Designer at Automattic.
Based in Milan, Italy.
Designer at Automattic.
Based in Milan, Italy.
Just as an apprentice watches the master for years before touching the material, I learned football by watching long before my feet caught up. This is that life, measured in waking hours—on the pitch and…
On the pitch, you pass the ball to whoever is best positioned. Everything else about them is irrelevant. What if we lived that way?
Pelé, Maradona, the Match of the Century—and now a third World Cup opening. On the stadium where football keeps returning, and the name no contract can replace.
The moment the ball begins to roll, all of it falls away—the greed, the unwelcoming host, the hatred. What’s left is stronger, and will outlive every sin of the men who run the game.
Tritones is live on Figma Community. What started as a WordPress proof of concept and became a Gutenberg PR is now a free Figma plugin—designers can preview the effect before shipping it.
Holding tight, letting slip: A week with Claude Code suggested that an old Greek word fits this new creative work better than Productivity.
Bad actors once needed a symbolic order to operate within. That requirement is gone. This is what its absence looks like.
A designer who can read code but doesn’t write it. An AI coding tool. A six-month-old idea that became a working plugin in one afternoon. What made the difference?
A week with Automattic’s creatives showed that AI isn’t flattening creative work but instead revealing who already knows how to move across domains and raising the stakes for everyone else.
As AI accelerates execution, a quieter question emerges: when output becomes abundant, what gives the work meaning?
Anthropic’s Super Bowl ads cost millions but left viewers confused. An ancient parable about seeds and soil explains why—and reveals a hard truth about communication that hasn’t changed in 2,000 years.
My Automattic trial showed me that clear writing mattered more than pixel polishing, and that lesson still guides how I think and work with others.