By fostering localised independence, as a micro-society, Sunbird Records manifests itself as a “self-managing community” designed to perform neo-tribal activities, these activities take shape in a series of graphic productions. These graphic practices produce what Vaneigem terms “indispensable goods” and “services” (Obrist & Vaneigem, 2009 [Interview transcript]). In contrast to Vaneigem, Sunbird Records inflects a more cultural artistic value of “goods”—such as: records, apparel, posters, merchandise, animations, etc.—whilst Vaneigem alternatively defines “goods” with a socio-economic emphasis. Later, in the same interview with Obrist, he gives examples of “goods” to be “Free trains, buses, subways, free healthcare, free schools, free water, air, electricity, free power, all through alternative networks to be set up” (Obrist & Vaneigem, 2009 [Interview transcript]). Sunbird Records is a nascent design of Vaneigem’s assertion of future cultural production, however, in the contemporary, the dominant production of goods appears to work through the consumption of competition.