MAM
HeyHey, Olive Group bring ‘Oliverse’ wave on full display at ONFT
Mumbai: An online platform HeyHey has collaborated as a technology partner with Olive Group of restaurants recently to showcase non-fungible tokens (NFTs) in the event christened ‘ONFT’. It is the first Indian restaurant group to showcase NFTs.
The two organizations came together for ‘ONFT’, an event which put some of the finest NFTs on full display to spread the word about a new medium that is set to revolutionize the world of art & their fans. The event is one of the first of its kind in India, and brings to light how brands and celebrities are entering the metaverse. This NFT exhibit was held at Olive Bar & Kitchen in Khar and was attended by personalities from the spheres of business, art, and entertainment.
Indian cinema actor Sunny Leone attended the event with her husband Daniel Weber. Interestingly, Leone too has launched her NFT with HeyHey as the technology partner. She showcased her collection called ‘I Dream of Sunny’ along with other masterpieces from the entertainment industry. Some of these included ‘We Are Actors’ by Rahul Bose – a discourse on the struggle of the industry, another one by leading fashion designer – Narendra Kumar – based on the idea of how every coercion is overshadowed by a distraction and, ‘One@mumbai’ by JJ Valaya – founder of House of Valaya, a culmination of moving & imagery interpretations of some of the magical cities of this country.
From within the NFT space, well-loved NFT artist Amrit Pal Singh displayed ‘Cleopatra Toy Face’ alongside stylist & creative director Kshitij Kankaria’s piece about raw authenticity. It was a collection of photographs where every image told a different story. Multi-disciplinary artist, Santanu Hazarika, also presented his NFT, called ‘Cat-fishing 2.0’. Among the exhibition was also 22-year-old NFT artist Kashish Arora’s ‘Catching Ether’.
Olive Group founder and managing director AD Singh said, “Since we launched The Olive Group over 20 years ago, we’ve been fortunate to have always had our finger on the pulse of what our customers want and like. We’ve introduced many industry ‘firsts,’ and now, we’re excited to see what our integration into the metaverse means, both for our customers and us as a Group. We look forward to welcoming you all to the Oliverse.”
HeyHey CEO and founder Caleb Franklin said, “We are delighted to work with illustrious names in the industry and showcase our expertise at the ‘ONFT’ event. The metaverse is the next big thing which will revolutionize the experiential marketing world and more opportunities ought to open up the different worlds in this space. We are glad to be associated with an outstanding restaurant chain and become the first in India to curate an event like this.”
Other noteworthy personalities at the event included, Sandeep Goyal, Anisha Dixit, Taha Shaha alongside Sunny Leone & Daniel Weber, Narendra “Nari” Kumar, Santanu Hazarika.
HeyHey has been associating with notable brands and individuals in the industry to create experiential engagement. At ‘ONFT’, buyers, audience and guests in attendance were taken on special NFT tours, and educated about the benefits of NFT that don’t just include collecting, but also real-world experiences that can be enhanced and accessed using these NFTs.
Digital
The creative cull: how AI is coming for the marketers, ad men and researchers
Robots aren’t taking over yet, but the writing may already be on the wall for some of the US’ most glamorous white-collar jobs.
CALIFORNIA: The robots are not, it turns out, storming the factory floor. They are sitting quietly at a MacBook in a Soho agency, rewriting your copy, summarising your focus groups and generating your mood boards, and nobody has been sacked. Yet.
A new report from Anthropic, the AI company behind the Claude chatbot, offers the most rigorous look to date at what artificial intelligence is actually doing to jobs, as opposed to what doomsayers and boosters claim it might. The verdict from economists Maxim Massenkoff and Peter McCrory is nuanced but pointed: there is no mass unemployment so far, but some sectors have good reason to be nervous. Marketing, market research and the arts are squarely in the crosshairs.
The researchers introduce a new measure called “observed exposure.” It goes beyond theoretical speculation about what AI could do and instead tracks what it is already doing, drawing on real Claude usage data. The approach is clever. They weight automated uses, where the machine performs the job entirely, more heavily than augmentative ones, where it merely assists. They then map this onto roughly 800 occupations, weighted by how much time workers actually spend on each task. For now the target user base has been the US market, but the findings offer a glimpse of what may be happening in other countries as well.
The results are sobering for the creative and analytical classes. Market research analysts and marketing specialists clock in at 64.8 per cent observed exposure, meaning nearly two-thirds of their daily tasks are already being performed, at least in part, by AI in professional settings. The leading automated task is preparing reports, illustrating data graphically and translating complex findings into written text. In other words, this is the kind of work junior analysts spend most of their days doing.
Arts and media fare little better. The sector shows meaningful theoretical exposure, as large language models can in principle handle the lion’s share of tasks, though observed usage still lags behind capability. The gap is narrowing, however, and the direction of travel is unambiguous.
Here is the sting in the tail. The workers most exposed to AI disruption are not, as popular mythology suggests, low-paid drudges. They are older, better educated, more likely to be women and considerably better paid, earning 47 per cent more per hour on average than their least-exposed counterparts. Graduate degree holders are nearly four times as prevalent in the high-exposure group. The creative professional, the senior analyst and the market researcher with an MBA are precisely the people who should be paying attention.
“We’re not talking about the checkout operator,” the paper implies. “We’re talking about the account planner.”
The most alarming signal in the data concerns not those already in jobs, but those trying to enter them. Among workers aged 22 to 25, hiring into highly exposed occupations has slowed measurably since the release of ChatGPT in late 2022. There has been a 14 per cent drop in the job-finding rate, a figure the authors describe as “just barely statistically significant.” Young people are, in effect, finding the door to exposed professions quietly closing. Whether they are staying in education, taking different jobs or simply giving up is not yet clear.
For a bright graduate eyeing a career in market research or media production, this is not merely an academic data point. It is a flashing amber light.
The paper is careful about what it does not find. Unemployment among highly exposed workers has not risen in any statistically meaningful way since the ChatGPT era began. The apocalypse has not arrived. Even in the Computer and Math category, the most theoretically exposed of all, Claude currently covers just 33 per cent of tasks in practice. The gap between what AI can do and what it actually does at scale in professional workflows remains vast.
Think of it less like a tsunami, the authors suggest, and more like a slowly rising tide. The internet did not destroy journalism overnight. It took 20 years and the collapse of a generation of classified advertising revenue. The China trade shock also took decades to fully register in unemployment statistics, and economists are still debating the numbers.
What does this mean for the luvvies, the admen and the pollsters? The honest answer is: not much yet, but watch this space. AI is already doing the grunt work, including data summaries, draft press releases and boilerplate creative briefs. The question is whether it stops there or continues climbing the value chain.
The authors are building a framework to track exactly that and promise to update it as new data arrives. If the tide does come in, they want to see it coming before the sandcastles are already gone.
For now, the creative industries can breathe, but perhaps not too deeply. The machine is not at the door. It is already at the desk.
