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In the late<\/span> 1950s and early 1960s, a group of artists and writers stayed at a run-down hotel in Paris that came to be known as the The Beat Hotel<\/a>. Their proximity to one another produced some incredibly creative artistic cross-pollination. The Beat-generation creatives living there were experimenting with drugs, sex and creativity, and setting the stage for the countercultural revolution that came later.<\/p>\n One artist living at the hotel was Brion Gysin<\/a>, who came up with an idea called cut ups<\/a>, where he cut into books or periodicals with a precision utility knife and pasted the cuttings on a piece of paper, producing something entirely different. People whose work he cut up and reused were sometimes upset about this repurposing of their carefully crafted words, according to author Barry Miles in his 2000 book, \u201cThe Beat Hotel.\u201d<\/p>\n You can see a similar dynamic at play today with the repurposing of artwork and words through the use of generative AI. In an analogous way, it has created a tension between artists and a new generation of creators, just as Gysin\u2019s work did at the dawn of 1960s counterculture.<\/p>\n Scott Belsky, chief strategy officer at Adobe, came to the company when it purchased<\/a> his startup Behance\u00a0in 2012 for $150 million. In 2019, the company introduced Moodboards,<\/a> a place where artists could collect artistic inspirations for what they would ultimately create. The idea was to give artists a starting point for thinking about their ideas.<\/p>\n<\/p><\/div>\nTime is on your side<\/h2>\n