Wolfgang Hammer

It doesn't need to be this life-changing.

Sometimes it can be incremental and just unlock a whole new world of potential that is very easily implemented.

And in many ways, stories are very good at creating symbols which represent some sort of transcendental belief that people participate in.

So in the sense that everyone has an ultimate concern, something that they're in absolute ways concerned about.

We'll talk about it, but it can be many different kinds of things.

It can be money.

It can be a deity.

It can be truth.

And to be able to present an ultimate concern around a business organization that makes a product of some kind, I think, fulfills personal life picture for the people you're communicating it to.

So it just feels more important.

It feels truer and it feels more meaningful and worthwhile.

The interesting thing about this whole world is that there are no rules to it.

Everyone gleans and tries to come up with rules for themselves.

Sometimes that seem to work more often than they don't work, but there's no book on this, really.

Raymond Lowy, the designer, had a similar rule around 1820.

The most tolerable rule

element of new before it's rejected by the human mind as incomprehensible.

With the idea of originality and creativity, there's a sort of tension, even that of itself as a story.

There's this tension, especially now, originality is highly prized.

And there's sort of this belief that only the very new is truly novel.