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Culture for All
The document discusses the concept of 'culture for all' and emphasizes the role of digital technologies in enhancing participation in cultural heritage. It highlights the need for cultural organizations to act as enablers in providing access to cultural goods and fostering active citizenship. Additionally, it examines the evolving relationship between global and local cultural experiences, challenging traditional structures of cultural engagement.
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Culture for All
- 1. Culture for all MichaelPeter Edson @mpedson Co-founder, Museum for the United Nations — UN Live 7-8 October 2019 Keynote for the Prague Platform on the Future of Cultural Heritage
- 2. Culture for all ThePrague Platform talks about “Enhanced digitally enabled cultural heritage participation for all citizens.” But what do these words mean? And how might we approach them — as practitioners, communities, governments and institutions, and citizens? Keynote for the Prague Platform on the Future of Cultural Heritage
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- 6. https://www.bbc.com/news/blogs-trending-47116429 10m people attended this liveonline cultural event. 10m people! Did you even know it happened?
- 7. “I was talkingto a woman last week, and she said, ‘My son is raving about how he can't be anywhere else on Saturday because he has to be at his first concert … in Fortnite.’” “People keep saying people watched that show, but if you ask those kids, they'd probably say I was there.” To the people attending, it was real
- 8. Jibo is asocial robot, designed to interact with groups and become part of a family. Jibo, like many social robots, has a strange, personal effect on people. During testing, focus group participants would not leave their session until they had said goodbye, personally, to Jibo — as if Jibo’s feelings would be hurt if they did not (link in notes) In Homo Deus, Yuval Harari argues that in the West we confer the equivalent of human rights to corporations. In the future, will we confer the equivalent of human rights to robots like Jibo? Will robots have a culture?
- 9. Spot is autility robot developed by Boston Robotics. It’s designed for things like helping out on construction sites, opening doors, carrying bricks… Spot was programmed to dance. Spot dances pretty well! And Spot may — will — soon dance autonomously and invent its own moves. Does Spot have a culture? Will the Spots of the world have a culture? A cultural heritage?
- 10. How can wethink about “culture for all” in a world where this is normal? What are some touchpoints?
- 11. https://commons.wikimedia.org/wiki/File:Berea_College_20101111_GebhartCeramicsClass_LK_(18)_(19945586354).jpg Pottery Class —Quality via Quantity There are many alternatives to traditional top-down, linear, transactional problem solving
- 12. https://commons.wikimedia.org/wiki/File:Berea_College_20101111_GebhartCeramicsClass_LK_(18)_(19945586354).jpg “The ceramics teacherannounced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. “His procedure was simple: on the final day of class he would bring his bathroom scales and weigh the work of the “quantity” group: 50 pends of pots rated an “A”, 40 pounds a “B”, and so on. Those being graded on “quality”, however, needed to produce only one pot — albeit a perfect one — to get an “A”. “Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. “It seems that while the “quantity” group was busily churning out piles of work—and learning from their mistakes—the “quality” group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay.” Pottery Class — Quality via Quantity
- 13. Pottery Class —Quality via Quantity Slides https://www.slideshare.net/edsonm/think-big-start-small-move-fast
- 14. https://www.nytimes.com/2016/06/03/us/macarthur-foundation-will-award-100-million-for-solution-to-a-global-problem.html The MacArthur Foundationis in the process of making a single $100m USD grant to solve a big problem. I have been a juror for this process, and one of the things that has struck me is how LITTLE $100m is when you’re trying to solve a big, global problem
- 15. https://www.nytimes.com/2016/06/03/us/macarthur-foundation-will-award-100-million-for-solution-to-a-global-problem.html $10b $20b $30b $40b $50b $60b One application Ilooked at in the previous round concerned the US child welfare system, which costs $28 billion/year. A $100m MacArthur grant, spent over 3 years, would create a budget only 600- times smaller than the problem it was trying to solve.
- 16. “Culture” in Oakland,California https://commons.wikimedia.org/wiki/File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg In the 1990’s the Urban Institute conducted a study of cultural participation in under- privileged communities in Oakland, CA.
- 17. “Where do youget your culture?” https://commons.wikimedia.org/wiki/File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg Researchers went to the streets and asked people “Where do you get your culture?” …They were invariably met with a response of “We don’t have that kind of stuff around here.”
- 18. “Who are thecreative people in your community?” https://commons.wikimedia.org/wiki/File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg To the researchers’ credit, they went back to the office and re- worked their question… When they returned several months later they asked, “Who are the creative people in your community?”
- 19. https://flic.kr/p/q7SVTd Daniel Arauz2014/12/13 Millions March Oakland Millions March Oakland CC-BY-SA 2.0 When they asked the question this way they got an outpouring of information about the artists, musicians, writers, rappers, choreographers, and other ’creatives’ in their neighborhoods. The problem wasn’t that people didn’t have cultural and creative lives…
- 20. https://commons.wikimedia.org/wiki/File:Bboy_Luan.jpg The problem wasthat people didn’t identify their creative and cultural lives with the institutions that were founded and funded to serve them.
- 21. Photo by MichaelPeter Edson, 26 April 2017. CC-BY-SA We’ve held workshops on 5 continents to learn how people relate to the United Nations, Museums, and the Sustainable Development Goals. Most people, young and old, have no great love for cultural institutions in the abstract, but they do love specific museums, libraries, and community organizations where they have great experiences.
- 22. https://www.freelancer.com Freelancer.com is an onlinecommunity of 39m professionals in 247 countries.
- 23. • Junaid, 21year old medical student from Lahore, Pakistan • Dennis, a university student in Donkorkrom, Ghana. • Kusmarni, in Karanganyar, Indonesia, who graduated from Sebelas Maret University of Indonesia, majoring English Literature and American Studies • Josep Osagu, a college student from Ado-Ekiti, Nigeria I asked a few freelancers for their thoughts about European cultural heritage collections
- 24. http://kemadamian.blogspot.co.at/2015/07/why-i-need-online-collections-of-europe.html “You can imaginemy frustration when I stumble across a site and that has all the information am seeking only to be informed that my geographic location does not have access to this. This is a common occurrence especially when the resource in question is about Europe and North America.”
- 25. At one pointin 2014*, pages by the National Gallery of Denmark had received comments from Germany, Russia, Spain, New Zealand, India, South Africa, the Philippines, Egypt, Libya, Turkey, Nigeria, Indonesia, and the United Kingdom. On one group of pages about the masterpieces of Danish art, comments by Danes are outnumbered by comments from other countries by 35:1. * The last time I studied these pages
- 26. What can weconclude from this?
- 27. 1. Parts ofthe future have “broken off” and crashed into us. 2. There are many alternatives to top-down problem solving: closer to the ground, distributed, networked, & local 3. Money is great, but even large amounts of it under central control are not enough to solve certain kinds of problems 4. People love their culture, but maybe not their Culture 5. The relationship between global and local has changed: it needs to be approached in new ways Perhaps we can weave these ways of thinking and doing into a form that helps us — all of us — accomplish… not only difficult, important work together… but maybe even new kinds of work altogether
- 28. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. This is the problem statement, or brief, for this convening. Given what we’ve seen, how might we approach it?
- 29. Problem Space Oneway is to construct a “problem space” with all of our goals, challenges, methods, and givens.
- 30. A Problem Space New/weirdfuture Bottom-up Global-local Money mismatched with challenges “culture” vs Culture & distributed Digital-physical Young-old Fast-slow Simplicity-complexity Bottom-up / top-down
- 31. A Problem Space New/weirdfuture Bottom-up Global-local Money mismatched with challenges “culture” vs Culture & distributed Digital-physical Young-old Fast-slow Simplicity-complexity Bottom-up / top-down What’s our angle? How can we view, interpret, attack, this problem space in a way that is direct, actionable, and creates positive impact for people and communities?
- 32. Don’t lock downthe problem space too soon. “When something goes wrong, it can usually be traced back to the beginning, from the acceptance of false premises.” — Norman potter, What Is a Designer, 1969
- 33. Enhanced digitally enabledculture heritage participation for all citizens These words jump out at me as being precise, clear, and actionable: “Culture for all”
- 34. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly.
- 35. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. “cultural heritage”? What counts and what does not?
- 36. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Cheering for somebody else’s parade? Or owning it?
- 37. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Ethan Zuckerman’s grid has been a guidepost for us at the UN Live museum. We are choosing to do things that support movement towards outcomes that have impact in communities
- 38. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. How wide? How deep? Does “all” mean all? (Make a “Ulysses Pact” that forces you to take/make action)
- 39. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. How wide? How deep? Does “all” mean all? (Make a Ulysses Pact) “If you want to solve hard problems, have hard problems” — Brewster Kahle
- 40. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Can be symptomatic of one-way, read-only thinking We disseminate to you… We give you access… We reach you with our thing…
- 41. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Juicy! (constructively ambiguous)
- 42. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Warning: the word “formats” could indicate a let’s-make- some-products mindset that could lead us astray. (Not everything that needs to be done is a “product”)
- 43. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Does culture = cultural organizations?
- 44. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. No Yes!
- 45. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Purpose!
- 46. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly. Purpose!
- 47. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly.
- 48. Enhanced digitally enabledcultural heritage participation for all citizens Digitally connected technologies allow for widespread dissemination and access to cultural heritage elements in a variety of formats. Cultural organisations have an opportunity to act as enablers and hubs for digital cultural heritage goods and can play a key part in stimulating active citizenship. This theme looks at how organisations can utilise new platforms to reach wider audiences and provide deeper and more personal access to various cultural goods as well as the effects of this expanded access on individuals, culture, and society more broadly.
- 49. Our Problem Space New/weirdfuture Bottom-up Global-local Money mismatched with challenges “culture” vs Culture & distributed Digital-physical Young-old Fast-slow Simplicity-complexity Bottom-up / top-down What’s our angle? People first Platforms & the Dark Side Active citizenship Deeper & more personal
- 50. The Dark Side Digitalplatforms, particularly commercial 3rd party platforms, have a dark side that we cannot ignore.
- 51. “What is tobe done? There are no easy answers. More important, there are no purely digital answers… If digital connectivity provided the spark, it ignited because the kindling was already everywhere.” https://www.technologyreview.com/s/611806/how-social-media-took-us-from-tahrir-square-to-donald-trump/
- 52. “...it’s now likethe entering-the-darkened-basement scene of a horror movie. Technology has crossed over to the dark side. It’s coming for you; it’s coming for us all, and we may not survive its advance. ...In 2007, when Mr. Jobs unveiled the iPhone, just about everyone greeted the new device as an unalloyed good. I was one of them. Here was a genuinely new thing that would Make Your Life Better, we all thought: It would be convenient, it would be fun, it wasn’t serious or dangerous or globe-shattering. That’s no longer true. The State of the Art, today, is a bag of mixed emotions. Tech might improve everything. And it’s probably also terrible in ways we’re only just starting to understand. https://www.nytimes.com/2017/10/11/insider/tech-column-dread.html
- 53. https://www.buzzfeednews.com/article/ryanhatesthis/brazil-jair-bolsonaro-facebook-elections 1) A handfulof American companies, Facebook and Google more than any other, have altered the fundamental nature of almost every major democracy on Earth. In most of these elections, far-right populism has made huge strides. 2) The misinformation, abuse, and radicalization created by these companies seems to affect poorer people and countries more heavily. These companies replace local community networks, local media, local political networks and create easily exploitable, unmoderated new ones. 3) It is going to get worse and more connected.
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- 56. https://youtu.be/HmTcLlNJNqY 5 minute Ignite talkon YouTube — a call to arms!
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- 59. Cutting the Knot You Theoutcome you need
- 60. Cutting the Knot You Theoutcome you need Head this way
- 61. Cutting the Knot You Theoutcome you need Head this way This is not about inflexibility or certitude, rather, it is about avoiding false victories and taking responsibility for direct and consequential goals.
- 62. “If we don’twin very quickly on climate change then we will never win. That’s the core truth about global warming. It’s what makes it different from every other problem our political systems have faced.” https://www.rollingstone.com/politics/politics-news/bill-mckibben-winning-slowly-is-the-same-as-losing-198205/
- 63. “The excruciating powerof Zweig’s memoir lies in the pain of looking back and seeing that there was a small window in which it was possible to act, and then discovering how suddenly and irrevocably that window can be slammed shut.” https://www.newyorker.com/books/page-turner/when-its-too-late-to-stop-fascism-according-to-stefan-zweig
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- 66. Photo by MichaelPeter Edson, Leiden pop-up festival, June 2017, CC-BY A pop-up local festival in Leiden, NL, discussing local projects with neighbors
- 67. Photo by MichaelPeter Edson, 2017, Rio de Janeiro, Brazil, CC-BY-SA A local gathering at the Museum of Tomorrow in Rio de Janeiro, discussing local projects with neighbors
- 68.
- 69. “Adults keep saying:‘We owe it to the young people to give them hope.’
- 70. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope.
- 71. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful.
- 72. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful. I want you to panic.
- 73. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day.
- 74. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. And then I want you to act. — Greta Thunberg, Davos, January 2019
- 75. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. And then I want you to act. — Greta Thunberg, Davos, January 2019
- 76. “Adults keep saying:‘We owe it to the young people to give them hope.’ But I don’t want your hope. I don’t want you to be hopeful. I want you to panic. I want you to feel the fear I feel every day. And then I want you to act. Culture for all
Editor's Notes
- #4 Monterey-Marshmello-Jibo-bosDynamics.mp4: https://drive.google.com/file/d/18FUuhflMSdrnfl4fo7PhcO3_FB38-9Em/view?usp=sharing
- #7 https://www.bbc.com/news/blogs-trending-47116429
- #8 This is culture, at a massive scale. Disorienting, baffling. (next slide segue: pottery class ) This is now! This is happening now. We are designing for this now: what are some of the atrributes of this now. --> https://www.wired.com/story/fortnite-marshmello-concert-vr-ar-multiverse/
- #9 https://www.americaninno.com/boston/ai-in-boston/interview-with-jibo-founder-cynthia-breazeal-on-social-robots-ai/
- #12 I want to tell a couple of stories here to create a kind of frame around this theme of digital culture for all. And this particular story builds on pierluigi’s remarks about collective intelligence. Art & Fear: Observations on the Perils (and Rewards) of Artmaking Book by David Bayles and Ted Orland, 1985 Note that images are from the wikimedia commons! https://commons.wikimedia.org/wiki/File:Berea_College_20101111_GebhartCeramicsClass_LK_(18)_(19945586354).jpg This file is licensed under the Creative Commons Attribution 2.0 Generic license. Description Students watch Dr. Gebhart demonstrate pottery methods during her Ceramic Class on November 11, 2010. Date 11 November 2010, 10:26 Source: 20101111_GebhartCeramicsClass_LK (18) Author IMCBerea College
- #13 I want to tell a couple of stories here to create a kind of frame around this theme of digital culture for all. And this particular story builds on pierluigi’s remarks about collective intelligence. Art & Fear: Observations on the Perils (and Rewards) of Artmaking Book by David Bayles and Ted Orland, 1985 Note that images are from the wikimedia commons! https://commons.wikimedia.org/wiki/File:Berea_College_20101111_GebhartCeramicsClass_LK_(18)_(19945586354).jpg This file is licensed under the Creative Commons Attribution 2.0 Generic license. Description Students watch Dr. Gebhart demonstrate pottery methods during her Ceramic Class on November 11, 2010. Date 11 November 2010, 10:26 Source: 20101111_GebhartCeramicsClass_LK (18) Author IMCBerea College
- #14 I want to tell a couple of stories here to create a kind of frame around this theme of digital culture for all. And this particular story builds on pierluigi’s remarks about collective intelligence. Art & Fear: Observations on the Perils (and Rewards) of Artmaking Book by David Bayles and Ted Orland, 1985 Note that images are from the wikimedia commons! https://commons.wikimedia.org/wiki/File:Berea_College_20101111_GebhartCeramicsClass_LK_(18)_(19945586354).jpg This file is licensed under the Creative Commons Attribution 2.0 Generic license. Description Students watch Dr. Gebhart demonstrate pottery methods during her Ceramic Class on November 11, 2010. Date 11 November 2010, 10:26 Source: 20101111_GebhartCeramicsClass_LK (18) Author IMCBerea College
- #15 USA child welfare system, $28 billion/year, so about 60b over 3 years: macArthur grant would be 1/600th of the problem it was trying to solve. Sesame Workshop & International Rescue Committee Awarded $100 Million for Early Childhood Education of Syrian Refugees https://www.nytimes.com/2016/06/03/us/macarthur-foundation-will-award-100-million-for-solution-to-a-global-problem.html
- #16 USA child welfare system, $28 billion/year, so about 60b over 3 years: macArthur grant would be 1/600th of the problem it was trying to solve. Sesame Workshop & International Rescue Committee Awarded $100 Million for Early Childhood Education of Syrian Refugees https://www.nytimes.com/2016/06/03/us/macarthur-foundation-will-award-100-million-for-solution-to-a-global-problem.html
- #17 1990’s cultural participation in https://commons.wikimedia.org/wiki/File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg This work has been released into the public domain by its author, Ванка5 at Bulgarian Wikipedia. DescriptionБългарски: Гледка наизток по ул. "Бродуей" в Сан Франциско към моста Сан Франциско-Оукланд. Date 25 November 2006 (original upload date) SourceTransferred from bg.wikipedia to Commons. AuthorВанка5 at Bulgarian Wikipedia Urban Institute report: http://www.urban.org/uploadedpdf/310834_culture_counts.pdf
- #18 Where do you get your culture? File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg This work has been released into the public domain by its author, Ванка5 at Bulgarian Wikipedia. DescriptionБългарски: Гледка наизток по ул. "Бродуей" в Сан Франциско към моста Сан Франциско-Оукланд. Date 25 November 2006 (original upload date) SourceTransferred from bg.wikipedia to Commons. AuthorВанка5 at Bulgarian Wikipedia Urban Institute report: http://www.urban.org/uploadedpdf/310834_culture_counts.pdf
- #19 Who are the creative people in your community? File:View-from-Broadway-street-towards-San-Francisco-Oakland-bridge.jpg This work has been released into the public domain by its author, Ванка5 at Bulgarian Wikipedia. DescriptionБългарски: Гледка наизток по ул. "Бродуей" в Сан Франциско към моста Сан Франциско-Оукланд. Date 25 November 2006 (original upload date) SourceTransferred from bg.wikipedia to Commons. AuthorВанка5 at Bulgarian Wikipedia Urban Institute report: http://www.urban.org/uploadedpdf/310834_culture_counts.pdf
- #20 The problem wasn’t that people didn’t have cultural and creative lives, it was [next] https://flic.kr/p/q7SVTd Daniel Arauz 2014/12/13 Millions March Oakland Millions March Oakland CC-BY-SA 2.0
- #21 It was that people didn’t identify their creative and cultural lives with the institutions that were founded to serve them. https://commons.wikimedia.org/wiki/File:Bboy_Luan.jpg This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license. Description Português: Foto Willian Machado Date: 1 June 2014, 21:22:19 Source Own work Author Bellaevaidosa
- #22 I led a workshop for young people in rural Denmark to help understand.. When I facilitated using Museum… When I didn’t, blech. Photo by Michael Peter Edson, 26 April 2017. CC-BY-SA
- #23 15.9 million registered users (25,000 of whom were online last night when I checked), completed 8 million projects
- #24 Junaid, 21 year old medical student from Lahore, Pakistan Dennis, a university student in Donkorkrom, Ghana. Kusmarni, in Karanganyar, Indonesia, who graduated from Sebelas Maret University of Indonesia at the major English Literature of The American Studies Mainstream.
- #25 Joseph Osagu
- #26 Germany, Russia, Spain, New Zealand, India, South Africa, the Philippines, Egypt, Libya, Turkey, Nigeria, Indonesia, and the United Kingdom: On one group of pages about the masterpieces of Danish art, comments by Danes are outnumbered by comments from other countries by 35:1.
- #30 We’re here to work, so let’s organize into a problem space
- #31 We’re here to work, so let’s organize into a problem space
- #32 We’re here to work, so let’s organize into a problem space
- #50 We’re here to work, so let’s organize into a problem space
- #59 https://commons.wikimedia.org/wiki/File:Alexander_cutting_the_Gordian_Knot..gif
- #63 Cut/paste redesign/mashup of https://www.rollingstone.com/politics/politics-news/bill-mckibben-winning-slowly-is-the-same-as-losing-198205/ By Michael Peter Edson
- #65 https://www.un.org/press/en/2019/ga12131.doc.htm
- #66 Lawyer and organizer Aditi Juneja. THIS means we must all stretch a little. Do something more. Handoff. https://twitter.com/AditiJuneja @AditiJuneja3 Lawyer. Writer. Organizer. Personal opinions. Work @protctdemocracy . Host/creator @selfcaresundays . Board @disabrightsfund . #Forbes30Under30 Law & Policy 2018. 3/status/896242929806790656
- #67 Photo by Michael Peter Edson, Leiden pop-up festival, June 2017, CC-BY
- #68 Photo by Michael Peter Edson, CC-BY-SA Rio de Janeiro, Brazil 2017
- #69 YOUNG PEOPLE and doing, action, “winning” This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license. DescriptionEnglish: In August 2018, outside the Swedish parliament building, Greta Thunberg started a school strike for the climate. Date31 August 2018, 12:36:05SourceOwn workAuthorAnders Hellberg https://commons.wikimedia.org/wiki/File:Greta_Thunberg_01.jpg