don't know me, my, my name is Alessandro. I'm one of the, uh, co-founders of, uh, the impossible company, which is a, a creative WebPress studio in, uh, in, uh, in the space, which creates what we call, uh, the centralized stories, which means NFT, uh, project supercharged by stories, stories, either written by, uh, artificial intelligence, where we are, uh, building proprietary training models to create extremely, uh, narrative results or build by a network of artists all around the, the climate where we kind of like collaborate and, uh, have a, an incredibly talented network of people, uh, generating and creating like stories for, for us. So that's, uh, in a nutshell, what we are doing and impossible kind of like operates as a sort of like, uh, uh, you know, like ecosystem, you know, like story ecosystem operator.

Speaker 3: And, uh, we are building several different projects. The first one where we launched, uh, I think like it was between December and January was Provo story, which was a collection of, uh, uh, characters where every single one and a story written by an artificial intelligence. And the second one, which is actually, uh, from, um, the account I'm actually like speaking from it's, it's the new, it's the news project, uh, which is gonna be, uh, it's already kind of like in the, in the pre-production phase, we're gonna be live. We are maintain at the end of the month. And it's a project in between human and AR and AI art and literature, where we kind of like created the, um, together with an artist from Armenian heritage, we created, uh, 100 original portraits, uh, celebrating women's beauty in a borderless inclusive and unveil way. And, uh, then what we did is like we use artificial intelligence, both on the visuals because we took the original 100 portraits and we, uh, we kind of like remade them in artificial intelligence in other 899, uh, versions. And then we, uh, basically gave every single news a story we gave, uh, to the AI painted musics. We gave them an AI written story and to the original music. So the, the human painted once we gave them a human written story in, in the first place. So, uh, as we mentioned, every single that we do kind of like the Fiji stories. And that's why, uh, I think it's also like, you know, like super resonant with the, with the topic of like these spaces today.

Speaker 2: Yeah. We've got, uh, some, um, authors and, um, producers of story first content, uh, in our audience today. Um, and so, you know, I encourage you all to check out the podcast, um, if you, if you haven't already. Um, but one of the things that really struck me is really exciting, you know, Alessandro is some of the projects that you've, um, been developing that are producing NFTs, which allow audience to get engaged, um, with your stories, um, through the, um, ownership of the NFTs is that you used your, what you called story tech to build out these projects. And I think it's pretty exciting. You, I'm not sure if you coined the term, you were certainly the first one that I heard, um, mention it. Um, and that was AI assisted writing. Um, so, you know, um, writers, human writers, having the ability to utilize your, your AI technology, um, when it does become available through the Dow, um, to help with their writing and it, and, you know, James and I were quite excited with the expansive nature of really how you're teaching your AI to be that, um, assistant to the human writer, the ability to, um, you know, reach into different facets of writing that maybe, you know, the writer couldn't access, but I'm probably not doing it justice.

Speaker 2: So if you could give us a bit of insight into how the platform, uh, the technology AI assisted writing can help writers. I think our audience would love to hear.

Speaker 3: Yes, yes, no, absolutely. So for first of all, kind of like to give a, a zoom out view, basically everything that we do with impossible can actually like be one of three things. And one is what we call, uh, our original, uh, series and music will be a perfect example that, you know, where we kind of like come up, uh, with the visuals and the stories together with our network of, uh, of art. Then the, the second bucket is what we call the non series where we kind of like, uh, uh, work with, uh, uh, separate projects from our, and we amplify this project with stories. For example, we, uh, one of our upcoming non series kind of like tries to answer the question. It's, it's a comic book, whereas, uh, uh, we ask the question, what happens if a board date meets a crypto bank that meets a world of women in a, this topic, New York city in 2300.

Speaker 3: And, and the idea is that, uh, together with our network of investors, we have the IPS of like some of these blue cheap projects. And, and the cool thing is that, uh, uh, they are kind of like still Virgin, you know, like it's up to the story that you build on that specific character that, uh, you, uh, give life to him or to her. And, and the cool part is that, uh, you know, like bode 21 can be a t-shirt brand and bode 79 Android can be the next Ironman. It's up to the story to decide that. So back in is kind of like building, uh, you know, like stories for other projects and building narrative bridges among projects as well, because I think it's, it's extremely cool, you know, like to, and it's very aligned to the collaborative nature of webstream to do something like that.

Speaker 3: And, and what you, what you just mentioned, the, the AI side, it's actually more related to our third bucket. Our third bucket is what we call, uh, our, uh, kind of like known series or meta series, which will be, uh, they are not stories. They are not projects. They are new ways of telling stories altogether. And, uh, these, uh, uh, the way it works is, uh, we are building several different platforms for, uh, several, you know, like different uses. And for example, one of the upcoming, uh, you know, like known series or meta series platform is this platform called untold, uh, which is a platform where you can create stories, plots using artificial intelligence and, uh, mean them as an, a thesis. So in a way, say it's a marketplace to create story ideas. And the way this platform work is that you enter the, the website and this website, and it asks you pick general, for example, love story drama, sci-fi adventure, uh, pick format, uh, video games, script, uh, you know, like lots of like different things.

Speaker 3: And then pick a couple of random words, which could be, you know, like notebook and wallet, and then you can generate as many stories as you want. And then only the ones that you are more kind of like, uh, um, interesting to you. Like, they, they resonate the most with you. You can meet them as NFT. So in a way it's kind of like, uh, yeah, as mentioned, this is like a platform that works as a marketplace for story ideas. And this is like one example of, uh, you know, like a meta series or meta project where we, uh, you know, like don't create stories. We create new ways of telling them all together. And another one that, uh, uh, it's it's in the pipeline of the project we're gonna be doing is specifically targeting, you know, like authors and writers, because it's a platform.

Speaker 3: It, it doesn't have a name yet. It's, it's still kind of like a, um, the, the name is still kind of like a code name. And it's a platform where we, uh, are basically building, uh, kind of like an AI companion or like an AI research assistant. Whereas if you're writing, whatever you're writing can be a noble can be a short story and can be lots of like different things. But, uh, the way it works is that it's an AI platform that one helps you like against, you know, like the DMP or wide page syndrome in a way. So it can jumpstart stories for you. Then it can actually gives you for example, like, uh, uh, backgrounds or descriptions suggestions, or for example, if you have to set the story in Tokyo, it can gives you like, uh, the, the names of like bars and restaurants in, in Tokyo, where it can actually set the, uh, the, the, the story together. It's kind of like an in between of, uh, research assistant and, uh, a team of like know, like shadow writers working for, you can also like, do stuff like, uh, create back stories or like, uh, uh, paths and future for the characters, or create like, alternative, like parallel lines to the project as well. So these are like just a couple of examples of what we are building, um, you know, like as a, as, um, platforms like specific to, to support the creation of, uh, uh, stories in a completely different way.

Speaker 2: Yeah. It sounds really, really cool. Um, one of the things that, um, uh, I wanted to make sure the audience understands, cause I know it was a big question for me, um, you know, becoming a big fan of your vision, um, and the work you've done. Um, you know, I was particularly impressed by the fact that, you know, you're the, the platform you're building is kind of being scaled by the projects you're building and launching on top of it. Um, both the unique stories and the, um, you know, other project or other using other IP that you own stories. Um, so maybe talk a little bit about how, how, um, how the audience can get involved in your community. What would qualify them to be able to participate and utilize the technology in the future?

Speaker 3: Yes, no, absolutely. So the, the as mentioned before, um, actually, can you, uh, maybe mute the legends? Yeah, amazing. Otherwise there's a little bit of background noise. Uh, so yeah, the exactly the way it works is, uh, impossible is a sort of like, uh, a story ecosystem, you know, so in a way, uh, also like the three different, like, uh, buckets that I mentioned, the original series, the non-original series and met series, they all kind of like contribute to, uh, you know, like the same vision, which is like, uh, uh, to try and reinvent the ways in which stories today are made because the, the, the kind of like region assumption is it doesn't make sense anymore that the, uh, way in which fiction is built and created today, uh, in a super centralized way by 10 people sitting in the last floor of Marvel Disney dream works and, and so on, it doesn't make sense anymore for, for us, you know, so what we're trying to do is like finding decentralized ways to incorporate, uh, uh, you know, like ground up, uh, ways of like creating stories, uh, uh, altogether.

Speaker 3: And, uh, and the way it works is that, uh, there's, I think two different considerations here. So consideration number one is that every single project that we do, even origin series that, uh, uh, uses artificial intelligence, it serves, uh, also as a training ground for the artificial intelligence that later we use in the, uh, let's say meta platforms where we, uh, you know, like grant access to other people for our AI capabilities as well. So now we like the thousands and thousands of stories that we created, like for music. And we created, like for pro store, they all serve kind of like to, you know, like increase the level of depth and narrative precision that we get, like, uh, and later on, we can actually use in the platforms where other people can actually access the same, you know, like capabilities to create stories. And the second thing, which I think it's, um, also, you know, like also very, very aligned with the vision is the fact that right now, uh, we are, uh, kind of like deciding the roadmap of the story based projects as a company.

Speaker 3: Uh, but later in the second part of the year, we are gonna be, uh, operating as a Dow, uh, as the impossible Dow. Uh, whereas, uh, uh, the Dow is gonna be working as a double sided platform where on the one hand you have the creators and on the other one, you have the fans. And the way it works is, uh, uh, the, the, the roadmap of like, what are gonna be the next story based project is gonna be decided collectively. So project number one can be a decent centralized comic book. Project. Number two can be a decent centralized novel version. Number three can be the centralized film. And, uh, right now, uh, the only way, uh, to, uh, basically like, uh, the only way to access platforms like the meta platforms like I'm told, and like the, uh, let's say the AI research assistant is gonna be, uh, the do, but since the Dow right now is still, it's not operating yet, uh, the only way to actually get access and also get a preview of those platforms would be to join the pre Dow projects.

Speaker 3: So for example, either pro story or, or music PD when we are maintain a couple of weeks. And, uh, the, the idea is that, uh, what we're gonna do is like, since we are very, very early, we're gonna be gifting the, uh, people, the holders of these projects, a pass to access the, the Dow cause the Dow is gonna be, uh, do regulated by NFTs. Whereas the, uh, you know, like your keys to the Dow is gonna be a unique AI story NFT. It will basically grant you access to the Dow and all its ecosystems of like platforms, uh, for creators and story colors and, and, and so on. And right now the best way I think to join the Dow will be to join. Uh, one of the predo projects like, uh, like music, uh, cause the holders of music will receive, uh, um, a pass to the do as well. And a passing to the do will mean also a pass into the platforms like I'm told and the, uh, when it launches the AI research assistant as well.

Speaker 2: Awesome. And I see the, um, um, your artist, Eva, um, in the spaces here with us today. Can you talk a little bit about her and, and the involvement, um, in the MUEs project?

Speaker 3: Yeah, absolutely. I will. I will speak with her because I think she's, uh, uh, she, she's busy min she's working during the day. So I think she's here only as a, a listener, but she is an absolutely. So the, the Muus project, uh, it's a project that was, uh, born, uh, months ago. He was born, uh, around like July and August last year. So it was kind of like a long gest station for the project as well. And, uh, one of the core assumptions there is that, uh, uh, we are not producing also like the, the original series. We're not producing them in our, so where the creative studio impossible does everything, but we usually collaborate with, uh, uh, you know, artists and not, uh, uh, usually like mainstream artists that are already famous, but, uh, incredibly talented artists like Avan, uh, who are underrepresented voices in Webre.

Speaker 3: And that's kind of like the, the, the focus there cause ideas that, uh, it's, uh, you know, like, like Ava are probably hundreds of like other extremely talented, uh, artists, uh, that by the complexity and the also like triple believe me in a way of Webre, we'll find very hard to kind of like, uh, uh, you know, like, uh, build a smart contract that create a community, uh, and, uh, you know, like navigate all the complexities. So in, in a way, what we are doing is, uh, we are sort of like the, the, uh, story and tech amplifier for Ava silence in, in painting. Cause the, the original inspiration was the, uh, uses the, the original uses the, the black and white ones that you can actually find on our website that she tainted. And then like all the other components like came later. So the entire project was built as an experiment where the, uh, AI components for the visuals came later.

Speaker 3: And then also like the structure, whereas we gave basically every single news is a story, either human or AI written team, a second moment. It was a, it was a very collaborative project in, in nature, you know, like also the, uh, stories written by, um, uh, artificial intelligence that they were like 899. And they were kind of like mirroring the AI painted newses. But the stories written by, uh, the writers, they were written not by one or two writers were, were written like by maybe like 20, 25 female writers in the space. And, uh, we got like a huge representation that in some of the writers were, you know, like non-binary writers. We are like also Netflix, uh, uh, people like, you know, like female writers were working at Netflix. We, we had like lots of like representation also there, not just like geographic, but also like in terms of like diversity of, uh, the, um, basically of the cohort of writers in, in the first place.

Speaker 3: And yeah, so, so the, um, basically like the initial input was, uh, came like months ago and then the entire project was, uh, I think in a, in a single objective was, was alive. You know, it kept like changing kept modifying and, uh, uh, the, also the D component, uh, we, uh, for the first time we just didn't focus on AI to write stories. We also focused on AI to create visuals, which was like an entirely different, you know, like, uh, arena for, for us as well. So, so yeah, that's kind of like the, uh, you know, like Genesis of the project and how it's evolving as well.

Speaker 4: Um, Alexandro, when we talked last week on the hashtag story first podcast, um, you, um, you, you helped me understand that the participation of the AI is really in, um, in the generation of new ideas. Um, maybe, maybe randomized ideas based on the inputs that come from the artist, and then the artist steps in again, after the AI has produced these hundreds of randomized ideas to curate and collect the best of what the AI produces. So in that sense, it's, uh, it, it, it facilitates the artist to work more efficiently, right? It doesn't, it doesn't take any of the creativity or any of the artist's responsibility, um, or any of their talent away from them. It just assists them in being more effective when they might, um, when they might not necessarily have the, the time or in some cases, the motivation being an artist myself. I know that these, these things are stacked against you sometimes, but, um, is that correct? It, the AI doesn't take the place of the artist. It just, it just supports them.

Speaker 3: Yes, that that's correct. It's uh, it's uh, again, it's, uh, I think like using LinkedIn would be, uh, what, what, what we call like a box media, you know, like it's, uh, it's an extremely powerful tool and it's up to, uh, you like as an artist in to, to decide how you wanna use it. So in a way, uh, like interior potentially you can actually use AI to substitute the entire role of the artist, but often wise, what we found is that the results were not as, uh, you know, like, correct. And not as like, uh, perfect as, as you would want, like, uh, with, uh, human artists in the first place. So most of the,

Speaker 4: Not quite as human.

Speaker 3: Exactly. So in most, in most cases, the, uh, the, the keyword would be either collaboration or assistance in, in a way it's kind of like, uh, the AI it's, it's a tool that enhances your work. So in a way can actually like substitute the, the boring side of things. For example, like, uh, as I mentioned, like the research assistant, it will take a lot of time to, for, for you, if you wanna set like a novel in Tokyo and you have never been to Tokyo to research about the city and it's, uh, like the places where to, and so, so in a way it's kind of like a tool to subsidy, like, uh, boring parts of the job, if you, if you're a writer or in, in the same way, it's also like, uh, uh, it's extremely creative also in the generation of ideas as well.

Speaker 3: So I'm, I'm, I'm very creative, like by be, I keep like, noting down, like all the story ideas that I get, like for different like media formats and then so on. But I can tell you, like, since I started using the AI, I noted down and dozens, if not hundreds of like story ideas that the AI was like generating simply like by, uh, putting together very, very far away concepts that, uh, it would be really hard, like for, for humans, like just to kind of like take together, mix them up and like create a story in five, 10 seconds, you know? Cause that's, that's the, that's the say? Yeah. So it's very, you mentioned it's very efficient, both in the generation of things. I mean the us of a specific task. So, uh, I know it's, it's kind of like, it's a constantly evolving task because for example, it's, uh, uh, right now one of the fields of AI, that's, that's getting like lots of, uh, success also in the, in the space, in these spaces, like the text to image generations, you know, for example, so you, you, you give an input like a text input, like I dunno like a mirror or table, or I dunno, like just write word or a sentence, and then it generates, uh, an image for you.

Speaker 3: Or for example, there's, you know, like one platform and just been launched by open AI, which is, uh, um, it's not public yet. It's, it's in beta, but what they do is like, uh, you can actually tell to the AI, uh, for example, draw, uh, the table on which there's a book. And on top of the book, there's a cat and the cat has blue eyes. Okay. And it creates the image for you that's create the crazy part. So it's, uh, it's also like, uh, extremely, you know, like, uh, uh, it's kind of like almost as a, as a magic, uh, uh, style, you, you can actually like generate, uh, things using text commands, uh, and, uh, not just like say in the, in the text side, but also in the visual part. And that's like a huge area of exploration right now. That's, uh, uh, that's gonna become public in the next few months, but right now it's sitting in better phase as well.

Speaker 4: So what you're saying is really that it allows the generation of new ideas where an artist may be entrenched in a certain way of thinking it forces them to think differently by proposing as many new alternatives as they want it to create.

Speaker 3: Uh, correct. Yes. That, that could be like one of the use cases, for example, you can, uh, um, J just by, by an example, here, you can, for example, create, uh, uh, write down a plot of, uh, novel, uh, like maybe five, 10 lines that kind of like summarize your entire no, and you wrote that yourself, and then you can actually ask an AI to generate alternatives of that specific, uh, you know, like plot and you can actually like, kind of like play with the different variants there, or you can do the same thing, not at the plot level, but at a specific scene level or at a specific, you know, like, uh, uh, outline of the novel level. Like, uh, you can start like saying like chapter one, this is what happens, chapter two, this is what happens. And like, you can let the AI kind of like, uh, create and, and this obey your initial idea as well. That's also the cool part there.

Speaker 4: So just to jump back into something, you mentioned a couple of moments ago in, you can let the AI research for you now, um, when we've been developing the, the story for legends of cipher, the, you know, for example, the, the, the technical research, right. Researching what is, and is not possible within the realms of, um, of, of, of physics. It takes a long time for us to research this sort of stuff. So how does the AI accelerate that process? I mean, is it, is it in seconds or does it take minutes or hours to process this information?

Speaker 3: Uh, yes, that, that's a good question. So it, it depends on, first of all, there's many different types of AI. What we usually do is like we build on open platforms, like the, uh, GB three w engines, and then we kind of like build our own, uh, you know, like trainings on, on the data. So the, the thing is that right now, for example, the platform that we are, uh, building on top of, like, this infrastructure will allow to have like, uh, an answer to, to the, to your question in, uh, probably like seconds. Yeah. Like maybe two, three seconds for, for, for an input there. Uh, but the, the, the, the main thing is that, uh, uh, you know, like all these different, like AI engines on the tax generation, they were built as very agnostic engines that they were built kind of like on the, uh, tax generation side, they were not built specific to, to, you know, like generate narrative results.

Speaker 3: So if you wanna achieve, uh, you know, like extreme narrative results, then you need like, to have to, to make a specific trainings on, um, on different, like narrative results. For example, you wanna like, uh, I dunno, have an AI that starts writing, like Hermans, then you should train the AI on like Hermans books in the first place. If on the other hand you want to achieve like a more, uh, generalistic, uh, kind of like task, like, can you, uh, help research a particular area or a particular, you know, like, um, type of, uh, type of like, uh, um, places like around the, around the world, then the, the training, again, you need a training because it's, uh, I mean, you can still like, get, uh, more or less accurate results, but there will be like a huge standard deviation in like the, the quality of those results.

Speaker 3: But if, for example, you, uh, when I have like a specific tool in AI that, uh, gives you tips about, you know, like bars and restaurants that you can actually later use in, in, uh, in your own, like no and books that maybe the training should like be done on, for example, like writings, like, like, like longly planet guides, or like similar guides that, you know, like focus on either the like food and bar and scene in specific like, uh, locations. Cause that's kind of like what, uh, it's gonna be very, very helpful. Cause ideally, you know, I call these these different like engines. They are usually trained on the majority of, uh, uh, of, you know, like internet texts. So they, they're not specifically designed for a task. They are specifically designed to generate tax in, in the first place. So it's, uh, you know, it's, it's, uh, you know, your results are gonna be as good as a training that you make in, in the first place.

Speaker 4: Okay. So as, as a end user, would you see the experience being, um, you know, an artist comes along, a writer wants to write a story about a couple in Paris. Um, do they have to choose how to train the engine or is the engine already pre-trained in tens of thousands of, of, of different texts and different approaches?

Speaker 3: Uh, yes, that's, that's what we were doing as a company. Now we are training the AI and then building the platform, which is gonna be this kind of like front end, uh, user experience where you, you can just like input your own, uh, inputs, like, and your own like keyboards, like bars in Peres. And, uh, then you get like the results that are already being trained before. Uh, so yes, that's, that's more as what we're doing as, uh, in like 40 kind of like platforms that we are building using using AI.

Speaker 4: It sounds absolutely incredible. And I can't, I can't wait to try it out.

Speaker 3: Yes. It's gonna be, it's gonna be a little bit of time. Cause the, uh, I think the, the top platform, I think we just finished that the entire like front end design and we are now connecting it to the, uh, like the back end and like all the different trainings that we we did so far. Uh, so I think it's still gonna be like maybe one month out probably like to be used. And the AI research assistant is gonna be like, just after that platform know, cause in, in our roadmap, it's gonna be like, uh, uh, probably like between, I think, end of, end of June backing of July, it's gonna be, uh, one, you know, like in our, in our roadmap it's gonna be live.

Speaker 2: And I think the cool thing that, you know, from the perspective of how you're, um, driving the, the vision and mission for impossible is, you know, the, the stories that the community is telling, cuz you know, you refer to, um, the community has decentralized storytelling and the stories you're telling are, uh, and the way you're utilizing web three technologies in NFT to garner participation from community, it's really an exponential, um, kind of growth and learning for the AI systems because your community will be using those tools. So you'll be consistent continuously and improving the AI based on how the community benefits from using it.

Speaker 3: Yes, yes, that's right. As I mentioned before, uh, the kind of like more, uh, you know, like people facing projects, like, you know, like newses and pro story, which are designed as like, you know, like stories in, in the first place, they also serve as, uh, first of all, as, as trainings for the engines in, in the first place. Cause these stories, uh, that we're building are kind of like answering the same logics as, as the ones that are gonna be, uh, later on like, uh, uh, like trained in the, in the engines. And the second aspect is that we are already, you know, like first of all, we are giving access to, uh, and told and meta platforms to the, uh, like holders of these pre, uh, Dow projects, like, uh, pros story and, and MUEs, and the second aspect, I think, which is, uh, super cool is that we're also testing out, you know, like the centralized ways of like making stories altogether in this project.

Speaker 3: So for example, in, uh, pro story, there's some, uh, for example, uh, there there's a graphic novel, and also in MUEs there are graphic novels in the making where, what we realize is that there's stories both at the digital character level. So every single character in pro story and every single news is in, in MUEs they have, uh, stories, you know, like, uh, either written by AI or by humans also in the case of, uh MUEs. But then in both cases, in both projects, there's a super story to the project and that super story, the cool part is that, uh, it will not be entirely decided by the studio will be, uh, collectively decided by the holders of the projects, meaning that if you hold aro story character, or if you hold amuses, it will be deciding where the plot goes. Do we go a, or do we go B?

Speaker 3: And we're also using AI to, uh, for example, constraint some of the decisions. So for example, improve story, uh, we are collectively as a studio, we are writing the four, five chapters of this, you know, like graphic novel. And then like from chapter five onwards, we're gonna be asking people, okay, what do you think happens next? And it's gonna be a sort of like hunger games where the, uh, most voted plots by the community. They become the ones that we follow in the story, but at the same time, there's gonna be some constraints in the chapter, uh, that are gonna be dictated by the AI. For example, what's the point of view that we're gonna be writing from? Or is there a plot twist or is there like a specific, is it, is this a flashback? Is this like a flash forward and so on? So that's kind of like how we are fusing both the human participation in the centralized way and artificial intelligence.

Speaker 2: Yeah. I love it. And, you know, as, um, as we kind of look at the web three NFT space, you know, there's, there's certainly a lot of value. One can get from buying various NFTs, whether they be for the art or the art in the community and, uh, more and more we're seeing great storytelling, but I think what's really unique about impossible and the NFTs you're selling through proof of story and uses is you are really creating an opportunity for your community of holders to participate in the future of decentralized storytelling while using, um, you know, the story tech as you call it, which is the future of narrative building, I think we could say. And, um, so that, that's, that's a lot of value that you're bringing to the NFT community. It's, it's a lot more than story. It's a lot more than story and art. It's a lot more than, um, the NFT, um, intellectual property. It's really an opportunity to participate in yeah. The future of storytelling.

Speaker 3: Yes. And also, no, I, I agree. And also I think like one of the, the, the coolest things to explore right now in Ft is that, uh, uh, since the market is extremely saturated, right now, you kind of like need this fit between, uh, you know, like your community and the stories. It's, it's not a problem product market fit. It's, it's a story community fit. And what we're trying to do is like, uh, with, with story, with the projects that we're gonna like be launching next, we are trying to find community of people, not just interested in the art, uh, not just interested in the stories, but also interested in creating stories. We're also actively looking like for people that could be, you know, like passionate about like that, uh, you know, like those, uh, decentralized storytelling experience, because it's, uh, hopefully it's, uh, uh, the, the next movies are not gonna be decided by 10 people anymore. It's gonna be, uh, you are gonna be having your own stakes in, in movies. Most plots is gonna be decentralized made, you know, in a way. So we were kind of like building the fear of like the centralized producers and the centralized shore runners and the centralized writers as well. So that's, uh, yeah, that's, that's the goal.

Speaker 2: Amazing. Um, yeah, we're, you know, we're, we're definitely here at story prima, you know, dedicated to, um, helping further, um, the, the NFT and web three space as it relates to, um, driving community and D decentralized. But, um, you know, of all the projects, I think we're, we're seeing as we explore the market and speak to different founders, um, I think you, you've, you've really rocked and stacked the most innovation in the space, and I love the way that it's coming together. Um, so, you know, I wanted to, um, with that, just open it up and see, take a minute to see we've got a good audience forming here. So, um, if anyone, um, would like to raise their hand, I can invite you up as a speaker if you'd like to ask Alessandro a question about impossible, um, or even if you just need another quick overview of what, uh, Alessandro is doing over it, impossible. Um, raise your hand, let us know.

Speaker 4: I'll just add one more thing. Um, and I think that's, um, I think about the amount of time that we, as a team would've saved Alexandra, if you'd have built this engine six months ago. So thank you for building it now because you'll save us a lot of time in the future. Yes. But really would've helped us really wouldn't have helped us before now.

Speaker 3: Yes, I know. I'm actually like, uh, I'm kind of, kind of like my, my overall philosophy there is that I wanna be a platform, so I will use myself in, in the first place. Right. So I, I, I love to write, I love to create stories, uh, every single like project as a kind of like lots of like creativity involved, but, uh, it's also beautiful once you kind of like find systems to channel that creativity and like, make it more efficient. Cause I, I think like the department with like lots of like creative, you know, like artists and people and storytellers is that they constantly fall in love with ideas. They constantly fall in love with like different projects and different storylines. And, and there's always this kind of like, uh, honeymoon phase with an idea. And then like, uh, the, the more you go like the, the more you encounter problems and the more you realize how much research needs to go into that.

Speaker 3: And that's where we're kind like trying to build systems that on the one hand allow a more decentralized fiction to emerge. And on the other one, uh, on the other one, they, they make that decentralized fiction more, uh, you know, like, uh, efficient in a way. And that's why it's, uh, the, the second platform, the AI research assistant, it's not gonna be open only to Webre people it's gonna be open to, uh, wealth proprie, you know, like to storytellers whether or not they are, uh, in, in web trick. Cause the, the, like it's a two different like, uh, uh, di uh, you know, like van diagrams that only partly intersects. But, uh, I think like what, what we're trying to do is like finding a new generation of like, voices that, uh, can emerge. And, uh, we are trying to, you know, like reduce the frictions to creating extremely beautiful stories as much as possible.

Speaker 3: And, uh, those friction could be, well, the story itself, like, what's the idea, uh, cause, uh, it's, it's also like the AI helps a lot also on that side or, uh, the, the research side or like the, uh, back stories for your characters or like the creation of like extremely complex narrative structures. Like, uh, I don't know, think about, I don't like lost this year, like flashbacks flash forward, the flash paradise and, and so on. It was extremely complex. So imagine you can actually do something like that where you can, uh, ask the AI to create a, a complex narrative structure where you can mix and match the points of view and tell an extreme, you know, like complex story, just like mix and match in them. So, yeah, it's all kind of like super creative tools for, for storytellers that, uh, uh, are gonna be, you know, like all these different tools are gonna be merging over the next like few, few weeks, but, uh, Hey, well, I, I'm gonna be like one of the first users as well for, for, for the

Speaker 4: Platform, the, the, the word you used a moment ago, friction. I imagine some people, if there are writers or artists or otherwise creatives listening, imagine some people feel a sense of friction toward the idea of an AI taking their job, you know, taking, taking the ability, um, and handing it to anyone, anyone who, who doesn't have, um, artistic or creative talent, but you know, it, this, this sort of similarly comes into my mind. Um, I was speaking to a photographer friend recently who was remembering, um, 15 years ago when they had to, in order to, to gain a, a, a client base, they had to have, uh, a physical, um, physical shop front, a, a physical store. And in that store, they had to have catalogs of, of previous photographs that they'd taken, um, because no such thing as Instagram ex existed, there, wasn't a way of, of, of delivering your, your, your artwork, um, to the masses in, in a, in a seamless and accessible way.

Speaker 4: And I feel like embracing AI, even if it, even if it does cause you, so even if it gets your heckles up and it does cause you a sense of friction. I think embracing this as a, as a, a tool like the photographers from, you know, last decade embraced, um, embraced Instagram and social media, and for wonders, it's done not just for, for business, but for the quality of photography and the, and the creativity that, that now, um, envelopes the art form. And I think that AI is gonna do a similar thing, you know, yeah. To begin with people, people might be on, on the back foot about it. But, you know, once, once these engines really start, kind of, all it needs to do is, is spark inspiration in a creative where they might be stuck in a, they might be stuck in a trenched way of thinking, and it just needs to spark inspiration. I really think that, you know, the sky's the limit, um, when it comes to this sort of thing.

Speaker 2: Yeah. I think I'm, I'm glad James, you picked on the term, um, friction, cuz you know, friction is a thing that prevents innovation and growth and you know, when you've got AI removing friction from the storytelling process, you take the handcuffs off of creators that they may not have known. They had, you know, just use the very simple example of writing about, you know, a detailed, um, um, immersion in the city of Tokyo. You know, a writer might have avoided that sort of, and type of writing where they wrote their character into an immersive scene. Not because they didn't believe it was a good idea and helpful for their story, but because they couldn't have imagined doing it. And you know, if we can, you know, take it upon ourselves as part of our mission here at story pre to, to teach creatives and storytellers, the latest, greatest technologies emerging out of web three or otherwise that these tools are there to take off the handcuffs, remove the friction.

Speaker 2: I, I think we see, you know, a ton of upside and the potential of, of creatives in the space. So yeah, I mean really exciting if people can come to appreciate it as a tool that, um, you know, augments and enhances their capability, I think, um, I think it'll get quite a bit of adoption and you know, the other side to your point, James, you know, there is a risk that you get left behind. I mean, you know, um, individuals that, that learn to embrace the technology as something to work with as opposed to fear will have a leg up on those that kind of ignore it. So, you know, um, I think we have work to do to help creative see that the technology is empowering.

Speaker 4: Yeah, definitely. I think just overcoming that, that first initial, um, sense of, well, how, how, how will this, you know, how will a computer do a human's job? You know, but I mean, we see it happening already in, in the, in the physical realm, right? Look at the Tesla production line. There's, there's a couple, a couple of humans in, in the whole factory. Um, and so in the creative production line, I see no reason why not, if you can't make it to Tokyo and, and you want to include it in your story and you're worried that there won't be, um, you know, it won't be a, a, a, a value if, if there's not, um, if there's not accuracy, then ask the AI to do it. It saves a lot of time, it increases accuracy, it increases immersion, it betters your story. It allows you to achieve your goal. You know, I think that, I won't say only good can come from this, but certainly I could see that good will come from this.

Speaker 3: Yes, no, absolutely. And also the main point is that, uh, it's, it's, uh, all these different platforms, they are, they're not just built by tech people. They are built by, by tech and story people at the same time, you know? Cause I, cause I it's also like my, my background as well. I always been like in between tech and, and stories. So it's, um, it's, uh, it's what I love the most, but I also know like what are, you know, like the different frictions, whether it's at the research level, whether it's at the, uh, you know, like the, the blank page level, whether it's at the, uh, you know, like, uh, um, I don't have time during the week. Uh, so it's kind of like a scheduling level. So we are trying to like build all these different like tools to integrate AI into the creative process as well.

Speaker 3: And as, as I mentioned, that's like kind of like only one of the three, uh, main things that we do as impossible. So on the one hand there's the, uh, the project, like either the, the original series or the original series and on the other there's the, the platforms. But like, what we realize is that like the projects are kind of like, um, also they act as one of the ways to showcase what the platforms can do in the first place. Right. And, uh, it's uh, since we are in a, in an extremely decentralized board right now in, in Webre, it's just like, uh, I think like a cool thing, like for, for us to do it, it's kind of like to share that platform with, uh, either other people or other projects that, uh, uh, might need something like that. Because, uh, again, as I mentioned, like once we launched the first project, like back in December and January, we had like a lot of like projects reaching, uh, out to us, like for kind of like asking us to do the same, like, uh, like to, to create stories for them.

Speaker 3: And those stories, as I mentioned, the AI will, uh, you know, like be a tool, not to substitute the creative process, but to enhance it in, in a way, like to, to make it better and to make it like more, uh, you know, like, uh, cooler and like also more, more fulfilling. Cause I know from, from experience like, uh, I, I, you know, like I brought like a lot of like different things. I wrote lots of like short stories I brought like, uh, maybe five or six novels and it's a struggle all the time because it's a, you have to divide like the creative process in like different phases. There's the, I'm very methodic like in the creative space. So it's kind of like, uh, I have like the research phase, the, the brainstorming phase, the try to like, uh, make everything happen into chapter kind of like phase and then the disobedience phase where your plan doesn't match your plot and you have to let your plot disobey in order to make something like a cool emerge from there.

Speaker 3: And, uh, so it's this constant kind of like that between the, the emergence of like things and the control that you set up, like in, in the first place, uh, uh, at the beginning. So, uh, there's so many different, like, uh, you know, like friction gaps to, to kind of like cover there. And I think like, uh, by fusing AI and, um, the centralization like tools, like what we're trying to do, it's, it's, it's gonna solve that as, as well. And as mentioned, it's not, it's not gonna be like platforms only for the, um, for the, for the web three community. It's gonna be platforms that are gonna be more open that that's gonna be platforms like open for, for story tellers. Cause in the end we are, you know, like we, we are, uh, the, the, the NFT side, it's kind of like just the, maybe the technological excuse in a way it's, it's a tool that allows us to kind of like reflect, uh, better and in a better way about one, the, uh, lack of necessity for intermediaries, for create intermediaries.

Speaker 3: Ofference like studios, networks, agencies, and, and so on, uh, which often, oftentimes like, especially in web two, take a lot of like percentage of like what creative people usually do. And the second thing will be, uh, it's, it's a much kind of like broader, uh, aspect of, uh, uh, you know, it's, uh, um, blockchain on the one hand solves the department of trust, right? So whenever there's a center intermediary like between a and C, you have to go to B, uh, that's gonna create a friction as well. So we are trying to kind of like solve that friction from a creative perspective, by not creating another agency or not creating another, you know, like platform or studio, but making sure that, uh, uh, those platforms and those, uh, different, uh, you know, like, uh, ways of creating stories will be you also also convert by a Dow, you know, so it's a, it's gonna be right now, it's, it's a studio converting them, but like once we establish them as a, as a, you know, like Dow properties, it will be the Dow to decide where those platforms are gonna, uh, go and how they're gonna be evolving as well.

Speaker 2: Yeah. I wanted to come back to that again. I mentioned earlier, we've got some more audience here and just to kind of sum up, cuz we're coming up on the hour Alessandro and um, you know, I wanna be respectful of your time. So couple things I'd say, you know, with the, with the power of the technology you're building, I think, you know, speaking on behalf of story, prima Dow our advice to any, um, burgeoning, um, artists creators looking to get into storytelling, whether you're in web three or not, you know, should make it part of your goals to understand what impossible is building. Um, and the best part is, is that the NFTs you're making available to the community through your mus project and through proof of story are going to allow for participation in your Dow, which is the place where individuals, communities can come to learn how to use the technology to enhance their storytelling capabilities. So, you know, there's a ton of value in participating in your Dow. I know it's coming soon. Um, but I just wanted to call that show to, um, certainly will be encouraging the community at story prima, um, to consider, um, your platform as an, as a critical learning path. Um, but wanted to just give you, um, another moment here to tell folks just how to one more time, how to get involved. Um, what's the best way to get started? Like, should they visit the impossible website or, um, what do you think?

Speaker 3: Yes, I think there's two different ways. So one will be just visiting the, the impossible website, uh, which by the way, is gonna be revamped over the next couple of weeks, uh, where we list all the different projects that are gonna be, uh, the projects that are gonna be giving out access to the meta platforms. Like the, the ones supporting like the, uh, with artificial intelligence, the different like storytellers as well. And, uh, the second wave will be, uh, joining Mees, which is also the account I'm speaking from right now. Uh, mu is gonna be launch in, uh, about weeks from now. It's gonna be launching on the 30 and 31st of May. And, uh, holding a MUEs will be one of the ways to access, uh, uh, the meta platforms like control that, which give, uh, like people access to the artificial intelligence to create stories.

Speaker 3: And later on also to the other platforms coming up, uh, for example, like the AI research assistant and all the different ones, cause the ideas that we're gonna be having like, uh, a few more projects like in the preta phase. So Prew will be, uh, through story will be newses will be, uh, the next, like two, three that are gonna, uh, go out. And then in the second part of the year, we're gonna be operating as a Dow and the Dow will have its own, you know, like, uh, the Dow itself will have like its own fundraising, which will be, uh, done through, uh, it will be a Dow regulated by NFTs, not by fungible tokens. And these NFTs will take the shape of, uh, AI written story, you know, like unique to, to you, which would be your case with Dow, but for people, uh, joining right now Touse and into pro story and the different ones that we're gonna be launching, like from now until probably like June, July, uh, they are gonna receive that, uh, uh, NFT access passing to the Dow as well. And that NFT will grant them access to the, uh, meta platforms like, uh, uh, like I'm told them like, uh, you know, like PD research assistant and all the different ones coming, coming up.

Speaker 4: Amazing. Amazing, super exciting. I just cannot wait to get involved with this. I think I'm gonna go and jump in and get one of those beautiful mu users and if MUEs NFTs immediately, um, and Alexandro, I'll see there, I'll see you on the other side.

Speaker 3: That that's amazing. Yeah. You have to thank Heva for, uh, for the, the beauty of representing the in the MUEs project, because it's, uh, the, the entire creative inspiration is like, from, from our, we, we acted as a, you know, like the amplifiers and the, the, the story and tech providers, but like the, I think, like, I know she, she can like speak right now, but the, uh, the, the, the original inspiration is all hers. So, so yeah,

Speaker 4: It's oh, hundred percent. Yeah. The original, the original MUEs are fantastic. They've got such an elegant balance of black and white, the, the flow of, and the, the flow of the, um, the body across the canvas is, is re uh, really admirable, um, and put the AI paints on top of it. It blew me away. I didn't think that really, and I'm not sure an algorithm, a coded a coded engine. Um, I didn't think that, that, I didn't think that could do, honestly, I thought that the painted versions were, were by artists. Um, but yeah, a hundred percent they rely on the, um, the structure of the artist's original. And so it really does prove, just jump onto, um, to the NFT, um, where per you're showcasing them, um, and, and have a look like the, the, the paint, the painted versions. They really do. They look like wonderful pieces of artwork. Um, and it really does prove that the AI simply embellishes and enhances what is already, um, what is already really beautiful.

Speaker 3: Super, thank you. Thank you very much. Yeah. Uh, and guys, I wanted to say like, thank you for the, for this space. It was super, super interesting. I mean, you know, I love the, the story kind of like side of things, so super happy to speak. And, uh, also I saw like the, uh, you know, like the, the, um, podcast, like on, on story, Prema, it's a super well, well constructed website and, uh, it's super well pro produced you also like the, the content. So thank you guys for that as well.

Speaker 2: Yeah. Yeah. Thanks for that. Um, yeah, check out, uh, the, the account here, you can click through to the story Prema website. Uh, the podcast is prominently featured on the homepage there, so you can click in and listen to it. And if you prefer to listen while you're on a run on your Spotify app or something, um, we're certainly, um, published there as well. So, um, thank you Alessandro for your time. We're up on the hour. And I, like I said, I know you're busy and, um, just want to thank you again and looking forward to future collaborations, cuz you know, story prima and our team here will certainly be joining you in, uh, your discord and on the journey to the future of storytelling.

Speaker 3: That's amazing. Thank you. Thank you as well. And uh, hope to talk soon as well.

Speaker 2: Cheers.

Speaker 4: Okay, so you guys every joining.

Speaker 2: Cheers.

Speaker 3: Bye. Thank you.