1 00:00:00,130 --> 00:00:02,040 ROBIN KELSEY: Good afternoon. 2 00:00:02,040 --> 00:00:02,660 Good afternoon! 3 00:00:02,660 --> 00:00:03,980 AUDIENCE: Good afternoon. 4 00:00:03,980 --> 00:00:06,040 ROBIN KELSEY: Thank you. 5 00:00:06,040 --> 00:00:06,820 I needed that. 6 00:00:06,820 --> 00:00:10,490 I never teach at 2:00 PM because it's my nap time, 7 00:00:10,490 --> 00:00:14,920 so now you've got me all charged up. 8 00:00:14,920 --> 00:00:16,310 I love Melissa Franklin. 9 00:00:16,310 --> 00:00:18,520 If I were sitting where you are, I would be thinking, 10 00:00:18,520 --> 00:00:20,350 I want to come to Harvard and study physics. 11 00:00:20,350 --> 00:00:23,710 But you can't all study physics because we 12 00:00:23,710 --> 00:00:25,570 don't have that many physics faculty. 13 00:00:25,570 --> 00:00:29,980 So some of you are going to have to study the arts and humanities. 14 00:00:29,980 --> 00:00:33,640 And the arts and humanities aren't as funny as physics. 15 00:00:33,640 --> 00:00:36,490 [CHUCKLING] 16 00:00:36,490 --> 00:00:37,400 No, it's true. 17 00:00:37,400 --> 00:00:39,850 It's really a matter of scale. 18 00:00:39,850 --> 00:00:42,730 Things are very funny when they're cosmically scaled, 19 00:00:42,730 --> 00:00:44,620 or when they're really tiny. 20 00:00:44,620 --> 00:00:47,800 But we sit there at the scale of Samuel Beckett, 21 00:00:47,800 --> 00:00:49,690 where things get very deadly serious. 22 00:00:49,690 --> 00:00:51,760 So if at any point, I get too serious, just 23 00:00:51,760 --> 00:00:55,720 think of one of the hundreds of funny things that Melissa said, 24 00:00:55,720 --> 00:00:56,770 and you can laugh. 25 00:00:56,770 --> 00:00:59,050 One of the reasons we're not funny is we have notes. 26 00:00:59,050 --> 00:01:04,660 We use notes which are not funny, but they're very, very precious. 27 00:01:04,660 --> 00:01:06,850 So-- [CHUCKLES] yeah. 28 00:01:06,850 --> 00:01:07,930 Notes are very precious. 29 00:01:07,930 --> 00:01:08,430 OK. 30 00:01:08,430 --> 00:01:16,520 So today, I am not going to be offering you any answers to important questions. 31 00:01:16,520 --> 00:01:20,650 In fact, I'm just going to pose a few questions. 32 00:01:20,650 --> 00:01:24,160 Harvard is a great university, in my view, 33 00:01:24,160 --> 00:01:29,470 not because it has all the answers, but because the people here 34 00:01:29,470 --> 00:01:36,160 ask important questions, and they work together on coming up with answers. 35 00:01:36,160 --> 00:01:37,990 And the questions I'm going to pose today 36 00:01:37,990 --> 00:01:42,760 are about the future of cultural space. 37 00:01:42,760 --> 00:01:44,740 Now, what do I mean by cultural space? 38 00:01:44,740 --> 00:01:51,940 I mean the museum, the library, the concert hall, the theater, 39 00:01:51,940 --> 00:01:57,850 the movie theater, the dance center, the public park. 40 00:01:57,850 --> 00:02:05,920 I mean those spaces in which we gather to experience culture. 41 00:02:05,920 --> 00:02:12,800 To experience human creativity together. 42 00:02:12,800 --> 00:02:18,090 These spaces are incredibly important in our civic life. 43 00:02:18,090 --> 00:02:22,580 In fact, our governments-- whether local or national-- 44 00:02:22,580 --> 00:02:30,110 situate these spaces in the center of our civic geography. 45 00:02:30,110 --> 00:02:35,910 They do that because we are anchored as a people by our culture. 46 00:02:38,450 --> 00:02:46,310 The most well-known and celebrated of our cultural spaces in America-- 47 00:02:46,310 --> 00:02:52,190 spaces such as Lincoln Center, the Metropolitan Museum, the New York 48 00:02:52,190 --> 00:02:56,060 Public Library, Disney Hall-- 49 00:02:56,060 --> 00:02:59,680 I thought of Disney Hall because of Walt Disney, 50 00:02:59,680 --> 00:03:02,270 but I'm not going to make any jokes about Disney Hall-- 51 00:03:02,270 --> 00:03:10,430 the Smithsonian, these spaces are touchstones of national identity. 52 00:03:10,430 --> 00:03:17,030 But our local movie theater, our town public library 53 00:03:17,030 --> 00:03:23,930 are no less central to civic life on a smaller scale. 54 00:03:23,930 --> 00:03:27,260 These places where we gather and we attend to 55 00:03:27,260 --> 00:03:32,120 and honor human creativity, human efforts 56 00:03:32,120 --> 00:03:37,610 to find meaning, beauty, empathy, and understanding 57 00:03:37,610 --> 00:03:42,230 are really essential to our humanity. 58 00:03:42,230 --> 00:03:49,700 Now, I'm showing you an example of a cultural space that's important to me. 59 00:03:49,700 --> 00:03:51,980 I grew up in Minneapolis, Minnesota. 60 00:03:51,980 --> 00:03:55,970 Marshall University High School has a kind of elite ring to it. 61 00:03:55,970 --> 00:03:57,270 Don't let that fool you. 62 00:03:57,270 --> 00:03:59,540 There was no university-- 63 00:03:59,540 --> 00:04:02,690 except the University of Minnesota, which was nearby-- 64 00:04:02,690 --> 00:04:06,770 related to my high school, which was distinctly public. 65 00:04:06,770 --> 00:04:09,950 But I was very, very fortunate in having parents 66 00:04:09,950 --> 00:04:14,900 who took advantage of the cultural riches of Minneapolis and St. Paul, 67 00:04:14,900 --> 00:04:20,270 which are extensive, which is a very fortunate thing. 68 00:04:20,270 --> 00:04:23,750 And in particular, my parents loved to take me to the theater. 69 00:04:23,750 --> 00:04:27,080 And the theater in Minneapolis, from the flagship Guthrie Theater-- 70 00:04:27,080 --> 00:04:29,030 are there any people here from Minnesota? 71 00:04:29,030 --> 00:04:29,840 AUDIENCE: Woo! 72 00:04:29,840 --> 00:04:30,800 ROBIN KELSEY: Yeah? 73 00:04:30,800 --> 00:04:31,430 All right. 74 00:04:31,430 --> 00:04:33,440 Good. 75 00:04:33,440 --> 00:04:34,710 All right. 76 00:04:34,710 --> 00:04:35,210 Yeah. 77 00:04:35,210 --> 00:04:37,220 The theater in Minneapolis, from the flagship 78 00:04:37,220 --> 00:04:40,940 Guthrie Theater, to smaller theaters, such as the Mixed Blood 79 00:04:40,940 --> 00:04:43,520 Theater in the Cedar Riverside neighborhood, 80 00:04:43,520 --> 00:04:48,240 near where I grew up, the Penumbra Theater in St. Paul, really fantastic. 81 00:04:48,240 --> 00:04:51,050 So this is where this issue of cultural space 82 00:04:51,050 --> 00:04:56,700 has particular significance to me. 83 00:04:56,700 --> 00:04:57,200 Here. 84 00:04:57,200 --> 00:04:59,500 This is the clicker. 85 00:04:59,500 --> 00:05:00,000 Yes? 86 00:05:00,000 --> 00:05:00,360 No? 87 00:05:00,360 --> 00:05:01,320 MARLYN MCGRATH: Try the other one. 88 00:05:01,320 --> 00:05:02,700 ROBIN KELSEY: What other one? 89 00:05:02,700 --> 00:05:03,450 The duck? 90 00:05:03,450 --> 00:05:04,240 MARLYN MCGRATH: No. 91 00:05:04,240 --> 00:05:05,700 ROBIN KELSEY: Oh. 92 00:05:05,700 --> 00:05:06,200 This. 93 00:05:06,200 --> 00:05:06,710 This? 94 00:05:06,710 --> 00:05:07,710 Oh, OK. 95 00:05:07,710 --> 00:05:08,580 Good. 96 00:05:08,580 --> 00:05:09,930 All right. 97 00:05:09,930 --> 00:05:19,560 But today, cultural spaces are under considerable challenge and strain. 98 00:05:19,560 --> 00:05:22,050 And one reason is probably obvious to you, 99 00:05:22,050 --> 00:05:28,710 which is the rise of digital networks and electronic devices. 100 00:05:28,710 --> 00:05:32,790 Those in charge of our libraries are wondering, 101 00:05:32,790 --> 00:05:40,510 what is a library when our smartphone can bring us 102 00:05:40,510 --> 00:05:45,040 more information and knowledge than thousands of books ever could? 103 00:05:45,040 --> 00:05:51,160 Those in charge of our theaters, movie theaters, and other performance venues 104 00:05:51,160 --> 00:05:57,610 are wondering, how do we get people to come see our shows when so many films 105 00:05:57,610 --> 00:06:04,060 and shows are streaming into our homes? 106 00:06:04,060 --> 00:06:10,000 So for many of these cultural spaces, this is an existential threat. 107 00:06:10,000 --> 00:06:14,440 But even for our cultural spaces such as the art museum that 108 00:06:14,440 --> 00:06:17,980 have an easier time making the case that they are delivering 109 00:06:17,980 --> 00:06:23,980 unique experiences to visitors, patterns of usage 110 00:06:23,980 --> 00:06:27,400 are changing radically in this digital moment. 111 00:06:27,400 --> 00:06:33,640 In particular, the popularity of social media and the selfie 112 00:06:33,640 --> 00:06:38,290 have very much changed the experience of art museums. 113 00:06:38,290 --> 00:06:41,320 And museum directors and staff are scrambling 114 00:06:41,320 --> 00:06:47,500 to negotiate this different way of being in the art museum. 115 00:06:47,500 --> 00:06:52,390 Exhibitions are being arranged to accommodate the making of selfies, 116 00:06:52,390 --> 00:06:56,890 and even new museum spaces are being designed 117 00:06:56,890 --> 00:07:03,610 to accommodate the making of selfies. 118 00:07:03,610 --> 00:07:06,490 Restaurants-- which can be cultural spaces in their own right-- 119 00:07:06,490 --> 00:07:11,440 are thinking about questions of lighting and background, and the extent to which 120 00:07:11,440 --> 00:07:15,700 that they can make the culinary offerings more Instagrammable. 121 00:07:15,700 --> 00:07:17,180 [CHUCKLING] 122 00:07:17,180 --> 00:07:18,520 No, I kid you not. 123 00:07:18,520 --> 00:07:19,250 I kid you not. 124 00:07:22,240 --> 00:07:26,710 In addition, cultural tastes and desires are changing. 125 00:07:26,710 --> 00:07:31,780 Many traditional forms of culture require people to sit still, 126 00:07:31,780 --> 00:07:36,230 like you're doing, and pay attention-- as you seem to be doing, 127 00:07:36,230 --> 00:07:37,780 which is fabulous-- 128 00:07:37,780 --> 00:07:42,380 for long periods of time to go see the ballet, or the opera, and so forth. 129 00:07:42,380 --> 00:07:47,680 In fact, this particular lecture style-- the kind of TED talk, 10, 15 minutes-- 130 00:07:47,680 --> 00:07:49,120 was unheard of 30 years ago. 131 00:07:49,120 --> 00:07:53,080 You would have had to sit through us going on for an hour. 132 00:07:53,080 --> 00:07:54,820 So attention spans. 133 00:07:54,820 --> 00:07:58,930 Demands for interactivity are changing when 134 00:07:58,930 --> 00:08:04,960 people become more accustomed to these fluid and flickering screens, 135 00:08:04,960 --> 00:08:06,760 and with their interactivity. 136 00:08:06,760 --> 00:08:11,830 So this is changing demand in cultural spaces as well. 137 00:08:11,830 --> 00:08:16,330 Although I'm not saying in this that young people don't have the attention 138 00:08:16,330 --> 00:08:18,820 span to go to the opera and so forth. 139 00:08:18,820 --> 00:08:21,860 I actually think a lot of that concern has been overblown. 140 00:08:21,860 --> 00:08:25,570 But nonetheless, these are important considerations. 141 00:08:25,570 --> 00:08:31,060 There is also the exceedingly important issue of inclusion. 142 00:08:31,060 --> 00:08:34,510 Whose culture gets exalted? 143 00:08:34,510 --> 00:08:39,250 Who gets invited and welcomed into our cultural spaces? 144 00:08:39,250 --> 00:08:42,550 Who can afford to buy a ticket? 145 00:08:42,550 --> 00:08:46,330 Many of us are deeply concerned with the urgency 146 00:08:46,330 --> 00:08:50,860 of making our cultural spaces more welcoming to more people. 147 00:08:50,860 --> 00:08:56,570 And I show you a scene from Lin-Manuel Miranda's brilliant musical Hamilton, 148 00:08:56,570 --> 00:09:01,060 which is in fact a very complicated emblem for this issue. 149 00:09:01,060 --> 00:09:06,010 On the one hand, it tells a historical story that principally 150 00:09:06,010 --> 00:09:09,550 involves white men and women. 151 00:09:09,550 --> 00:09:14,950 On the other hand, the casts are predominantly people of color. 152 00:09:14,950 --> 00:09:20,290 On the one hand, it brings a kind of rap or hip hop sensibility 153 00:09:20,290 --> 00:09:21,940 to the mainstream of Broadway. 154 00:09:21,940 --> 00:09:26,440 On the other hand, the ticket prices are so high that unless you're wealthy, 155 00:09:26,440 --> 00:09:30,890 you can't possibly attend without considerable sacrifice. 156 00:09:33,600 --> 00:09:37,650 So these challenges are formidable. 157 00:09:37,650 --> 00:09:42,390 And they have led me to become very interested 158 00:09:42,390 --> 00:09:44,580 in the future of cultural space. 159 00:09:44,580 --> 00:09:46,600 How do we address these challenges? 160 00:09:46,600 --> 00:09:51,690 How do we design cultural spaces for the 21st century? 161 00:09:51,690 --> 00:09:56,370 I've come to this interest in part through becoming-- 162 00:09:56,370 --> 00:09:59,190 gasp-- an administrator. 163 00:09:59,190 --> 00:10:01,980 Because I'm really trained as a historian of photography. 164 00:10:01,980 --> 00:10:07,320 So I'm trained at looking at pictures and considering historical evidence. 165 00:10:07,320 --> 00:10:09,780 I have no training in-- well, I have training in law, 166 00:10:09,780 --> 00:10:12,720 but that's kind of accidental. 167 00:10:12,720 --> 00:10:17,970 I don't have training in architectural design and planning. 168 00:10:17,970 --> 00:10:21,120 But I have been brought as an administrator at Harvard 169 00:10:21,120 --> 00:10:24,600 as someone who serves on all too many committees. 170 00:10:24,600 --> 00:10:29,040 I've brought into teams that have designed new cultural spaces here. 171 00:10:29,040 --> 00:10:32,520 So I was part of a team that created a new art 172 00:10:32,520 --> 00:10:35,880 lab across the river officially opening in September, 173 00:10:35,880 --> 00:10:37,110 but it's already being used. 174 00:10:37,110 --> 00:10:39,840 A fabulous new facility for experimentation 175 00:10:39,840 --> 00:10:47,310 in the arts where works in progress are shared with various audiences. 176 00:10:47,310 --> 00:10:50,910 I was part of a team that renovated one of our museum buildings 177 00:10:50,910 --> 00:10:55,320 to add new spaces for art-making, for architectural design, 178 00:10:55,320 --> 00:10:56,790 and for art history. 179 00:10:56,790 --> 00:10:59,640 And I'm currently part of the team that is 180 00:10:59,640 --> 00:11:03,900 working on creating a new home for the American Repertory theater 181 00:11:03,900 --> 00:11:05,340 across the river. 182 00:11:05,340 --> 00:11:07,350 And this is incredibly exciting work. 183 00:11:07,350 --> 00:11:10,080 And I'm incredibly grateful to be a part of it. 184 00:11:10,080 --> 00:11:15,900 It has convinced me that it is very important for Harvard 185 00:11:15,900 --> 00:11:18,510 to revitalize its cultural spaces. 186 00:11:18,510 --> 00:11:24,290 But more important, it has convinced me that the design-- 187 00:11:24,290 --> 00:11:28,260 and I mean that conceptually as well as architecturally-- the design 188 00:11:28,260 --> 00:11:34,170 of cultural spaces is one of the most pressing and vital questions 189 00:11:34,170 --> 00:11:36,190 of our time. 190 00:11:36,190 --> 00:11:41,080 Now, why do I say it is vital? 191 00:11:41,080 --> 00:11:45,880 It's vital because it's vital that, as a people, 192 00:11:45,880 --> 00:11:52,260 we are not simply a group of consumers, or a group of users, 193 00:11:52,260 --> 00:11:54,780 or a group of data points. 194 00:11:54,780 --> 00:11:59,220 It is really important that we are bound together 195 00:11:59,220 --> 00:12:04,830 through culture, and through the mutual recognition of the importance 196 00:12:04,830 --> 00:12:08,860 and value of cultural difference. 197 00:12:08,860 --> 00:12:12,900 And I do not believe, as connected as Rob Lue is going to make us-- 198 00:12:12,900 --> 00:12:17,040 and I'm sure he's going to make us very connected-- 199 00:12:17,040 --> 00:12:21,540 I believe we still need to come together bodily, physically, 200 00:12:21,540 --> 00:12:25,710 into places to experience one another's humanity, 201 00:12:25,710 --> 00:12:30,820 and to experience the power of culture to bring us together. 202 00:12:30,820 --> 00:12:35,190 So to my mind, this is an exceedingly important question. 203 00:12:35,190 --> 00:12:40,170 Now, when I come across what I think is a really interesting new question, 204 00:12:40,170 --> 00:12:45,500 I am reminded again of how great it is to be at Harvard. 205 00:12:45,500 --> 00:12:50,820 And on this occasion, I accidentally had a conversation 206 00:12:50,820 --> 00:12:54,810 with a colleague-- a professor named Jerold Kayden in the Graduate 207 00:12:54,810 --> 00:12:55,980 School of Design. 208 00:12:55,980 --> 00:12:58,980 Turns out he was thinking about these same questions 209 00:12:58,980 --> 00:13:01,680 about the future of cultural space. 210 00:13:01,680 --> 00:13:09,390 And within about an hour scribbling on stray pieces of paper, 211 00:13:09,390 --> 00:13:13,510 we decided that we should really work on this problem together. 212 00:13:13,510 --> 00:13:16,020 And one of the great things about universities 213 00:13:16,020 --> 00:13:21,720 is that they have a tremendous engine of intellectual inquiry. 214 00:13:21,720 --> 00:13:24,730 And that engine is called the classroom. 215 00:13:24,730 --> 00:13:28,200 So this fall, rather belatedly, Jerold and I 216 00:13:28,200 --> 00:13:33,690 put together a general education course on the future of cultural space. 217 00:13:33,690 --> 00:13:37,440 We submitted it at the 11th hour, crossed our fingers, 218 00:13:37,440 --> 00:13:39,250 and fortunately, it was approved. 219 00:13:39,250 --> 00:13:41,000 So we taught it this spring. 220 00:13:41,000 --> 00:13:43,590 It was a course we limited to about 30 students 221 00:13:43,590 --> 00:13:45,720 because it was really an experiment, and we 222 00:13:45,720 --> 00:13:49,590 wanted to create a kind of seminar-like atmosphere. 223 00:13:49,590 --> 00:13:52,800 And each week, we thought about a different cultural space. 224 00:13:52,800 --> 00:13:54,000 One week, the library. 225 00:13:54,000 --> 00:13:55,170 Another week, the museum. 226 00:13:55,170 --> 00:13:57,300 Another week, the public park. 227 00:13:57,300 --> 00:14:02,490 And each week, we brought in a leading expert 228 00:14:02,490 --> 00:14:11,640 in the design or the oversight of such a cultural space. 229 00:14:11,640 --> 00:14:18,450 So some of you may know The Shed opened to enormous publicity in New York City. 230 00:14:18,450 --> 00:14:21,510 Well, Liz Diller, who was the principal architect of The Shed, 231 00:14:21,510 --> 00:14:27,830 came and spoke to our class even as this hubbub was taking place. 232 00:14:27,830 --> 00:14:30,780 And she talked about the fact that The Shed was designed 233 00:14:30,780 --> 00:14:35,220 around the wheels that move this enormous skin backward 234 00:14:35,220 --> 00:14:38,970 and forward so that you can have an enclosed interior space, 235 00:14:38,970 --> 00:14:43,710 or you can have an exterior space. 236 00:14:43,710 --> 00:14:49,350 We had Mitch Silver, who is the head of the New York City park system 237 00:14:49,350 --> 00:14:54,660 come and talk about public parks as cultural spaces, 238 00:14:54,660 --> 00:14:58,920 and the art projects that he is overseeing. 239 00:14:58,920 --> 00:15:03,360 We had Joana Vicente, who is the new executive director of the Toronto 240 00:15:03,360 --> 00:15:05,850 International Film Festival, come to talk 241 00:15:05,850 --> 00:15:09,390 about the future of the movie theater. 242 00:15:09,390 --> 00:15:14,190 We had Rebecca Robertson, who runs the Park Avenue Armory in New York 243 00:15:14,190 --> 00:15:20,730 come and talk about the Armory, which is a regeneration of an obsolete space, 244 00:15:20,730 --> 00:15:24,930 which is a type of cultural space that we were very interested in. 245 00:15:24,930 --> 00:15:27,240 And so these practitioners would come. 246 00:15:27,240 --> 00:15:29,670 They would speak for about 30, 40 minutes. 247 00:15:29,670 --> 00:15:33,780 And then for about an hour and a half, they would be grilled by the students 248 00:15:33,780 --> 00:15:40,620 and by Jerold and me about, what are we to be thinking about as we 249 00:15:40,620 --> 00:15:42,660 design these spaces for the future? 250 00:15:42,660 --> 00:15:45,610 And teaching this class has been exhilarating. 251 00:15:45,610 --> 00:15:49,800 I have to say, I'm sure you have many choices of places to go, 252 00:15:49,800 --> 00:15:53,100 but I don't think that you can teach this course 253 00:15:53,100 --> 00:15:54,750 at pretty much any other institution. 254 00:15:54,750 --> 00:15:57,150 Maybe Yale could pull this off. 255 00:15:57,150 --> 00:16:02,230 But it is incredible, when you invite people to come to Harvard, who comes. 256 00:16:02,230 --> 00:16:04,110 I mean, I said to Jerald, do you really think 257 00:16:04,110 --> 00:16:07,650 Liz Diller is going to come within two weeks of the opening of The Shed 258 00:16:07,650 --> 00:16:09,390 to talk to our class? 259 00:16:09,390 --> 00:16:11,280 And Jerold said, this is Harvard. 260 00:16:11,280 --> 00:16:13,560 She'll come. 261 00:16:13,560 --> 00:16:16,780 And what's great is that-- 262 00:16:16,780 --> 00:16:19,090 [APPLAUSE] 263 00:16:21,420 --> 00:16:22,710 I mean, it's a little crazy. 264 00:16:22,710 --> 00:16:24,070 We're so lucky. 265 00:16:24,070 --> 00:16:25,070 We are so fortunate. 266 00:16:25,070 --> 00:16:29,160 And Jerold actually knew this because he sat where you sat once. 267 00:16:29,160 --> 00:16:32,460 He was a Harvard undergraduate, and he started a program called Learning 268 00:16:32,460 --> 00:16:36,720 from Performers, which continues to this day in the Office of the Arts 269 00:16:36,720 --> 00:16:39,300 that brings in the most incredible people. 270 00:16:39,300 --> 00:16:42,220 So he learned as an undergraduate, you invite people to Harvard, 271 00:16:42,220 --> 00:16:43,410 and they come. 272 00:16:43,410 --> 00:16:45,180 So we've just been doing this together. 273 00:16:45,180 --> 00:16:46,050 It's been incredible. 274 00:16:46,050 --> 00:16:52,530 And what we've learned is that there are key issues, dilemmas, 275 00:16:52,530 --> 00:17:00,910 conundra around the designing of spaces for a culture of the future. 276 00:17:00,910 --> 00:17:03,960 And we are so excited to be working on this project. 277 00:17:03,960 --> 00:17:05,560 We are going to be writing it up. 278 00:17:05,560 --> 00:17:08,720 We are going to be continuing to work with some of the students in the class 279 00:17:08,720 --> 00:17:10,440 and building an archive. 280 00:17:10,440 --> 00:17:12,930 And we hope to build a center of research 281 00:17:12,930 --> 00:17:17,520 at Harvard to make sure that we start sharing this information 282 00:17:17,520 --> 00:17:20,560 and opening the conversation around the future of cultural space. 283 00:17:20,560 --> 00:17:22,940 Thanks so much for listening, and please come to Harvard.