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"title": "Slam Poet Bob Holman Tracks Endangered Languages in New Film",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Language Matters’\u003c/h4>\n\u003cdiv class=\"event-desc\">Musical celebration and discussion of documentary film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 24, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Exploratorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.bobholman.com/\" target=\"_blank\" rel=\"noopener\">Bob Holman\u003c/a> is a word man. His decades of frenetic activity in the slam poetry, hip-hop and spoken-word scenes once led Henry Louis Gates, Jr. to call him “the postmodern promoter who has done more to bring poetry to cafes and bars than anyone since Ferlinghetti.”\u003c/p>\n\u003cp>Now, Holman is pouring his love for words into a movement to save the world’s endangered languages. There are roughly 6,500 languages spoken around the world today; linguists estimate that by the end of the century, that number could be cut in half. That’s right: Some 3,000 languages could soon pass away from this sweet earth.\u003c/p>\n\u003cp>“Every language contains a singular way of looking at the world,” Holman tells me by email. “The brain may be infinite, but we’ve only been able to invent 6,000 of these ways of looking at things. To lose one of these is a tragedy.”\u003c/p>\n\u003cfigure id=\"attachment_10316789\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316789 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg\" alt=\"Aron Jones performing at the Y Tap Pub in Wales. Photo by James Callanan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aron Jones performing at the Y Tap Pub in Wales. (Photo: James Callanan)\u003c/figcaption>\u003c/figure>\n\u003cp>The precipitous disappearance of mother tongues is the subject of \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Language Matters with Bob Holman\u003c/em>\u003c/a>, a new documentary by David Grubin that airs nationwide on PBS in January (Jan. 25, 6-8 pm on KQED). Holman and Grubin will be at \u003ca href=\"http://www.exploratorium.edu/visit/calendar/language-matters\" target=\"_blank\" rel=\"noopener\">the Exploratorium on Saturday, Jan. 24,\u003c/a> to screen excerpts from the film with language activists from the Bay Area’s Hawaiian and Native American communities. The native rock band \u003ca href=\"http://newsfromnativecalifornia.com/blog/walan-amana/%20\" target=\"_blank\" rel=\"noopener\">Walan Amana\u003c/a> are slated to play music in the \u003ca href=\"http://www.native-languages.org/maidu.htm\" target=\"_blank\" rel=\"noopener\">Nisenan\u003c/a> language from the Sierra Nevada, \u003ca href=\"http://ohlone.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Vincent Medina\u003c/a> will perform in Ohlone, a Bay Area Indian language, and Carolyn Melenani Kuali`i and other Hawaiian artists will sing and dance Hawaiian meles, or chants. Other linguistic surprises will be in store as well at the event, which is co-sponsored by Heyday Books, the Center for the Art of Translation, Pacific Islanders in Communications, and KQED.\u003c/p>\n\u003cp>Like shrinking biodiversity, the problem of endangered languages is shocking, but as the Exploratorium event will show, efforts to keep languages vital are profound and filled with joy. Imagine if the language in which your mother sang lullabies were no longer, or rarely spoken, and then one day people started to sing it again. (English is so dominant that it’s hard to imagine it disappearing, but if the language of “\u003ca href=\"http://www.lullaby-link.com/hush-little-baby.html\" target=\"_blank\" rel=\"noopener\">Hush Little Baby\u003c/a>” were to go away, I wouldn’t know my own soul.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holman’s journey into endangered language began with his hip-hop-oriented students who claimed that their writing was original, that they “just made shit up.” Holman explained that hip-hop could be better seen as a current iteration of the African-American oral tradition. To understand the lineage better, he journeyed to Africa where he encountered the griots, the poet-musicians and keepers of the West African oral tradition, and also learned about many languages that were endangered. “I owe it all to hip-hop,” Holman said.\u003c/p>\n\u003cp>In \u003cem>Language Matters\u003c/em>, Holman and Grubin travel to Australia, Wales and Hawaii to tell three in-depth stories about language’s threat, preservation and survival. In the Australian outback, we meet Charlie Mangulda, an aboriginal “song man,” or poet, who is the very last speaker of \u003ca href=\"http://www.endangeredlanguages.com/lang/amg\" target=\"_blank\" rel=\"noopener\">Amurdak\u003c/a>, as well as a remote island community of 400 in which 10 different languages are spoken, all in danger of fading out of existence. Then it’s on to Wales, where the feisty Welsh have managed to protect the kernel of their language in spite of centuries of English domination, and where the schools are now bilingual and the country hosts a hugely popular annual poetry competition in Welsh—essentially, their World Series. Finally, in Hawaii, we learn how one Hawaiian-only elementary school founded in the ’80s has helped incubate a resurgence of Hawaiian language and culture that had been in danger of disappearing since the United States toppled Queen Liliuokalani in 1898.\u003c/p>\n\u003cp>On Maui, Holman talks with the great 87-year-old poet/translator/Buddhist monk W.S. Merwin, who reflects on what is lost when languages disappear. “Where will meanings be,” Merwin asks, “when the words are forgotten?”\u003c/p>\n\u003cp>Holman’s journey contains a lot of music, because music, song and dance are the memory banks for language. Although Charlie Mangulda is the last Amurdak speaker, bits of the language have migrated into other “song men’s” songs. In Hawaii, language was preserved in the chants that accompany every hula.\u003c/p>\n\u003cfigure id=\"attachment_10316794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316794 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg\" alt=\"Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. Photo by David Grubin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. (Photo: David Grubin)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Holman is an infectious participant journalist, sharing his poet’s heart with the people he meets. In Cardiff, he even writes a poem in Welsh and competes in the local poetry slam. (Spoiler alert: He doesn’t win.) But as Gwyneth Lewis, the former national poet of Wales, says in the film, “Language should be a meeting place.” That point is certainly felt in the film.\u003c/p>\n\u003cp>Globalization made it possible for Holman and Grubin to buzz around the world and make \u003cem>Language Matters\u003c/em>. But the same wired world of global travel and instant communication that many of us enjoy has also led to cultural homogenization and a battle of “just trying to preserve our own identities,” Holman tells me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thinking that language is solely a means of communication, having big languages gobble up smaller ones—we are losing what it means to be human,” says Holman. “No Pringleazation! Humans aren’t all the same shaped potato chip! We refuse to fit in a tube!”\u003c/p>\n\n",
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His decades of frenetic activity in the slam poetry, hip-hop and spoken-word scenes once led Henry Louis Gates, Jr. to call him “the postmodern promoter who has done more to bring poetry to cafes and bars than anyone since Ferlinghetti.”\u003c/p>\n\u003cp>Now, Holman is pouring his love for words into a movement to save the world’s endangered languages. There are roughly 6,500 languages spoken around the world today; linguists estimate that by the end of the century, that number could be cut in half. That’s right: Some 3,000 languages could soon pass away from this sweet earth.\u003c/p>\n\u003cp>“Every language contains a singular way of looking at the world,” Holman tells me by email. “The brain may be infinite, but we’ve only been able to invent 6,000 of these ways of looking at things. To lose one of these is a tragedy.”\u003c/p>\n\u003cfigure id=\"attachment_10316789\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316789 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg\" alt=\"Aron Jones performing at the Y Tap Pub in Wales. Photo by James Callanan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aron Jones performing at the Y Tap Pub in Wales. (Photo: James Callanan)\u003c/figcaption>\u003c/figure>\n\u003cp>The precipitous disappearance of mother tongues is the subject of \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Language Matters with Bob Holman\u003c/em>\u003c/a>, a new documentary by David Grubin that airs nationwide on PBS in January (Jan. 25, 6-8 pm on KQED). Holman and Grubin will be at \u003ca href=\"http://www.exploratorium.edu/visit/calendar/language-matters\" target=\"_blank\" rel=\"noopener\">the Exploratorium on Saturday, Jan. 24,\u003c/a> to screen excerpts from the film with language activists from the Bay Area’s Hawaiian and Native American communities. The native rock band \u003ca href=\"http://newsfromnativecalifornia.com/blog/walan-amana/%20\" target=\"_blank\" rel=\"noopener\">Walan Amana\u003c/a> are slated to play music in the \u003ca href=\"http://www.native-languages.org/maidu.htm\" target=\"_blank\" rel=\"noopener\">Nisenan\u003c/a> language from the Sierra Nevada, \u003ca href=\"http://ohlone.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Vincent Medina\u003c/a> will perform in Ohlone, a Bay Area Indian language, and Carolyn Melenani Kuali`i and other Hawaiian artists will sing and dance Hawaiian meles, or chants. Other linguistic surprises will be in store as well at the event, which is co-sponsored by Heyday Books, the Center for the Art of Translation, Pacific Islanders in Communications, and KQED.\u003c/p>\n\u003cp>Like shrinking biodiversity, the problem of endangered languages is shocking, but as the Exploratorium event will show, efforts to keep languages vital are profound and filled with joy. Imagine if the language in which your mother sang lullabies were no longer, or rarely spoken, and then one day people started to sing it again. (English is so dominant that it’s hard to imagine it disappearing, but if the language of “\u003ca href=\"http://www.lullaby-link.com/hush-little-baby.html\" target=\"_blank\" rel=\"noopener\">Hush Little Baby\u003c/a>” were to go away, I wouldn’t know my own soul.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Holman’s journey into endangered language began with his hip-hop-oriented students who claimed that their writing was original, that they “just made shit up.” Holman explained that hip-hop could be better seen as a current iteration of the African-American oral tradition. To understand the lineage better, he journeyed to Africa where he encountered the griots, the poet-musicians and keepers of the West African oral tradition, and also learned about many languages that were endangered. “I owe it all to hip-hop,” Holman said.\u003c/p>\n\u003cp>In \u003cem>Language Matters\u003c/em>, Holman and Grubin travel to Australia, Wales and Hawaii to tell three in-depth stories about language’s threat, preservation and survival. In the Australian outback, we meet Charlie Mangulda, an aboriginal “song man,” or poet, who is the very last speaker of \u003ca href=\"http://www.endangeredlanguages.com/lang/amg\" target=\"_blank\" rel=\"noopener\">Amurdak\u003c/a>, as well as a remote island community of 400 in which 10 different languages are spoken, all in danger of fading out of existence. Then it’s on to Wales, where the feisty Welsh have managed to protect the kernel of their language in spite of centuries of English domination, and where the schools are now bilingual and the country hosts a hugely popular annual poetry competition in Welsh—essentially, their World Series. Finally, in Hawaii, we learn how one Hawaiian-only elementary school founded in the ’80s has helped incubate a resurgence of Hawaiian language and culture that had been in danger of disappearing since the United States toppled Queen Liliuokalani in 1898.\u003c/p>\n\u003cp>On Maui, Holman talks with the great 87-year-old poet/translator/Buddhist monk W.S. Merwin, who reflects on what is lost when languages disappear. “Where will meanings be,” Merwin asks, “when the words are forgotten?”\u003c/p>\n\u003cp>Holman’s journey contains a lot of music, because music, song and dance are the memory banks for language. Although Charlie Mangulda is the last Amurdak speaker, bits of the language have migrated into other “song men’s” songs. In Hawaii, language was preserved in the chants that accompany every hula.\u003c/p>\n\u003cfigure id=\"attachment_10316794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316794 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg\" alt=\"Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. Photo by David Grubin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. (Photo: David Grubin)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Holman is an infectious participant journalist, sharing his poet’s heart with the people he meets. In Cardiff, he even writes a poem in Welsh and competes in the local poetry slam. (Spoiler alert: He doesn’t win.) But as Gwyneth Lewis, the former national poet of Wales, says in the film, “Language should be a meeting place.” That point is certainly felt in the film.\u003c/p>\n\u003cp>Globalization made it possible for Holman and Grubin to buzz around the world and make \u003cem>Language Matters\u003c/em>. But the same wired world of global travel and instant communication that many of us enjoy has also led to cultural homogenization and a battle of “just trying to preserve our own identities,” Holman tells me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thinking that language is solely a means of communication, having big languages gobble up smaller ones—we are losing what it means to be human,” says Holman. “No Pringleazation! Humans aren’t all the same shaped potato chip! We refuse to fit in a tube!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Recent issues of the San Francisco literary journal \u003cem>Zyzzyva\u003c/em> have included names such as Rebecca Solnit, Daniel Handler, Kay Ryan — and Daniel Tovrov. Don’t fret if that last one doesn’t ring a bell. Daniel Tovrov’s piece, which won a prestigious Pushcart Prize, was his first ever in print.\u003c/p>\n\u003cp>\u003cem>Zyzzyva\u003c/em>, founded by editor Howard Junker in 1985 (it’s named after a tropical beetle, the last word in many dictionaries), has a venerable history of publishing wonderful established writers side by side with emerging voices. Haruki Murakami was one of those newcomers, as was Kobo Abe.\u003c/p>\n\u003cp>When Junker retired in 2011 after 25 years, \u003cem>Zyzzyva\u003c/em> could have faded away. But instead he turned the magazine over to another emerging talent, editor Laura Cogan. At only 29, Cogan had never run a literary magazine before, but she teamed up with Oscar Villalon, formerly the \u003cem>San Francisco Chronicle’s\u003c/em> Book Editor, and together the pair has built on \u003cem>Zyzzyva’s\u003c/em> strong foundations and revivified the institution.\u003c/p>\n\u003cp>This year is the journal’s 30th anniversary and there is plenty to celebrate. Besides the Pushcart Prize for Daniel Tovrov, the journal has won numerous awards and has been widely anthologized. Subscriptions are holding strong at 1,300 and their milestone 100th issue, published last year, sold out on newsstands. “That’s the first time ever,” Oscar Villalon says, beaming.\u003c/p>\n\u003cfigure id=\"attachment_10285656\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg\" alt=\"Winter 2014 issue of Zyzzyva. Image courtesy of Zyzzyva.\" width=\"426\" height=\"647\" class=\"size-full wp-image-10285656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014-395x600.jpg 395w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Winter 2014 issue of \u003cem>Zyzzyva\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th year festivities begin Tuesday night (Jan. 13) at City Lights Books where renowned playwright Octavio Solis will perform from “Retablos,” his piece in the current issue. Novelist Josh Emmons will read as well. Then the magazine is headed to New York City at the the end of the month where it will hold two more events, another first for the proudly West Coast \u003cem>Zyzzyva\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I chatted with Oscar Villalon at \u003cem>Zyzzyva’s\u003c/em> offices above the \u003ca href=\"http://www.milibrary.org/\">Mechanics’ Institute Library\u003c/a> in downtown San Francisco about the journal’s upcoming plans and the challenges of being an independent arts organization in a changing city.\u003c/p>\n\u003cp>\u003cstrong>Are you seeking a more national audience?\u003c/strong>\u003c/p>\n\u003cp>We have a national profile but now we want to embrace it. Laura and I have opened it up a bit. We still publish mostly West Coast writers, but if we like something by someone who happens to live in New York, like Daniel Tovrov, we’ll take it. We’re a San Francisco journal of national repute. If you’re a New York writer and want to get published, we’re a good option. It doesn’t always have to be that you feel like you have to be legitimized by being published in a N.Y. journal.\u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Zyzzyva\u003c/em> and its legacy fit into the national literary scene?\u003c/strong>\u003c/p>\n\u003cp>It’s always been about paying attention to voices that otherwise might have been overlooked. It wasn’t just folks from the West Coast not getting attention from New York, but writers of various ethnicities, sexualities, transgressive-type writing. Howard published Sherman Alexie. There was queer, African American, Latino, and Asian writing. From the beginning the journal was there championing those people, giving them the spotlight.\u003c/p>\n\u003cp>The other idea is that San Francisco could be this beacon for the entire region, to help give it identity through its literature. Los Angeles is lousy with writers. But at the end of the day it’s an industry town. It’s about entertainment. It’s about Hollywood. You could get eclipsed. We like the idea of shining a light on all of these people.\u003c/p>\n\u003cfigure id=\"attachment_10285657\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IMG_5079-e1420761057531.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IMG_5079-e1420761057531.jpg\" alt=\"Zyzzyva editors and interns read and evaluate approximately 160 submissions every month; Photo by Jeanne Carstensen/KQED\" width=\"640\" height=\"480\" class=\"size-full wp-image-10285657\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zyzzyva editors and interns read and evaluate approximately 160 submissions every month; Photo by Jeanne Carstensen/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you feel about the changes San Francisco is experiencing?\u003c/strong>\u003c/p>\n\u003cp>Now \u003cem>we’re\u003c/em> sort of becoming an industry town. What do I feel about it? There’s an anxiety in the sense that it’s not clear how folks who aren’t in tech are going to be accommodated in the city — where our place is going to be — if we do have a place.\u003c/p>\n\u003cp>We’re still committed to the idea of San Francisco being an important cultural center and precede accordingly. I want to believe that this is going to shake out and everything is going to be OK. Maybe like with the original 49ers, once they make their money they’ll suddenly be interested in investing in the community where they live, assuming the community they want is not a bedroom community. If it is, we’re screwed. But if it is the S.F. that all of us have come to embrace, one of diversity, of nonconformity, of surprise, then we’ll be OK.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot at stake…\u003c/strong>\u003c/p>\n\u003cp>Yes. And it’s all still to be decided and not only by the people in the industry but by whoever sets policy, policy that could nurture or in this case protect the creative communities in this city. These things don’t happen in a vacuum. Someone decides rent control is extended or not. Someone decides we curtail the Ellis Act evictions or not. This isn’t organic or natural. It’s not a typhoon.\u003c/p>\n\u003cp>\u003cstrong>You took over the magazine four years ago. What have you learned about literary publishing in the digital era?\u003c/strong>\u003c/p>\n\u003cp>What we do as a print journal is not affected greatly one way or another by digital. We have a web presence, but it isn’t our main focus or future. What we’re making is a print product.\u003c/p>\n\u003cp>What we’re doing isn’t mainstream. Our audience isn’t going to be huge. It’s a cottage industry. We’re making artisan cheese, not Velveeta. If it was mainstream that would be awesome — and I’m not just speaking about \u003cem>Zyzzyva\u003c/em>, but for every journal — because that would mean that every American wanted to read serious literature.\u003c/p>\n\u003cp>\u003cstrong>What are you most proud of in your first four years?\u003c/strong>\u003c/p>\n\u003cp>Not letting this San Francisco institution fall by the wayside. We’re an independent, non-profit literary journal with no backing from a university or institution. That’s not easy to do.\u003c/p>\n\u003cp>\u003cstrong>What is your goal for the future?\u003c/strong>\u003c/p>\n\u003cp>The idea is to make \u003cem>Zyzzyva\u003c/em> so indispensable that when the day comes that Laura and I leave, it’s still here and someone can take it over.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"gce-list-event\">\u003cstrong>ZYZZYVA’s Winter Issue / 30th Anniversary Event\u003c/strong> is January 13, 7pm at City Lights Books in San Francisco. For \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2228\">more information\u003c/a> visit citylights.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recent issues of the San Francisco literary journal \u003cem>Zyzzyva\u003c/em> have included names such as Rebecca Solnit, Daniel Handler, Kay Ryan — and Daniel Tovrov. Don’t fret if that last one doesn’t ring a bell. Daniel Tovrov’s piece, which won a prestigious Pushcart Prize, was his first ever in print.\u003c/p>\n\u003cp>\u003cem>Zyzzyva\u003c/em>, founded by editor Howard Junker in 1985 (it’s named after a tropical beetle, the last word in many dictionaries), has a venerable history of publishing wonderful established writers side by side with emerging voices. Haruki Murakami was one of those newcomers, as was Kobo Abe.\u003c/p>\n\u003cp>When Junker retired in 2011 after 25 years, \u003cem>Zyzzyva\u003c/em> could have faded away. But instead he turned the magazine over to another emerging talent, editor Laura Cogan. At only 29, Cogan had never run a literary magazine before, but she teamed up with Oscar Villalon, formerly the \u003cem>San Francisco Chronicle’s\u003c/em> Book Editor, and together the pair has built on \u003cem>Zyzzyva’s\u003c/em> strong foundations and revivified the institution.\u003c/p>\n\u003cp>This year is the journal’s 30th anniversary and there is plenty to celebrate. Besides the Pushcart Prize for Daniel Tovrov, the journal has won numerous awards and has been widely anthologized. Subscriptions are holding strong at 1,300 and their milestone 100th issue, published last year, sold out on newsstands. “That’s the first time ever,” Oscar Villalon says, beaming.\u003c/p>\n\u003cfigure id=\"attachment_10285656\" class=\"wp-caption alignright\" style=\"max-width: 426px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg\" alt=\"Winter 2014 issue of Zyzzyva. Image courtesy of Zyzzyva.\" width=\"426\" height=\"647\" class=\"size-full wp-image-10285656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014.jpg 426w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014-400x607.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Winter-2014-395x600.jpg 395w\" sizes=\"(max-width: 426px) 100vw, 426px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Winter 2014 issue of \u003cem>Zyzzyva\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>The 30th year festivities begin Tuesday night (Jan. 13) at City Lights Books where renowned playwright Octavio Solis will perform from “Retablos,” his piece in the current issue. Novelist Josh Emmons will read as well. Then the magazine is headed to New York City at the the end of the month where it will hold two more events, another first for the proudly West Coast \u003cem>Zyzzyva\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I chatted with Oscar Villalon at \u003cem>Zyzzyva’s\u003c/em> offices above the \u003ca href=\"http://www.milibrary.org/\">Mechanics’ Institute Library\u003c/a> in downtown San Francisco about the journal’s upcoming plans and the challenges of being an independent arts organization in a changing city.\u003c/p>\n\u003cp>\u003cstrong>Are you seeking a more national audience?\u003c/strong>\u003c/p>\n\u003cp>We have a national profile but now we want to embrace it. Laura and I have opened it up a bit. We still publish mostly West Coast writers, but if we like something by someone who happens to live in New York, like Daniel Tovrov, we’ll take it. We’re a San Francisco journal of national repute. If you’re a New York writer and want to get published, we’re a good option. It doesn’t always have to be that you feel like you have to be legitimized by being published in a N.Y. journal.\u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Zyzzyva\u003c/em> and its legacy fit into the national literary scene?\u003c/strong>\u003c/p>\n\u003cp>It’s always been about paying attention to voices that otherwise might have been overlooked. It wasn’t just folks from the West Coast not getting attention from New York, but writers of various ethnicities, sexualities, transgressive-type writing. Howard published Sherman Alexie. There was queer, African American, Latino, and Asian writing. From the beginning the journal was there championing those people, giving them the spotlight.\u003c/p>\n\u003cp>The other idea is that San Francisco could be this beacon for the entire region, to help give it identity through its literature. Los Angeles is lousy with writers. But at the end of the day it’s an industry town. It’s about entertainment. It’s about Hollywood. You could get eclipsed. We like the idea of shining a light on all of these people.\u003c/p>\n\u003cfigure id=\"attachment_10285657\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IMG_5079-e1420761057531.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/IMG_5079-e1420761057531.jpg\" alt=\"Zyzzyva editors and interns read and evaluate approximately 160 submissions every month; Photo by Jeanne Carstensen/KQED\" width=\"640\" height=\"480\" class=\"size-full wp-image-10285657\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zyzzyva editors and interns read and evaluate approximately 160 submissions every month; Photo by Jeanne Carstensen/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you feel about the changes San Francisco is experiencing?\u003c/strong>\u003c/p>\n\u003cp>Now \u003cem>we’re\u003c/em> sort of becoming an industry town. What do I feel about it? There’s an anxiety in the sense that it’s not clear how folks who aren’t in tech are going to be accommodated in the city — where our place is going to be — if we do have a place.\u003c/p>\n\u003cp>We’re still committed to the idea of San Francisco being an important cultural center and precede accordingly. I want to believe that this is going to shake out and everything is going to be OK. Maybe like with the original 49ers, once they make their money they’ll suddenly be interested in investing in the community where they live, assuming the community they want is not a bedroom community. If it is, we’re screwed. But if it is the S.F. that all of us have come to embrace, one of diversity, of nonconformity, of surprise, then we’ll be OK.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot at stake…\u003c/strong>\u003c/p>\n\u003cp>Yes. And it’s all still to be decided and not only by the people in the industry but by whoever sets policy, policy that could nurture or in this case protect the creative communities in this city. These things don’t happen in a vacuum. Someone decides rent control is extended or not. Someone decides we curtail the Ellis Act evictions or not. This isn’t organic or natural. It’s not a typhoon.\u003c/p>\n\u003cp>\u003cstrong>You took over the magazine four years ago. What have you learned about literary publishing in the digital era?\u003c/strong>\u003c/p>\n\u003cp>What we do as a print journal is not affected greatly one way or another by digital. We have a web presence, but it isn’t our main focus or future. What we’re making is a print product.\u003c/p>\n\u003cp>What we’re doing isn’t mainstream. Our audience isn’t going to be huge. It’s a cottage industry. We’re making artisan cheese, not Velveeta. If it was mainstream that would be awesome — and I’m not just speaking about \u003cem>Zyzzyva\u003c/em>, but for every journal — because that would mean that every American wanted to read serious literature.\u003c/p>\n\u003cp>\u003cstrong>What are you most proud of in your first four years?\u003c/strong>\u003c/p>\n\u003cp>Not letting this San Francisco institution fall by the wayside. We’re an independent, non-profit literary journal with no backing from a university or institution. That’s not easy to do.\u003c/p>\n\u003cp>\u003cstrong>What is your goal for the future?\u003c/strong>\u003c/p>\n\u003cp>The idea is to make \u003cem>Zyzzyva\u003c/em> so indispensable that when the day comes that Laura and I leave, it’s still here and someone can take it over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"gce-list-event\">\u003cstrong>ZYZZYVA’s Winter Issue / 30th Anniversary Event\u003c/strong> is January 13, 7pm at City Lights Books in San Francisco. For \u003ca href=\"http://www.citylights.com/info/?fa=event&event_id=2228\">more information\u003c/a> visit citylights.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n",
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"excerpt": "It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lots of Questions But No Easy Answers at the Berkeley Ideas Fest",
"headTitle": "Lots of Questions But No Easy Answers at the Berkeley Ideas Fest | KQED",
"content": "\u003cp>Among the topics discussed at the \u003ca href=\"http://www.berkeleyideas.com/\" target=\"_blank\" rel=\"noopener\">Uncharted: A Festival of Ideas\u003c/a> on Friday and Saturday in Berkeley was Moravec’s Paradox — the notion that hard problems are easy and easy problems are hard. The concept was first framed by scientists working in artificial intelligence when they realized getting robots to pick up a sippy cup or recognize Uncle George’s face was harder than making them play chess.\u003c/p>\n\u003cfigure id=\"attachment_10144657\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144657 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png\" alt=\"Andrés Roemer, Uncharted 2014, October 24, 2014; photo by Pete Rosos\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-400x260.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png 993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrés Roemer talks about dangerous ideas with Daniel Schifrin . Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Uncharted speaker Andrés Roemer, who is the General Consul of Mexico in San Francisco, the author of 16 books and the organizer of his own festival — \u003ca href=\"http://www.ciudaddelasideas.com/\">La Ciudad de las Ideas\u003c/a>, in Puebla, Mexico — captured the spirit of the Berkeley gathering with his notion that “the really dangerous idea is something that goes against the status quo.” The status quo was always in question during two days of conversation with leading scientists, artists, authors, researchers and activists. Change is occurring at such an exponential rate in the era we live in that even the architects of the scientific and technological advances driving the change cannot themselves fully understand the potential impacts or ethical implications.\u003c/p>\n\u003cp>Jennifer Doudna and Randy Schekman are both top scientists in molecular and cell biology at U.C. Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_10144655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png\" alt=\"Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\" width=\"400\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-759x600.png 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png 930w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Doudna’s \u003ca href=\"http://www.nytimes.com/2014/03/04/health/a-powerful-new-way-to-edit-dna.html\">CRISPR technique \u003c/a>makes it possible to easily edit the genome of any species. Profoundly powerful, it’s also disconcerting, and Doudna has founded the \u003ca href=\"http://innovativegenomics.org/\">Innovative Genomics Initiative\u003c/a> to look at the vast implications. “Technology is always out in front of the understanding of ethical issues,” she said.\u003c/p>\n\u003cp>Randy Schekman won the \u003ca href=\"http://www.nobelprize.org/nobel_prizes/medicine/laureates/2013/schekman-facts.html\">Nobel Prize in Medicine in 2013\u003c/a> for his work understanding transportation inside the cell on a molecular level. After calling for “curiosity-based science” rather than “top-down science” driven by corporate and government interests, he said “We may reach a point where we control our own evolution.” Neither Schekman, or anyone else, knew what to say to that potential status quo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dev Patnaik, \u003ca href=\"http://www.wiredtocare.com/\">CEO of the strategy firm Jump Associates\u003c/a>, talked about the massive changes coming in a world that will soon swell to 9 billion with growing inequality and other challenges. Most people, however, when told the world is changing and they have to act, resist. Only 17 percent are future oriented. According to Patnaik, most change happens only when the pain of changing is less than the pain of staying the same. With health care, for example, when people finally realized the US didn’t have the best system in the world, reforms at last started to happen. “We have to make the current state of \u003cem>crapitude\u003c/em> tangible,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://solarfuelshub.org/personnel/nate-lewis.html\">Nate Lewis, the scientific director of the Joint Center for Artificial Photosynthesis\u003c/a>, definitely feels the urgency. He and his colleagues are racing to develop a carbon-neutral power solution — an artificial leaf that uses micro semi-conductors instead of chlorophylls to capture energy. “We have to do this in 20 years because planet is a ticking time bomb,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ligtt.org/people/shashi-buluswar\">Shashi Buluswar\u003c/a> leads the Lawrence Berkeley National Laboratory Institute for Globally Transformative Technologies, which is developing sustainable technologies to fight global poverty and serve a need that charity, governments or the private sector can’t or won’t fill. Their first product is a portable, solar refrigerator to transport vaccines, which easily spoil. “There’s a moral imperative to succeed” because hundreds of thousands of unvaccinated children die needlessly every year.\u003c/p>\n\u003cp>Since 1900, Americans have gained 30 years of life expectancy — a wonderful thing. But living longer isn’t just about extending old age. “We have to carefully redesign the whole life cycle,” said Stanford psychologist Laura Carstensen. “We need to improve the quality of life for all ages.” In her vision, people will be working longer, but better – maybe fewer hours a week. Leisure doesn’t have to begin at 65.\u003c/p>\n\u003cp>Being part of the culture of change is imperative yet many are excluded from it. Among other things, this creates a poverty of ideas. Kalimah Priforce of \u003ca href=\"http://www.qeyno.com/\">Qeyno Labs\u003c/a> in Oakland runs minority-focused hack-a-thons. “These kids design different apps because they have different needs,” he said. Instead of a pizza delivery app, one girl built an app to help stop trafficking of young women.\u003c/p>\n\u003cfigure id=\"attachment_10144658\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144658 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png\" alt=\"Coffee break at Uncharted 2014; Photo by Nancy Rubin\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-400x274.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coffee break at Uncharted 2014; Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp>And in the midst of so much change, what does it mean to be ourselves relative to robots and artificial intelligence that are becoming increasingly sophisticated thanks to the networked “robo-brain” in the cloud? Or in social media environments that both facilitate and control our communication?\u003c/p>\n\u003cp>For \u003ca href=\"http://www.katelosse.tv/\">Kate Losse\u003c/a>, author and former Facebook employee who used to write Mark Zuckerberg’s posts, the answer has been to start her own simple website where she can publish one article and control how it is framed instead of having her expression shaped by the algorithms on Facebook that choose what goes when, where. “The algorithm is a blunt instrument,” she said.\u003c/p>\n\u003cp>As for robots, it’s somewhat reassuring to know that “saying something interesting is a deeper problem than saying something true,” according to Brian Christian, author of \u003ca href=\"http://brian-christian.com/the-most-human-human/\">The Most Human Human\u003c/a>. In other words, the open-channel communication that takes place in a cafe or bar when we naturally process sensory input and memories while we converse requires “theory of mind,” something computers definitely lack. But as the \u003ca href=\"http://www.wired.com/2014/08/robobrain/\">“robo-brain”\u003c/a> acquires vast amounts of data and well-tested algorithms to process it, we may think we’re more like robots than we really are.\u003c/p>\n\u003cp>When asked whether it was possible to encode ethical behavior into machines, Ken Goldberg, a robotics scientist and artist from U.C. Berkeley, said that humans also have ethical challenges. “Do you swerve to avoid the old lady, or the child?” Goldberg said computers do not have initiative. “But we have to be careful how we program them.”\u003c/p>\n\u003cp>Of course language and art are the most mysterious and powerful of human technologies. Sadly, composer John Adams had to cancel his talk on why he makes music. In the wake of protests lat week at the New York opening of his opera \u003cem>The Death of Klinghoffer\u003c/em>, about the 1985 hijacking of the Achille Lauro cruise ship by the Palestine Liberation Front\u003cem>,\u003c/em> he needed “to remove himself from the public realm and finish his commissions.” But as the managing director of Berkeley Repertory Theater Susan Medak said, the controversy over the opera showed that music and words “actually do matter.”\u003c/p>\n\u003cfigure id=\"attachment_10144663\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144663 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png\" alt=\"Vincent Medina Jr., Uncharted 2014, October 24, 2014; Photo by Nancy Rubin\" width=\"400\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vincent Medina recites an Ohlone prayer in the Chochenyo language. Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Among the words that mattered most at Uncharted were those spoken by \u003ca href=\"https://heydaybooks.com/qa-with-vincent-medina/\">Vincent Medina, Jr.\u003c/a>, a young Ohlone Indian. The last two speakers of the Chochenyo language died in the 1930s, and the tongue had been declared dead. But a curious Medina started researching and found forgotten recordings and notes on grammar in the Bancroft Library at U.C. Berkeley. Now Medina, together with members of his tribe and linguists, have brought Chochenyo back to life. “I like to say the language was asleep and is now being nudged back into consciousness,” Medina said, after reciting a prayer to the creator in Chochenyo. “There are the oldest words of this area that we now call Berkeley.”\u003c/p>\n\u003cp>Uncharted gave all the ideas I mentioned above and many I didn’t have space for an ecumenical airing. In the parlance of Brian Christian, it was \u003cem>full duplex\u003c/em> — open channel cross talk like in a bar — not the reductive \u003cem>half duplex\u003c/em> talk of one at a time messaging, which is what a robot can handle.\u003c/p>\n\u003cp>In such as atmosphere, easy problems may still be hard (for robots and some of us humans). But hard problems are at least easy to talk about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Leading scientists, artists, authors and activists traded concepts and colloquy last weekend as they hashed over the rapid pace of technological change and our responses to it at Uncharted: the Berkeley Festival of Ideas. ",
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"description": "Leading scientists, artists, authors and activists traded concepts and colloquy last weekend as they hashed over the rapid pace of technological change and our responses to it at Uncharted: the Berkeley Festival of Ideas. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Among the topics discussed at the \u003ca href=\"http://www.berkeleyideas.com/\" target=\"_blank\" rel=\"noopener\">Uncharted: A Festival of Ideas\u003c/a> on Friday and Saturday in Berkeley was Moravec’s Paradox — the notion that hard problems are easy and easy problems are hard. The concept was first framed by scientists working in artificial intelligence when they realized getting robots to pick up a sippy cup or recognize Uncle George’s face was harder than making them play chess.\u003c/p>\n\u003cfigure id=\"attachment_10144657\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144657 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png\" alt=\"Andrés Roemer, Uncharted 2014, October 24, 2014; photo by Pete Rosos\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-400x260.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png 993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrés Roemer talks about dangerous ideas with Daniel Schifrin . Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Uncharted speaker Andrés Roemer, who is the General Consul of Mexico in San Francisco, the author of 16 books and the organizer of his own festival — \u003ca href=\"http://www.ciudaddelasideas.com/\">La Ciudad de las Ideas\u003c/a>, in Puebla, Mexico — captured the spirit of the Berkeley gathering with his notion that “the really dangerous idea is something that goes against the status quo.” The status quo was always in question during two days of conversation with leading scientists, artists, authors, researchers and activists. Change is occurring at such an exponential rate in the era we live in that even the architects of the scientific and technological advances driving the change cannot themselves fully understand the potential impacts or ethical implications.\u003c/p>\n\u003cp>Jennifer Doudna and Randy Schekman are both top scientists in molecular and cell biology at U.C. Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_10144655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png\" alt=\"Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\" width=\"400\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-759x600.png 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png 930w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Doudna’s \u003ca href=\"http://www.nytimes.com/2014/03/04/health/a-powerful-new-way-to-edit-dna.html\">CRISPR technique \u003c/a>makes it possible to easily edit the genome of any species. Profoundly powerful, it’s also disconcerting, and Doudna has founded the \u003ca href=\"http://innovativegenomics.org/\">Innovative Genomics Initiative\u003c/a> to look at the vast implications. “Technology is always out in front of the understanding of ethical issues,” she said.\u003c/p>\n\u003cp>Randy Schekman won the \u003ca href=\"http://www.nobelprize.org/nobel_prizes/medicine/laureates/2013/schekman-facts.html\">Nobel Prize in Medicine in 2013\u003c/a> for his work understanding transportation inside the cell on a molecular level. After calling for “curiosity-based science” rather than “top-down science” driven by corporate and government interests, he said “We may reach a point where we control our own evolution.” Neither Schekman, or anyone else, knew what to say to that potential status quo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dev Patnaik, \u003ca href=\"http://www.wiredtocare.com/\">CEO of the strategy firm Jump Associates\u003c/a>, talked about the massive changes coming in a world that will soon swell to 9 billion with growing inequality and other challenges. Most people, however, when told the world is changing and they have to act, resist. Only 17 percent are future oriented. According to Patnaik, most change happens only when the pain of changing is less than the pain of staying the same. With health care, for example, when people finally realized the US didn’t have the best system in the world, reforms at last started to happen. “We have to make the current state of \u003cem>crapitude\u003c/em> tangible,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://solarfuelshub.org/personnel/nate-lewis.html\">Nate Lewis, the scientific director of the Joint Center for Artificial Photosynthesis\u003c/a>, definitely feels the urgency. He and his colleagues are racing to develop a carbon-neutral power solution — an artificial leaf that uses micro semi-conductors instead of chlorophylls to capture energy. “We have to do this in 20 years because planet is a ticking time bomb,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ligtt.org/people/shashi-buluswar\">Shashi Buluswar\u003c/a> leads the Lawrence Berkeley National Laboratory Institute for Globally Transformative Technologies, which is developing sustainable technologies to fight global poverty and serve a need that charity, governments or the private sector can’t or won’t fill. Their first product is a portable, solar refrigerator to transport vaccines, which easily spoil. “There’s a moral imperative to succeed” because hundreds of thousands of unvaccinated children die needlessly every year.\u003c/p>\n\u003cp>Since 1900, Americans have gained 30 years of life expectancy — a wonderful thing. But living longer isn’t just about extending old age. “We have to carefully redesign the whole life cycle,” said Stanford psychologist Laura Carstensen. “We need to improve the quality of life for all ages.” In her vision, people will be working longer, but better – maybe fewer hours a week. Leisure doesn’t have to begin at 65.\u003c/p>\n\u003cp>Being part of the culture of change is imperative yet many are excluded from it. Among other things, this creates a poverty of ideas. Kalimah Priforce of \u003ca href=\"http://www.qeyno.com/\">Qeyno Labs\u003c/a> in Oakland runs minority-focused hack-a-thons. “These kids design different apps because they have different needs,” he said. Instead of a pizza delivery app, one girl built an app to help stop trafficking of young women.\u003c/p>\n\u003cfigure id=\"attachment_10144658\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144658 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png\" alt=\"Coffee break at Uncharted 2014; Photo by Nancy Rubin\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-400x274.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coffee break at Uncharted 2014; Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp>And in the midst of so much change, what does it mean to be ourselves relative to robots and artificial intelligence that are becoming increasingly sophisticated thanks to the networked “robo-brain” in the cloud? Or in social media environments that both facilitate and control our communication?\u003c/p>\n\u003cp>For \u003ca href=\"http://www.katelosse.tv/\">Kate Losse\u003c/a>, author and former Facebook employee who used to write Mark Zuckerberg’s posts, the answer has been to start her own simple website where she can publish one article and control how it is framed instead of having her expression shaped by the algorithms on Facebook that choose what goes when, where. “The algorithm is a blunt instrument,” she said.\u003c/p>\n\u003cp>As for robots, it’s somewhat reassuring to know that “saying something interesting is a deeper problem than saying something true,” according to Brian Christian, author of \u003ca href=\"http://brian-christian.com/the-most-human-human/\">The Most Human Human\u003c/a>. In other words, the open-channel communication that takes place in a cafe or bar when we naturally process sensory input and memories while we converse requires “theory of mind,” something computers definitely lack. But as the \u003ca href=\"http://www.wired.com/2014/08/robobrain/\">“robo-brain”\u003c/a> acquires vast amounts of data and well-tested algorithms to process it, we may think we’re more like robots than we really are.\u003c/p>\n\u003cp>When asked whether it was possible to encode ethical behavior into machines, Ken Goldberg, a robotics scientist and artist from U.C. Berkeley, said that humans also have ethical challenges. “Do you swerve to avoid the old lady, or the child?” Goldberg said computers do not have initiative. “But we have to be careful how we program them.”\u003c/p>\n\u003cp>Of course language and art are the most mysterious and powerful of human technologies. Sadly, composer John Adams had to cancel his talk on why he makes music. In the wake of protests lat week at the New York opening of his opera \u003cem>The Death of Klinghoffer\u003c/em>, about the 1985 hijacking of the Achille Lauro cruise ship by the Palestine Liberation Front\u003cem>,\u003c/em> he needed “to remove himself from the public realm and finish his commissions.” But as the managing director of Berkeley Repertory Theater Susan Medak said, the controversy over the opera showed that music and words “actually do matter.”\u003c/p>\n\u003cfigure id=\"attachment_10144663\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144663 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png\" alt=\"Vincent Medina Jr., Uncharted 2014, October 24, 2014; Photo by Nancy Rubin\" width=\"400\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vincent Medina recites an Ohlone prayer in the Chochenyo language. Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Among the words that mattered most at Uncharted were those spoken by \u003ca href=\"https://heydaybooks.com/qa-with-vincent-medina/\">Vincent Medina, Jr.\u003c/a>, a young Ohlone Indian. The last two speakers of the Chochenyo language died in the 1930s, and the tongue had been declared dead. But a curious Medina started researching and found forgotten recordings and notes on grammar in the Bancroft Library at U.C. Berkeley. Now Medina, together with members of his tribe and linguists, have brought Chochenyo back to life. “I like to say the language was asleep and is now being nudged back into consciousness,” Medina said, after reciting a prayer to the creator in Chochenyo. “There are the oldest words of this area that we now call Berkeley.”\u003c/p>\n\u003cp>Uncharted gave all the ideas I mentioned above and many I didn’t have space for an ecumenical airing. In the parlance of Brian Christian, it was \u003cem>full duplex\u003c/em> — open channel cross talk like in a bar — not the reductive \u003cem>half duplex\u003c/em> talk of one at a time messaging, which is what a robot can handle.\u003c/p>\n\u003cp>In such as atmosphere, easy problems may still be hard (for robots and some of us humans). But hard problems are at least easy to talk about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Job Fair for Bacteria at Modernism Gallery",
"headTitle": "Job Fair for Bacteria at Modernism Gallery | KQED",
"content": "\u003cp>It wasn’t clear that Mark Zuckerberg was going to show up, but Jonathon Keats was hopeful. Tuesday night was the launch of \u003ci>Microbial Associates\u003c/i>, the world’s first corporate training academy for microbes. \u003c/p>\n\u003cp>With Silicon Valley companies struggling to add diversity to their workforce and otherwise stay competitive in the rapidly evolving global marketplace, Keats saw an opening. The industry is hungry for disruptive technologies, so why not train and certify bacteria to join the workforce and bring their skill set to the corporate environment?\u003c/p>\n\u003cp>After all, “2.3 billion years ago they fundamentally changed the composition of the atmosphere,” Keats, who is the founder and managing director, explained. “Oxygenation. It doesn’t get any more disruptive than that.”\u003c/p>\n\u003cfigure id=\"attachment_10144379\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.jpg\" alt=\"Courtesy of Jonathon Keats and Modernism Gallery, San Francisco\" width=\"640\" height=\"512\" class=\"size-full wp-image-10144379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Jonathon Keats and Modernism Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t the first business that Keats has launched at Modernism Gallery. The experimental philosopher, artist and writer also created \u003ca href=\"https://www.modernisminc.com/artists/Jonathon_KEATS/SPECULATIONS.html\">a real estate investment company offering properties in extra dimensions\u003c/a> and a start-up that tried to \u003ca href=\"//www.sfgate.com/entertainment/article/Project-Aims-At-Genetically-Engineered-God-SF-3237252.php\">genetically engineer god\u003c/a>, among other endeavors.\u003c/p>\n\u003cp>When I arrived there was a small crowd clustered around three assemblages of Pyrex beakers with lots of tubes and wires sticking out of them. Keats was off to the side completing his first sale — an aluminum vial of a guaranteed 100 million bacteria from Lloyd Lake in Golden Gate Park that had been trained and certified in management. Other bacteria specialize in finance or innovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These are your employees,” Keats told the man, who looked more like an art critic than a corporate recruiter. “Treat them well. I hope they come with new ideas to help you improve your business, whatever that is.”\u003c/p>\n\u003cfigure id=\"attachment_10144360\" class=\"wp-caption alignright\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-453x600.jpg\" alt=\"Courtesy of Jonathon Keats and Modernism Gallery, San Francisco.\" width=\"453\" height=\"600\" class=\"size-medium wp-image-10144360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-453x600.jpg 453w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-891x1180.jpg 891w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Jonathon Keats and Modernism Gallery, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile the crowd had a lot of questions for Keats regarding how the education process worked and how the introduction of bacteria could help their businesses. Keats pointed to the beakers and explained that Microbial Associates could train billions of bacteria at a time in their three state-of-the-art classrooms, far more than even the largest \u003ca href=\"http://en.wikipedia.org/wiki/Massive_open_online_course\" target=\"_blank\" rel=\"noopener\">MOOC\u003c/a>, or online course, which might only have 100,000 students.\u003c/p>\n\u003cp>The challenge, pedagogically speaking, is to speak a language the bacteria will understand. “We do not anthropomorphize here.”\u003c/p>\n\u003cp>So for the management course, Keats uses galvanotaxis and chemotaxis, ways bacteria sense their environment. As he explains in the course materials, “By modulating the flow of chemicals and electricity in vitro, we can demonstrate essential principles such as supply and demand and strategic planning. For instance, bacteria learn about supply curves by being pumped in and out of equilibrium, giving them the direct experience of a concept CEOs only grasp in the abstract.”\u003c/p>\n\u003cp>Another obvious advantage to incorporating bacteria into your workforce according to Keats is that they will inevitably be a force of innovation because of their rapid mutation via horizontal gene transfer.\u003c/p>\n\u003cp>“When a new antibiotic comes along the bacteria can quickly get around that,” Keats marveled. “That takes design innovation genius on their part. They do it by being able to swap entire functional genes and large parts of their DNA, large enough that they can functionally take on other skill sets. If we were to emulate them in terms of corporate structure, it would involve constant swapping of skills in this highly promiscuous way that would result for any given employee a set of unique skills.”\u003c/p>\n\u003cp>A few people seemed to be convinced, or at least amused, by this argument and decided to purchase a vial for $10 dollars.\u003c/p>\n\u003cp>The contract specifies that the bacteria must be returned to Lloyd Lake after five business days. Microbial Associates takes a 50-50 split of the $10, which Keats justifies as necessary to cover the expense of training billions of bacteria. As for the microbes, they don’t care about a $5 dollar bill — “except for occasional transportation purposes” — so Keats will donate their share to the San Francisco Parks and Recreation Department. “What matters to them is their environment.”\u003c/p>\n\u003cp>Another issue is respect. Certification is the way Keats hopes that corporate workers will accept the unique qualities of bacteria. “They might take them as colleagues rather than filth.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Microbial Associates\u003c/strong> is available to view by appointment at Modernism Gallery. For \u003ca href=\"https://www.modernisminc.com/exhibitions/Jonathon_KEATS--Microbial_Associates/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit modernisminc.com.\u003c/p>\n\n",
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"excerpt": "Tuesday night marked the launch of Jonathan Keats' \u003ci>Microbial Associates\u003c/i>, the world’s first corporate training academy for microbes. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t clear that Mark Zuckerberg was going to show up, but Jonathon Keats was hopeful. Tuesday night was the launch of \u003ci>Microbial Associates\u003c/i>, the world’s first corporate training academy for microbes. \u003c/p>\n\u003cp>With Silicon Valley companies struggling to add diversity to their workforce and otherwise stay competitive in the rapidly evolving global marketplace, Keats saw an opening. The industry is hungry for disruptive technologies, so why not train and certify bacteria to join the workforce and bring their skill set to the corporate environment?\u003c/p>\n\u003cp>After all, “2.3 billion years ago they fundamentally changed the composition of the atmosphere,” Keats, who is the founder and managing director, explained. “Oxygenation. It doesn’t get any more disruptive than that.”\u003c/p>\n\u003cfigure id=\"attachment_10144379\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.jpg\" alt=\"Courtesy of Jonathon Keats and Modernism Gallery, San Francisco\" width=\"640\" height=\"512\" class=\"size-full wp-image-10144379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Jonathon Keats and Modernism Gallery, San Francisco\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t the first business that Keats has launched at Modernism Gallery. The experimental philosopher, artist and writer also created \u003ca href=\"https://www.modernisminc.com/artists/Jonathon_KEATS/SPECULATIONS.html\">a real estate investment company offering properties in extra dimensions\u003c/a> and a start-up that tried to \u003ca href=\"//www.sfgate.com/entertainment/article/Project-Aims-At-Genetically-Engineered-God-SF-3237252.php\">genetically engineer god\u003c/a>, among other endeavors.\u003c/p>\n\u003cp>When I arrived there was a small crowd clustered around three assemblages of Pyrex beakers with lots of tubes and wires sticking out of them. Keats was off to the side completing his first sale — an aluminum vial of a guaranteed 100 million bacteria from Lloyd Lake in Golden Gate Park that had been trained and certified in management. Other bacteria specialize in finance or innovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These are your employees,” Keats told the man, who looked more like an art critic than a corporate recruiter. “Treat them well. I hope they come with new ideas to help you improve your business, whatever that is.”\u003c/p>\n\u003cfigure id=\"attachment_10144360\" class=\"wp-caption alignright\" style=\"max-width: 453px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-453x600.jpg\" alt=\"Courtesy of Jonathon Keats and Modernism Gallery, San Francisco.\" width=\"453\" height=\"600\" class=\"size-medium wp-image-10144360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-453x600.jpg 453w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/microbial.install.10.21.2.lo_-891x1180.jpg 891w\" sizes=\"(max-width: 453px) 100vw, 453px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Jonathon Keats and Modernism Gallery, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile the crowd had a lot of questions for Keats regarding how the education process worked and how the introduction of bacteria could help their businesses. Keats pointed to the beakers and explained that Microbial Associates could train billions of bacteria at a time in their three state-of-the-art classrooms, far more than even the largest \u003ca href=\"http://en.wikipedia.org/wiki/Massive_open_online_course\" target=\"_blank\" rel=\"noopener\">MOOC\u003c/a>, or online course, which might only have 100,000 students.\u003c/p>\n\u003cp>The challenge, pedagogically speaking, is to speak a language the bacteria will understand. “We do not anthropomorphize here.”\u003c/p>\n\u003cp>So for the management course, Keats uses galvanotaxis and chemotaxis, ways bacteria sense their environment. As he explains in the course materials, “By modulating the flow of chemicals and electricity in vitro, we can demonstrate essential principles such as supply and demand and strategic planning. For instance, bacteria learn about supply curves by being pumped in and out of equilibrium, giving them the direct experience of a concept CEOs only grasp in the abstract.”\u003c/p>\n\u003cp>Another obvious advantage to incorporating bacteria into your workforce according to Keats is that they will inevitably be a force of innovation because of their rapid mutation via horizontal gene transfer.\u003c/p>\n\u003cp>“When a new antibiotic comes along the bacteria can quickly get around that,” Keats marveled. “That takes design innovation genius on their part. They do it by being able to swap entire functional genes and large parts of their DNA, large enough that they can functionally take on other skill sets. If we were to emulate them in terms of corporate structure, it would involve constant swapping of skills in this highly promiscuous way that would result for any given employee a set of unique skills.”\u003c/p>\n\u003cp>A few people seemed to be convinced, or at least amused, by this argument and decided to purchase a vial for $10 dollars.\u003c/p>\n\u003cp>The contract specifies that the bacteria must be returned to Lloyd Lake after five business days. Microbial Associates takes a 50-50 split of the $10, which Keats justifies as necessary to cover the expense of training billions of bacteria. As for the microbes, they don’t care about a $5 dollar bill — “except for occasional transportation purposes” — so Keats will donate their share to the San Francisco Parks and Recreation Department. “What matters to them is their environment.”\u003c/p>\n\u003cp>Another issue is respect. Certification is the way Keats hopes that corporate workers will accept the unique qualities of bacteria. “They might take them as colleagues rather than filth.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Microbial Associates\u003c/strong> is available to view by appointment at Modernism Gallery. For \u003ca href=\"https://www.modernisminc.com/exhibitions/Jonathon_KEATS--Microbial_Associates/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit modernisminc.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Berkeley Celebrates 50th Anniversary of Free Speech Movement",
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"content": "\u003cfigure id=\"attachment_148494\" class=\"wp-caption aligncenter\" style=\"max-width: 637px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/brk00040959b_c.jpg\">\u003cimg class=\"wp-image-148494 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/brk00040959b_c-637x640.jpg\" alt=\"brk00040959b_c\" width=\"637\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-637x640.jpg 637w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-300x300.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-1023x1028.jpg 1023w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c.jpg 1494w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mario Savio stands on top of police car in front of Sproul Hall on Oct 1. 1964. (Courtesy of UC Berkeley, The Bancroft Library).\u003c/figcaption>\u003c/figure>\n\u003cp>They say that 50 is the new 40, so it’s fitting that the Free Speech Movement, or FSM, is still in great shape.\u003c/p>\n\u003cp>As the Berkeley-born movement marks its golden anniversary on Oct. 1 -- the date in 1964 when students surrounded a police car in Sproul Plaza containing activist Jack Weinberg, who had been arrested for distributing civil rights information on campus -- the university and the community at large are holding commemorative rallies, teach-ins, poetry readings and other events.\u003c/p>\n\u003cp>UC Berkeley has created a website called \u003ca href=\"http://fsm.berkeley.edu/\">FSM50\u003c/a> with the tagline: “Activism is in our DNA.” A \u003ca href=\"http://www.dailycal.org/2014/09/15/fsm/\">new play about the era\u003c/a> debuts at Berkeley Repertory Theatre this weekend with music co-written by Daniel Savio, the son of Mario Savio, one of the most significant activists of the FSM generation.\u003c/p>\n\u003cp>Three veterans of the Free Speech Movement spoke with Michael Krasny on \u003cem>Forum\u003c/em> Tuesday about their participation in this formative era: Jack Weinberg, now an environmental activist; Lynnd Hollander Savio, Mario Savio’s widow; and Jackie Goldberg, a former California assemblywoman who spoke to the crowd from atop a police car on Oct. 1.\u003c/p>\n\u003cp>The conversation, however, didn’t linger too long over the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On \u003cem>Forum,\u003c/em> Weinberg recounted how he and other young activists in fall 1964 had reached a boiling point over the university administration’s ban on political speech and campus activism. Weinberg defied the ban and set up a table to distribute civil rights literature. He soon found himself under arrest and hauled into a police car. Students, realizing what happened, surrounded the police car. Weinberg spent 33 hours inside as activists turned the car into a podium for what would become a historic rally for free speech.\u003c/p>\n\u003cp>The image of Mario Savio standing atop the car in his blazer and stocking feet (so as not to damage the roof) as he demanded “no arbitrary restrictions of free speech of any kind on this campus” is iconic -- but not just as a media artifact of '60s bravado. Robert Cohen, also a guest on the \u003cem>Forum\u003c/em> program, wrote in \"The Free Speech Movement: Reflections on Berkeley in the 1960s\" that \"what happened at Berkeley was an authentic political invention -- a new and complex mixture of issues, tactics, emotions, and setting that became the prototype for student protest throughout the decade. Nothing quite like it had ever before appeared in America.”\u003c/p>\n\u003cp>The show's guests focused on the movement's legacy after recalling the events of Oct. 1 and its aftermath, leading up to the occupation of Sproul Plaza on Dec. 2, the mass arrest of students on Dec. 3 and UC Berkeley Chancellor Clark Kerr’s speech upholding the university’s right to restrict speech -- culminating in the vote by the Academic Senate on Dec. 8, 1964, finally acceding to student demands and lifting all restrictions on speech. (You can listen to the complete episode \u003ca href=\"http://www.kqed.org/a/forum/R201409231000\">here\u003c/a>. The events are also chronicled on this \u003ca href=\"http://www.pbs.org/pov/berkeleyinthesixties/\">timeline\u003c/a> and in the documentary “\u003ca href=\"http://www.pbs.org/pov/berkeleyinthesixties/\">Berkeley In the Sixties\u003c/a>,” available to stream on Netflix.)\u003c/p>\n\u003cp>\u003cstrong>The Way It Was (And Is)\u003c/strong>\u003c/p>\n\u003cp>It is the connections from that time to the present that resonate, the guests said.\u003c/p>\n\u003cp>“I think it’s a mistake to think that all of this is past and ancient history,” Cohen said, mentioning the Occupy protests that swept the nation’s campuses and cities in 2011 as well as today's movement to stop climate change.\u003c/p>\n\u003cp>According to Goldberg, most people have a distorted idea that the FSM roared into history with thousands of activists at the ready. She recounted sitting at literature tables on Bancroft Way with a handful of other students as people walked by without a glance. “There’s a mythology that somehow we were different and these kids today are not as good as we were. That’s just baloney.”\u003c/p>\n\u003cp>Weinberg agreed. “Young people today are getting a bad rap,” he said. He denounced growing economic inequality, and said huge tuition hikes have made it necessary for students to work all the time to pay off their loans. “I think that’s coming to a head right now.”\u003c/p>\n\u003cp>As recently as 2011, riot police used batons to remove students and Occupy protesters from Sproul Plaza, described in\u003ca href=\"http://www.theatlantic.com/national/archive/2011/11/uc-berkeley-riot-police-use-batons-to-clear-students-from-sproul-plaza/248228/\" target=\"_blank\"> a piece in The Atlantic\u003c/a> as “the ground zero” of the FSM. The Academic Senate later condemned the police actions, and the administration backed down and apologized. Cohen noted the outrage was recognition that the Dec. 8, 1964 resolution, which said the content of speech should not be regulated, is still crucial.\u003c/p>\n\u003cp>Recent comments by UC Berkeley Chancellor Nicholas Dirks might indicate that the debate over free speech issues is far from over. His Sept. 5 email to faculty, staff and students, titled “Civility and Free Speech,” caused an uproar because he seemed to qualify what constituted acceptable speech, writing: \"We can only exercise our right to free speech insofar as we feel safe and respected in doing so, and this in turn requires that people treat each other with civility.”\u003c/p>\n\u003cp>Critics of Dirks’ email noted that civility is a specious criterion for protecting speech; They say that some spoken dissent is by definition going to be considered uncivil by authorities who generally have the power to regulate it, such as the university administration or the government.\u003c/p>\n\u003cp>A few days later Dirks sought to \u003ca href=\"http://newscenter.berkeley.edu/2014/09/12/chancellor-dirks-on-civility/\">clarify his comments\u003c/a>, which he said were not meant in any sense to advocate squelching dissent: “In invoking my hope that commitments to civility and to freedom of speech can complement each other, I did not mean to suggest any constraint on freedom of speech, nor did I mean to compromise in any way our commitment to academic freedom, as defined both by this campus and the American Association of University Professors.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For some, Dirks’ remarks have a distant echo with comments by Robert Gordon Sproul, UC Berkeley president from 1930 to 1958. Cohen, who was a student in the 1950s, wrote in his book that Sproul’s Cold-War era notions that the university should protect students from dangerous ideas \"meant for Sproul ‘freedom within the framework of public good’ and ‘liberty with order.’ ”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_148494\" class=\"wp-caption aligncenter\" style=\"max-width: 637px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/brk00040959b_c.jpg\">\u003cimg class=\"wp-image-148494 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/brk00040959b_c-637x640.jpg\" alt=\"brk00040959b_c\" width=\"637\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-637x640.jpg 637w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-300x300.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-1023x1028.jpg 1023w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/09/brk00040959b_c.jpg 1494w\" sizes=\"(max-width: 637px) 100vw, 637px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mario Savio stands on top of police car in front of Sproul Hall on Oct 1. 1964. (Courtesy of UC Berkeley, The Bancroft Library).\u003c/figcaption>\u003c/figure>\n\u003cp>They say that 50 is the new 40, so it’s fitting that the Free Speech Movement, or FSM, is still in great shape.\u003c/p>\n\u003cp>As the Berkeley-born movement marks its golden anniversary on Oct. 1 -- the date in 1964 when students surrounded a police car in Sproul Plaza containing activist Jack Weinberg, who had been arrested for distributing civil rights information on campus -- the university and the community at large are holding commemorative rallies, teach-ins, poetry readings and other events.\u003c/p>\n\u003cp>UC Berkeley has created a website called \u003ca href=\"http://fsm.berkeley.edu/\">FSM50\u003c/a> with the tagline: “Activism is in our DNA.” A \u003ca href=\"http://www.dailycal.org/2014/09/15/fsm/\">new play about the era\u003c/a> debuts at Berkeley Repertory Theatre this weekend with music co-written by Daniel Savio, the son of Mario Savio, one of the most significant activists of the FSM generation.\u003c/p>\n\u003cp>Three veterans of the Free Speech Movement spoke with Michael Krasny on \u003cem>Forum\u003c/em> Tuesday about their participation in this formative era: Jack Weinberg, now an environmental activist; Lynnd Hollander Savio, Mario Savio’s widow; and Jackie Goldberg, a former California assemblywoman who spoke to the crowd from atop a police car on Oct. 1.\u003c/p>\n\u003cp>The conversation, however, didn’t linger too long over the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On \u003cem>Forum,\u003c/em> Weinberg recounted how he and other young activists in fall 1964 had reached a boiling point over the university administration’s ban on political speech and campus activism. Weinberg defied the ban and set up a table to distribute civil rights literature. He soon found himself under arrest and hauled into a police car. Students, realizing what happened, surrounded the police car. Weinberg spent 33 hours inside as activists turned the car into a podium for what would become a historic rally for free speech.\u003c/p>\n\u003cp>The image of Mario Savio standing atop the car in his blazer and stocking feet (so as not to damage the roof) as he demanded “no arbitrary restrictions of free speech of any kind on this campus” is iconic -- but not just as a media artifact of '60s bravado. Robert Cohen, also a guest on the \u003cem>Forum\u003c/em> program, wrote in \"The Free Speech Movement: Reflections on Berkeley in the 1960s\" that \"what happened at Berkeley was an authentic political invention -- a new and complex mixture of issues, tactics, emotions, and setting that became the prototype for student protest throughout the decade. Nothing quite like it had ever before appeared in America.”\u003c/p>\n\u003cp>The show's guests focused on the movement's legacy after recalling the events of Oct. 1 and its aftermath, leading up to the occupation of Sproul Plaza on Dec. 2, the mass arrest of students on Dec. 3 and UC Berkeley Chancellor Clark Kerr’s speech upholding the university’s right to restrict speech -- culminating in the vote by the Academic Senate on Dec. 8, 1964, finally acceding to student demands and lifting all restrictions on speech. (You can listen to the complete episode \u003ca href=\"http://www.kqed.org/a/forum/R201409231000\">here\u003c/a>. The events are also chronicled on this \u003ca href=\"http://www.pbs.org/pov/berkeleyinthesixties/\">timeline\u003c/a> and in the documentary “\u003ca href=\"http://www.pbs.org/pov/berkeleyinthesixties/\">Berkeley In the Sixties\u003c/a>,” available to stream on Netflix.)\u003c/p>\n\u003cp>\u003cstrong>The Way It Was (And Is)\u003c/strong>\u003c/p>\n\u003cp>It is the connections from that time to the present that resonate, the guests said.\u003c/p>\n\u003cp>“I think it’s a mistake to think that all of this is past and ancient history,” Cohen said, mentioning the Occupy protests that swept the nation’s campuses and cities in 2011 as well as today's movement to stop climate change.\u003c/p>\n\u003cp>According to Goldberg, most people have a distorted idea that the FSM roared into history with thousands of activists at the ready. She recounted sitting at literature tables on Bancroft Way with a handful of other students as people walked by without a glance. “There’s a mythology that somehow we were different and these kids today are not as good as we were. That’s just baloney.”\u003c/p>\n\u003cp>Weinberg agreed. “Young people today are getting a bad rap,” he said. He denounced growing economic inequality, and said huge tuition hikes have made it necessary for students to work all the time to pay off their loans. “I think that’s coming to a head right now.”\u003c/p>\n\u003cp>As recently as 2011, riot police used batons to remove students and Occupy protesters from Sproul Plaza, described in\u003ca href=\"http://www.theatlantic.com/national/archive/2011/11/uc-berkeley-riot-police-use-batons-to-clear-students-from-sproul-plaza/248228/\" target=\"_blank\"> a piece in The Atlantic\u003c/a> as “the ground zero” of the FSM. The Academic Senate later condemned the police actions, and the administration backed down and apologized. Cohen noted the outrage was recognition that the Dec. 8, 1964 resolution, which said the content of speech should not be regulated, is still crucial.\u003c/p>\n\u003cp>Recent comments by UC Berkeley Chancellor Nicholas Dirks might indicate that the debate over free speech issues is far from over. His Sept. 5 email to faculty, staff and students, titled “Civility and Free Speech,” caused an uproar because he seemed to qualify what constituted acceptable speech, writing: \"We can only exercise our right to free speech insofar as we feel safe and respected in doing so, and this in turn requires that people treat each other with civility.”\u003c/p>\n\u003cp>Critics of Dirks’ email noted that civility is a specious criterion for protecting speech; They say that some spoken dissent is by definition going to be considered uncivil by authorities who generally have the power to regulate it, such as the university administration or the government.\u003c/p>\n\u003cp>A few days later Dirks sought to \u003ca href=\"http://newscenter.berkeley.edu/2014/09/12/chancellor-dirks-on-civility/\">clarify his comments\u003c/a>, which he said were not meant in any sense to advocate squelching dissent: “In invoking my hope that commitments to civility and to freedom of speech can complement each other, I did not mean to suggest any constraint on freedom of speech, nor did I mean to compromise in any way our commitment to academic freedom, as defined both by this campus and the American Association of University Professors.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For some, Dirks’ remarks have a distant echo with comments by Robert Gordon Sproul, UC Berkeley president from 1930 to 1958. Cohen, who was a student in the 1950s, wrote in his book that Sproul’s Cold-War era notions that the university should protect students from dangerous ideas \"meant for Sproul ‘freedom within the framework of public good’ and ‘liberty with order.’ ”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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