The endgame of the Silicon Valley business model
Katrine Pedersen Katrine Pedersen

The endgame of the Silicon Valley business model

“It is very similar to climate change – people feel an individualised responsibility to fix something that is a collective action problem. The harm occurs collectively not individually – that is one of the problems that countered the way that my story has over-influenced the individual at the expense of articulating the collective harm and over-complicates this, like the duty of the individual to solve these problems in the same way – as though your consumer choices are going to save the world. No! As an individual, you cannot do that. Like the privacy and the data abuse and children and digital media – it is the same: you, as a parent, can do what you can for your kid, but you can’t solve these problems in your family.”

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Katrine Pedersen Katrine Pedersen

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THE TRUTH ABOUT BEAUTY
ESSAY Katrine Pedersen ESSAY Katrine Pedersen

THE TRUTH ABOUT BEAUTY

Beauty often ends in stereotypes dictated by narrow body ideals and strong market forces. The reason is the cocktail called power and beauty – a poisonous kind, but nevertheless the one we all drink from. This essay is a patchwork of reflections and conversations with pioneers, professors, feminists, supermodels and a young girl dreaming of being Miss World.

FOTO: Katerina Jebb, Oral Portrait, 2007

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CONVERSATION Katrine Pedersen CONVERSATION Katrine Pedersen

"There are two big wrongs in the world – one is money and the other is fame"

"Celebrity is created solely from capitalist causes – an attempt to extract huge sums of money from – well, a human being, who – you know – represents tremendous beauty or other qualities that we in Western culture regard as status. But we are all equal, and it is modern bullying when famous people are pursued by crowds."

A conversation with Nick Knight.

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 INVISIBLE SPACES
CONVERSATION Katrine Pedersen CONVERSATION Katrine Pedersen

INVISIBLE SPACES

“I have begun to photograph landscapes, which might seem far afield from my previous work. I think it’s a reaction to the fact that people today are so overly conscious about presenting themselves for the camera that a certain kind of innocence – the mystery that I was once so drawn to – is not so readily apparent.”

FOTO: Ken Schles, from the series Invisible City / Night Walk 1983-1989, 2014

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