band -- Maroon5 -- writing and recording their own song while their fans provided real time inspiration and encouragement via Twitter, with projections of interactive 'bubbles' that engaged tasks and fan comment. We basically set up a TV studio in a laptop, but with a full special media feedback loop built into the whole system as well, and we art directed the whole thing, and also spent the day itself working with the presenter. JL: The reason so many people got involved was because they wanted to see the band make music. It's interesting because there is risk; because it's difficult to make a song in 24 hours; and because it might not work. That danger must be there in any work we do, or it's not creatively interesting in any way. CA: You actively seek to make your work freely available to be sourced, copied and utilised -- considering that this is how you started, and that now you are using the same methods but for big companies, do you think there is an institutional change of thinking about freedom of creative information? JL: I think big firms are more interested in novelty, but it's not like we are never engaged on that level. The Intel 'Triptych' project we did, which was to create an immersive installation for the launch of their new processors, is a really good case study of how a relationship can work between a global brand and some indie designers in Hackney. We were so