Sean Bradford is a multidisciplinary artist and founder who is shaping how technology and creativity intersect through his studio, ORIGIN STØRIES. Known for its focus on co-creation experiences and custom-generation tools, ORIGIN STØRIES is pushing boundaries in the creative and tech space. Sean sat down with Jim to discuss his journey from performing artist to founder, the potential of AI, and the ways he’s building tools to empower the global creative and cultural sectors.
J: Hey Sean, thanks for joining me. Let’s start at the beginning—how did your journey as a creative and DJ lead to founding ORIGIN STØRIES?
S: Post-pandemic, the creative industries were really exposed for their unsustainability. As an artist, I’d been working enough to understand the challenges of being independent—constantly having to churn out visual content, staying visible on social media, and balancing the cost of creating. It was a lot. When AI became more accessible, I realized it could solve some of these issues, not just in storytelling but in how we communicate as creators. Whether it’s pre-production or creating content, there’s potential for AI to empower artists and generate new economies in vulnerable sectors like music, art, and theater. That’s where the idea for ORIGIN STØRIES came from—a way to upskill professional creatives and help them navigate these changes.
J: So, what is ORIGIN STØRIES in a nutshell?
S: It’s a creative tech studio that focuses on co-created experiences and custom-generation tools. Right now, we’re building tools to make visual narratives more accessible and interactive. The idea is to bring audiences into the creative process. For example, if you attend a music event, instead of just watching, you could use our tools to remix visuals tied to the event’s theme. We’re also exploring co-creation in theater, where audiences contribute to the narrative after a performance, taking a piece of the story home with them.
J: That’s fascinating. How does co-creation actually work in practice?
S: It can take many forms. For music events, we might create a visual identity in collaboration with the artist or brand, then build a mobile app or browser-based tool where the audience can interact with those visuals. For theater, we’re testing a project in Warsaw where the audience can co-create elements inspired by the performance, like a digital or physical takeaway that reflects their experience. It’s all about creating a dialogue between creators and audiences while making the tools accessible to as many people as possible.
J: Let’s talk about AI. What trends in this space are you most excited about?
S: Definitely agentic workflows—AI agents designed to handle specific creative tasks. For example, curatorial agents that can organize ideas or help DJs with crate-digging based on their tastes. Another trend I’m into is slow AI, which emphasizes quality over speed. There’s been a shift from “AI slop,” where it was all about pumping out content, to a more intentional approach. People are starting to value craftsmanship again, and I think that’s a really positive direction.
J: You mentioned curatorial agents. What’s the role of humans versus AI in creative workflows?
S: Humans provide the nuance, taste, and storytelling frameworks that AI can’t replicate. Machines can process data and identify patterns, but they don’t have the lived experiences or emotional depth that we bring to art. That said, AI can handle repetitive tasks and make workflows more efficient. For example, if I’m working on a visual project, AI can help with iterations or prototypes, freeing me up to focus on the creative direction. It’s about collaboration, not replacement.
J: What about ORIGIN STØRIES? Any exciting projects you’re working on now?
S: One project I’m really excited about is an AI-powered writer’s room, where creators can interact with a custom language model trained in their tone and style. It’s like having a virtual showrunner to guide the process and give feedback. We’re also working on co-creation tools for dance music events, where attendees can design visuals tied to their tickets. It’s a small but meaningful way to make the audience part of the storytelling experience.
J: On the topic of music and storytelling, how do you see AI influencing the creative process in music?
S: AI has the potential to streamline tedious tasks like crate-digging or organizing stems. Imagine training an AI to understand your taste as a DJ and surface tracks you’d actually play. It’s not about replacing creativity but enhancing it by automating the things that take up time but don’t require your full creative energy. There’s also potential for AI to help with more collaborative efforts, like building interactive experiences at live events. It’s about creating tools that empower, not overshadow, the artist.
J: Speaking of music—I'd love to hear what’s in your current rotation.
S: Word.
J: Let’s wrap up with a quick lightning round. Best live performance you’ve ever seen?
S: Janelle Monáe at Joe’s Pub in New York. It was such an intimate, transformative show—she completely took over the space. I only caught 30 minutes of it because I was doing my own show nearby. It was a two-show day, and I had this very heavy role in an off-Broadway production. I spent the whole afternoon in this intense headspace, then ran over to Joe’s Pub, and it was like stepping into another world. The energy, the masks, how she took over the space—it was electric. I went back to my show after that and thought, “No, this is it. I want to do music.” Theater just didn’t feel the same after that moment.
J: If you could collaborate with any artist, dead or alive, who would it be?
S: Salvador Dalí. I love surrealism, and his way of seeing the world was so unique. Plus, his quote “I don’t do drugs. I am drugs” is iconic.
J: One piece of tech you can’t live without?
S: My smartphone. I hate it, but I can’t live without it.
J: What’s next for ORIGIN STØRIES, and where can people follow your work?
S: We’re developing new case studies and tools that push the boundaries of co-creation and AI. The road feels wide open right now, and I’m excited to see where it leads. You can follow us on Twitter, Instagram, Warpcast and Lens.
