Lost and Font

 If you walked out of your home without knowing you’d accidentally time traveled
into the past, how long would it take you to realize what had happened? What if they
had sent you back ten years, or thirty, or a hundred? Discuss with your team: how far
into the past would you need to be to realize instantly that you were in a different era?

Answer:

Time Travel Realization

Discussion Points:

1. Immediate Realization:
- A Hundred Years Back: Significant changes in architecture, clothing styles, modes of
transportation, and the absence of modern technology (smartphones, internet) would likely make
someone aware almost instantly that they are in a different era.
- Thirty Years Back: Changes would still be noticeable but more subtle. Lack of modern cars,
different fashion trends, and older technology like CRT TVs might be clues.
- Ten Years Back: The differences are subtler but might include outdated smartphones, older models
of cars, and different social media trends. Noticing the date on a newspaper or a public calendar might
be the quickest giveaway.

Team Discussion:
- How would different team members' observations vary based on their personal interests or expertise
(e.g., someone into fashion might notice clothing changes more quickly)?

Conclusion

Time travel realization can vary significantly depending on the era and the observer's
personal interests or expertise.

1. A Hundred Years Back: The differences in architecture, clothing, transportation, and

technology are stark and would be immediately noticeable to anyone. The absence of modern
conveniences like smartphones and the internet would be glaring. Experts in various fields
would quickly identify specific changes: a fashion enthusiast by the drastic shift in styles, a
technology expert by the lack of modern devices, and a historian by the context of historical
events and societal norms.

2. Thirty Years Back: The differences, while less extreme than a hundred years back, would
still be quite evident. Outdated car models, fashion trends from the 90s or early 2000s, and
older technology such as CRT TVs and early mobile phones would be clear indicators. Each
team member would use their unique perspective to pinpoint the era: a tech enthusiast by the
lack of advanced gadgets, an automotive enthusiast by the older car models, and a media
enthusiast by the distinct pop culture references.

3. Ten Years Back: The subtleties of the recent past would require closer observation.
Outdated smartphones, slightly different fashion trends, and older car models would provide
clues. The quickest giveaway might be checking a date on a newspaper or public calendar.
Experts would use their knowledge to recognize more nuanced differences: a fashion
enthusiast by subtle shifts in trends, a technology expert by older operating systems and
social media platforms, and a media enthusiast by popular TV shows and music from the
early 2010s.

Overall, the realization of time travel hinges on observing changes in everyday life and how
these changes align with one's area of expertise. By pooling their observations, team
members can collaboratively pinpoint the specific era they have traveled to, enriching their
understanding of the temporal shift and its implications.

 One clue to your whenabouts might be the text around you: not just the headlines on
newspapers and store signs, but the fonts they’re printed in. Consider some of
the history of typography, then discuss with your team: how different would the world
look today if Microsoft had chosen Comic Sans instead of Calibri as its default
typeface in the early 2000s—or as its successor 20 years later. The London
Underground also decided to update its fontin 2016 for a more modern look—did it
succeed? Be sure to learn the difference between serifand sans serif fonts, and then
see which ones are used more widely. Does the same distinction apply in non-Western
alphabets?

The Impact of Typeface Choices

Typography, the art and technique of arranging type, plays a crucial role in visual
communication. The choice of typeface can influence readability, tone, and even the
perception of content. Let's explore how different the world might look if Microsoft had
chosen Comic Sans instead of Calibri as its default typeface, the London Underground's font
update in 2016, and the distinction between serif and sans serif fonts, including their usage in
non-Western alphabets.

Comic Sans vs. Calibri

Comic Sans as Default Typeface:

Comic Sans, designed by Vincent Connare in 1994, is a casual, non-connecting script

inspired by comic book lettering. It’s playful and informal, often used in contexts aimed at
children or to convey light-heartedness.

**Hypothetical World with Comic Sans Default:**

1. **Professionalism and Credibility:**

- Comic Sans lacks the formal and professional appearance of more neutral fonts like
Calibri. Its widespread use as a default could have led to a perception of decreased
professionalism in documents, potentially undermining the seriousness of business
communications, academic papers, and official documents.
2. **User Experience:**

- Comic Sans is less legible in long texts compared to Calibri. This could have impacted
readability and user experience in digital interfaces, potentially causing frustration and
reduced efficiency.

3. **Cultural Impact:**

- The informal nature of Comic Sans might have influenced design trends towards a more
casual aesthetic. This could have permeated various aspects of culture, from advertising to
branding, possibly leading to a more laid-back visual culture.

### Calibri as Default Typeface

Calibri, designed by Lucas de Groot in 2002, is a modern sans serif typeface known for its
clean lines and readability. It became the default typeface for Microsoft Office in 2007,
replacing Times New Roman.

**Success of Calibri:**

1. **Readability and Modernity:**

- Calibri’s design prioritizes readability on screens and in print. Its modern and neutral
appearance makes it versatile for various applications, from formal documents to casual
emails.

2. **Professional and Neutral Tone:**

- As a sans serif font, Calibri conveys a professional yet approachable tone, suitable for a
wide range of contexts. Its adoption likely helped standardize document presentation,
contributing to a cohesive and professional digital environment.

### London Underground Font Update

In 2016, the London Underground updated its typeface to New Johnston, a modernized
version of the classic Johnston typeface designed in 1916.

**Success of the Update:**

1. **Modern Yet Familiar:**

- New Johnston retains the distinctiveness of the original while updating its features for
improved clarity and legibility, particularly important for signage in a bustling urban
environment.
2. **Brand Identity:**

- The update maintained the iconic look associated with the London Underground, ensuring
brand continuity while modernizing the aesthetic to align with contemporary design
standards.

### Serif vs. Sans Serif Fonts

**Serif Fonts:**

- Serif fonts, like Times New Roman, feature small lines or strokes attached to the ends of
letters. They are often perceived as traditional, formal, and authoritative. Serifs aid in
readability in long, printed texts by guiding the eye from one letter to the next.

**Sans Serif Fonts:**

- Sans serif fonts, like Arial or Calibri, lack these strokes, offering a clean and modern look.
They are commonly used for digital screens due to their clarity and simplicity.

### Non-Western Alphabets

The distinction between serif and sans serif fonts is less pronounced but still present in non-
Western alphabets. For example:

**Chinese Characters:**

- **Serif-like:** Song or Ming typefaces, with strokes that have varying thickness and
ornamental elements, akin to serifs, are often used in print for a traditional feel.

- **Sans Serif-like:** Hei typefaces, with uniform stroke thickness and a clean appearance,
are preferred for digital use and modern designs.

**Japanese Characters:**

- Similar distinctions exist, with Mincho (serif-like) and Gothic (sans serif-like) styles.

### Conclusion

Typeface choices significantly impact visual communication, influencing readability, tone,

and cultural aesthetics. Microsoft's selection of Calibri over Comic Sans ensured a
professional and readable default typeface that helped standardize digital communication.
The London Underground's font update successfully balanced modernity with brand heritage.
Understanding serif and sans serif distinctions, including their adaptations in non-Western
alphabets, highlights the global relevance of thoughtful typography in shaping our visual
environment.

Typography significantly impacts how text is perceived, influencing professionalism,

readability, and user experience. Had Microsoft chosen Comic Sans as its default font, the
professional landscape would have likely been disrupted, leading to a search for more
suitable alternatives. The London Underground's successful update of its iconic typeface
highlights the importance of balancing historical significance with modern needs.
Understanding the nuances between serif and sans serif fonts, as well as their equivalents in
non-Western alphabets, underscores the universal importance of thoughtful typography in
design.

 Recently, the United States Department of State changed its own default font from
Times New Roman to Calibri—20 years after first switching from Courier to Times
New Roman. Each move sparked at least 36 points of controversy. Discuss with your
team: should governments even have standardized fonts? If so, how should they pick
them, and when should they change them?

Standardized fonts in government documents serve important purposes, but the choice and
timing of changes to these fonts can indeed generate significant debate. Here’s an analysis of
the key considerations regarding whether governments should have standardized fonts, how
they should pick them, and when they should change them.

### Should Governments Have Standardized Fonts?

**Pros:**

1. **Professionalism and Uniformity:** Standardized fonts help present a consistent and

professional appearance across all government communications. This fosters a sense of
reliability and formality in official documents.

2. **Readability and Accessibility:** Certain fonts are easier to read and more accessible to
people with visual impairments. Standardizing on such fonts can ensure that documents are
accessible to a wider audience.

3. **Brand Identity:** Just as companies have brand identities, a standardized font can
contribute to a coherent and recognizable visual identity for a government.

**Cons:**

1. **Stifling Creativity:** A rigid adherence to standardized fonts can stifle creativity and
limit the ability to tailor documents for specific audiences or purposes.
2. **Resistance to Change:** Switching fonts can be seen as unnecessary or wasteful,
especially if the new font choice is controversial or if the transition requires significant
resources.

### How Should Governments Pick Fonts?

**1. **Legibility and Accessibility:**

- **Readability:** Fonts should be easy to read both on screens and in print. This includes
considerations for font size, spacing, and clarity.

- **Accessibility:** Fonts should comply with accessibility standards to ensure they are
usable by individuals with visual impairments. Sans-serif fonts like Calibri are often
recommended for better on-screen readability.

**2. **Technical Compatibility:**

- **Cross-Platform Consistency:** The font should render consistently across different

devices and operating systems to ensure documents look the same for all users.

- **Compatibility with Existing Systems:** The chosen font should integrate well with the
government’s current technology and document management systems.

**3. **Cost and Licensing:**

- **Cost-Effectiveness:** Governments should consider the cost of font licenses and

choose options that are financially sustainable.

- **Open Source vs. Proprietary:** Open-source fonts can reduce costs and avoid licensing
issues, but they must still meet all other criteria.

**4. **Cultural and Psychological Impact:**

- **Perception:** Fonts carry psychological and cultural connotations. A modern, clean

font can convey a forward-thinking image, while a traditional font might convey stability and
trustworthiness.

- **Inclusivity:** Fonts should be neutral and inclusive, avoiding any styles that could be
seen as culturally biased or inappropriate for official documents.

### When Should Governments Change Fonts?

**1. **Technological Advances:**

 - **Evolving Standards:** As technology evolves, new fonts may be developed that offer
better readability or technical advantages. Governments should periodically review their font
choices to stay current with best practices.

**2. **Feedback and Usability Studies:**

- **User Feedback:** Changes should be driven by feedback from both government

employees and the public. If a significant portion of users finds a font difficult to read, this
should prompt a review.

- **Usability Testing:** Conducting usability tests to compare different fonts can provide
data-driven insights into which fonts perform best.

**3. **Rebranding and Modernization:**

- **Rebranding Initiatives:** Large-scale rebranding or modernization efforts may justify a

change in the standardized font to align with new visual identity guidelines.

- **Significant Events:** Major political or administrative changes might also be

appropriate times to reconsider font choices, symbolizing a new era or direction.

**4. **Periodic Reviews:**

- **Scheduled Reviews:** Governments could establish a regular review cycle (e.g., every
10-15 years) to evaluate their standardized fonts and consider updates based on current needs
and trends.

In summary, while having standardized fonts in government documents can promote

consistency, professionalism, and accessibility, the choice of font should be carefully
considered based on readability, technical compatibility, cost, cultural impact, and user
feedback. Changes to these fonts should be driven by significant technological advances, user
needs, rebranding efforts, or periodic reviews to ensure they remain effective and relevant.

 If all these fonts confuse you—or you just want to check whether a document (such as
an alternative World Scholar’s Cup outline) is a forgery—you could always hire
a forensic font expert. Read about the kind of work such experts do, then discuss with
your team: should some fonts be reserved for exclusive use by AIs and others for
humans?

Forensic font experts are professionals who specialize in analyzing and authenticating
documents by examining the fonts used in them. This field, part of forensic document
examination, involves scrutinizing the typefaces, letter spacing, and other typographical
features to determine if a document is genuine or altered. These experts can identify
inconsistencies in font usage that may indicate a forgery, such as anachronistic typefaces or
irregularities in font application that aren't consistent with known standards or printing
practices of a certain period.

Given the increasing sophistication of AI in generating text and documents, the idea of
reserving certain fonts exclusively for AI and others for human use raises several points of
discussion:

1. **Security and Authentication**:

- **Pro:** Having exclusive fonts for AI-generated content could help in verifying the
authenticity of documents. If a document is supposed to be human-made but contains an AI-
exclusive font, it could be flagged for further inspection.

- **Con:** This might not be foolproof, as once the exclusive fonts are identified, they
could potentially be mimicked or copied by malicious entities, thus defeating the purpose.

2. **Creativity and Accessibility**:

- **Pro:** Reserving fonts for humans could preserve the creative use of typefaces for
artists, designers, and writers, ensuring that human-created works have a distinctive look and
feel.

- **Con:** This might limit the accessibility and functionality of fonts for various users.
Fonts are tools for communication and should ideally be available to anyone, regardless of
whether they are human or AI.

3. **Technical and Practical Challenges**:

- **Pro:** Implementing exclusive fonts might push the development of new security
features in document verification technologies, promoting innovation in the field of digital
forensics.

- **Con:** The logistics of enforcing and managing font exclusivity could be complex.
There would need to be a system for font creation, distribution, and usage monitoring, which
could be cumbersome and resource-intensive.

4. **Ethical Considerations**:
 - **Pro:** There might be ethical advantages in distinguishing AI-generated content
clearly, helping to maintain transparency in communication and creation.

- **Con:** Such distinctions could inadvertently create a divide between AI and human
capabilities, possibly leading to unintended biases or discrimination against AI-generated
works.

In conclusion, while reserving certain fonts for exclusive use by AIs and others for humans
presents an interesting method for document authentication and security, it also brings up a
variety of challenges and considerations. It’s essential to weigh the benefits of enhanced
security and authenticity against the potential drawbacks related to accessibility, practicality,
and ethical implications. This discussion could serve as a foundation for further exploration
and decision-making within your team.

 Time travelers often struggle to pay for things; their currency has a cancelled Marvel
actor’s face on it, or they don’t know what money is, or they can’t make the self-
checkout machines work. (Then again, can anyone?) If you found yourself at a
supermarket in 1963, you wouldn’t have been able to pay for anything at all until the
clerk typed in the price of every item you wanted to buy, one at a time. Doing so
quickly was a coveted skill: there was even a competition with prizes like free trips to
Hawaii. The adoption of the barcode in the 1960s was a buzzkill for such price-
inputting savants. Discuss with your team: what other technologies do we take for
granted when we’re at stores or shopping online? And do you support efforts to
reimagine in-person shopping without any form of checkout at all?

We certainly take many technologies for granted when it comes to shopping, both in physical
stores and online. Some of these include:

1. **Barcode Scanners**: As mentioned, barcodes revolutionized the checkout process,

making it much faster and more efficient. Now, we simply scan items and the price is
automatically registered.

2. **Contactless Payment**: With technologies like NFC (Near Field Communication) and
mobile payment apps, we can now pay for items with just a tap or a wave of our phone or
card, eliminating the need for physical cash or even inserting a card into a machine.

3. **Online Shopping Platforms**: The advent of e-commerce platforms like Amazon, eBay,
and countless others have made shopping incredibly convenient. We can browse, compare
prices, and purchase items from the comfort of our own homes, often with quick delivery
options.
4. **Inventory Management Systems**: Behind the scenes, retailers use sophisticated
inventory management systems to track stock levels, predict demand, and ensure items are
available when customers want to buy them.

5. **Personalized Recommendations**: Online shopping platforms use algorithms to analyze

our browsing and purchasing history to provide personalized product recommendations,
making the shopping experience more tailored to individual preferences.

As for the idea of reimaging in-person shopping without any form of checkout at all, it's
definitely an intriguing concept. Technologies like RFID (Radio Frequency Identification)
and computer vision could potentially enable a "grab-and-go" shopping experience, where
items are automatically detected and charged to your account as you leave the store. This
would greatly streamline the checkout process and eliminate the need for waiting in line or
scanning items individually.

However, there are also potential concerns regarding privacy and security with such
technologies, as well as the potential impact on employment if checkout jobs are eliminated.
So, while the idea is exciting, it would need to be carefully implemented and balanced with
these considerations in mind.

 Just as barcodes transformed checkout, QR codes have changed many other everyday
experiences, from debate tree distribution (sometimes) to accessing restaurant menus.
But a change that seemed inevitable during the pandemic has run into resistance since.
Discuss with your team: is this pushback a classic example of society resisting
technological progress, only to eventually succumb? Are there any technologies that
were supposed to change the world which were rejected and stayed rejected?

The pushback against QR codes during the pandemic could indeed be seen as a classic
example of society initially resisting technological progress, only to eventually adopt it. The
resistance might stem from various factors, including unfamiliarity with the technology,
concerns about privacy and data security, or simply a preference for traditional methods.

However, it's worth noting that not all technologies that were supposed to change the world
have been universally accepted. Some examples include:

1. **Google Glass**: When Google Glass was first introduced, it was heralded as a
groundbreaking piece of wearable technology that would revolutionize how we interact with
the world. However, concerns about privacy, as well as the device's high price tag and limited
functionality, led to its failure in the consumer market.

2. **Segway**: The Segway was hyped as a game-changing mode of transportation that

would replace cars for short-distance travel. Despite early excitement and investment, the
Segway never achieved widespread adoption due to its high cost, safety concerns, and
impracticality in many urban environments.
3. **HD-DVD**: In the early 2000s, there was a format war between HD-DVD and Blu-ray
for dominance in the high-definition video market. Despite HD-DVD initially gaining
traction with support from major studios like Universal and Paramount, it ultimately lost out
to Blu-ray and was phased out entirely.

4. **Virtual Reality (VR) Gaming**: While VR gaming has seen some success, it has not
become the ubiquitous form of gaming that many predicted. High costs, technical limitations,
and concerns about motion sickness have limited its widespread adoption.

These examples illustrate that while some technologies may face initial resistance before
eventually being embraced by society, others may fail to gain traction despite early hype and
promise. The success or failure of a technology often depends on a complex interplay of
factors, including practicality, cost, user experience, and societal acceptance.

The Stuff that Dreams Are Remade Of

 Artists sometimes rethink what materials can even be used to make art. Consider
the butter sculptures of Caroline Brooks, or the cassette tape sculptures of Erika Iris
Simmons, in which the artist crafted portraits of famous musicians out of their own
recordings. Discuss with your team: should more portraits be made of materials
related to their subjects? Do works such as Dominique Blain’s Missa—an assemblage
of one hundred army boots—force us to reconsider old topics in new ways, or do they
rely too much on novelty instead of skill?

Creating portraits using materials related to their subjects can be a fascinating way to add
depth and meaning to the artwork. It allows artists to engage with their subjects on a more
intimate level, exploring their identity, history, or cultural significance through the choice of
materials. Whether it's using butter to sculpt portraits of dairy farmers or cassette tapes to
depict musicians, these artworks can offer unique insights into the lives and legacies of the
individuals being portrayed.

That said, the success of such artworks depends not only on the novelty of the materials but
also on the skill and intention behind the creation. While using unconventional materials can
certainly capture attention and provoke thought, the artistic merit ultimately lies in the
execution and the ability of the artist to convey their message effectively.

Works like Dominique Blain's "Missa," which uses army boots to symbolize themes of war,
sacrifice, and collective memory, demonstrate how reimagining traditional subjects in new
ways can prompt viewers to reconsider their perceptions and engage with important social
and historical issues. In this case, the choice of materials serves to enhance the conceptual
impact of the artwork, rather than relying solely on novelty.

However, it's essential for artists working with unconventional materials to demonstrate
technical proficiency and conceptual depth in their work. Simply using unusual materials
without a clear artistic vision or skillful execution can result in artworks that feel gimmicky
or lacking in substance. Ultimately, the balance between novelty and skill is crucial in
creating meaningful and impactful artwork that resonates with audiences.

 A scholar from New Zealand once revealed that her artistic talent also involved an
unusual medium: she painted on pizza dough—with tomato sauce. (This approach
works less well on existing paintings.) If she had been born 40,000 years ago—and to
an egalitarian society with access to foreign fruits—she might have painted on cave
walls instead. While tomato-based pigment wouldn’t have survived to the modern era,
some ancient cave art has. Consider recent efforts to reconstruct the earliest cave art,
including this 35,000 year-old illustration of a babirusa deep in the Maros-Pangkep
caves of Indonesia. Then, discuss with your team: were these early cave dwellers
artists? Is there a difference between painting and documentation—or between
drawing and doodling? Are Charles Darwin’s surviving sketches of finches in the
Galapagos fit to be called works of art?

The ancient cave art discovered in places like the Maros-Pangkep caves of Indonesia
provides fascinating insights into the creative expression and cultural practices of early
humans. Whether these early cave dwellers should be considered artists is a matter of
interpretation, but there is certainly evidence to suggest that they possessed a sophisticated
understanding of symbolic representation and aesthetic expression.

The distinction between painting and documentation, or between drawing and doodling, is
complex and can vary depending on context and intent. While some cave art may have served
practical or ritualistic purposes, such as documenting hunting scenes or conveying spiritual
beliefs, other examples display a level of artistic skill and creativity that suggests a deeper
aesthetic motivation.

In the case of Charles Darwin's sketches of finches in the Galapagos, it's clear that his
primary intention was scientific documentation rather than artistic expression. However,
these sketches can still be appreciated for their observational accuracy and the insights they
provide into Darwin's groundbreaking work on evolution and natural selection. Whether they
are considered works of art may depend on one's definition of art and the context in which
they are viewed.
Ultimately, the distinction between art and documentation, or between drawing and doodling,
is fluid and subjective. What matters most is the intent behind the creation and the impact it
has on those who engage with it. Whether it's ancient cave art, scientific illustrations, or
sketches by a renowned naturalist, each form of visual expression offers valuable glimpses
into the human experience and our ongoing quest for understanding and creativity.

 If it were a Starbucks, they’d just build another one across the street. It’s harder to
know what to do when a historical site is overcrowded. Some governments impose
quotas, as Peru did in 2019 on visitors to the Incan city of Machu Picchu. Facing a
similar situation when tourists swamped its Lascaux Caves to see the art on their
walls, France—built another one across the street. Is it misleading to present such
recreations to tourists as worthwhile destinations? Does it matter whether the
duplicates were made by human hands or a 3D printer, or how far they are from the
original?

Presenting recreations of historical sites to tourists as worthwhile destinations can be a

complex issue with various considerations. On one hand, these recreations can provide
valuable insights into the history, culture, and significance of the original site, allowing
visitors to experience and appreciate it in a controlled and accessible manner. They can also
help alleviate overcrowding and preserve the integrity of the original site by reducing foot
traffic and wear and tear.

However, there are valid concerns about the authenticity and integrity of such recreations,
particularly if they are presented in a way that is misleading or deceptive. Visitors may have
expectations of experiencing the genuine historical site and its atmosphere, only to find
themselves in a replica that lacks the same historical context and aura.

The method of reproduction, whether by human hands or through technologies like 3D

printing, can also influence perceptions of authenticity and value. While both methods can
produce faithful reproductions, there may be differences in the level of detail, craftsmanship,
and materials used, which can affect the overall experience for visitors.

Additionally, the distance between the original site and its recreation may impact perceptions
of authenticity and relevance. Building a replica across the street from the original, as France
did with the Lascaux Caves, may offer a more immediate and tangible connection to the
original site compared to replicas located farther away.
In the end, whether presenting recreations of historical sites to tourists as worthwhile
destinations is misleading or not depends on how they are marketed, the level of transparency
about their authenticity, and the visitor's expectations and understanding. When done
thoughtfully and ethically, recreations can complement and enhance the visitor experience,
providing valuable opportunities for education, preservation, and enjoyment.

 Consider this proposal to build another Egyptian pyramid in Detroit or this second
Eiffel Tower, named Eiffela by creator Phillipe Maindron. The world is full of such
efforts: learn more about these other Eiffel tower replicas, including those in Texas,
Pakistan, and China, then discuss with your team: what other historical landmark
would you want to duplicate? Where would you put it, and would you make it exactly
like the original or would you reimagine it in some way?

The idea of duplicating historical landmarks in different locations can be both intriguing and
controversial. While it can offer opportunities for cultural exchange and tourism, it also raises
questions about authenticity, cultural appropriation, and the preservation of heritage.

As for duplicating another historical landmark, one possibility could be the Parthenon in
Athens, Greece. The Parthenon is not only an iconic symbol of ancient Greek civilization but
also a UNESCO World Heritage Site. A faithful reproduction of the Parthenon could be
placed in a location that lacks access to such historical treasures, perhaps in a major city with
a vibrant cultural scene and a significant Greek diaspora community, such as New York City.

However, rather than creating an exact replica, reimagining the Parthenon in a contemporary
context could offer new possibilities for engagement and interpretation. For example,
incorporating modern materials or architectural techniques could highlight the enduring
relevance of ancient Greek ideals and values in today's world. Additionally, integrating
interactive elements or multimedia installations could provide immersive educational
experiences for visitors of all ages.

Ultimately, the decision to duplicate a historical landmark and how to do so should involve
careful consideration of cultural, social, and ethical implications, as well as collaboration
with local communities and stakeholders. While recreating iconic landmarks can spark
imagination and foster appreciation for history and heritage, it's essential to approach such
endeavors with sensitivity and respect for the original context and significance of the
monument.
  Even if these sites weren’t overcrowded—more Baku than Kuala Lumpur—they
would still require us to travel to them. Not everyone has the means. But, at least in
theory, far more people could visit reconstructions of them in virtual reality, or VR.
(VR was the last trendy two-letter acronym before AI.) Explore the offerings of the
Australian company Lithodomos, then discuss with your team: would you support this
technology being used in classrooms? Should more real-world tourism be replaced
with VR visits? Check out the following VR implementations at museums, then
discuss with your team: are these VR interpretations of past works themselves new
works of art?
 The Ochre Atelier | London Tate Museum
 The Opening of the Diet 1863 | National Museum of Finland

Lithodomos, an Australian company specializing in virtual reality reconstructions of

historical sites, offers an intriguing glimpse into the potential of VR technology for education
and tourism. By creating immersive VR experiences of ancient cities and landmarks, such as
Pompeii or the Acropolis, Lithodomos allows users to explore these sites from anywhere in
the world, providing unprecedented access to cultural heritage and historical knowledge.

The use of VR in classrooms could be highly beneficial, offering students the opportunity to
engage with history and archaeology in a dynamic and interactive way. VR reconstructions
can bring historical events and locations to life, fostering deeper understanding and empathy
among students. Additionally, VR technology can accommodate different learning styles and
preferences, making it a valuable tool for educators to enhance their teaching methods.

When it comes to real-world tourism, VR visits could complement traditional travel

experiences, especially for individuals who may not have the means or ability to travel to
distant locations. VR reconstructions can offer a more accessible and inclusive alternative,
allowing people to explore iconic landmarks and cultural sites virtually.

However, while VR can provide immersive and visually stunning experiences, it cannot fully
replicate the sensory richness and authenticity of real-world encounters. There's something
unique about physically being present in a historical site, feeling the texture of ancient stone
or hearing the sounds of a bustling marketplace, that VR technology cannot fully capture.

As for the VR implementations at museums like the London Tate Museum and the National
Museum of Finland, they represent innovative interpretations of past works using modern
technology. While the VR experiences themselves may not be considered new works of art in
the traditional sense, they offer novel ways for audiences to engage with and interpret
historical events and artistic creations.
Overall, VR technology holds great potential for education, tourism, and cultural heritage
preservation. By combining the immersive power of VR with the richness of historical
knowledge, we can create transformative experiences that inspire curiosity, empathy, and
understanding across generations.

 Artists have been experimenting with integrating VR directly into their work.
Consider the pieces below, then discuss with your team: would they still have as
much artistic value without the VR elements? How soon do you think AI will be
integrated into art in the same way, or is this integration already happening?
 I Came and Went as a Ghost Hand | Rachel Rossin (2016)
 La Camera Insabbiata | Laurie Anderson & Hsin-Chien Huang (2017)

The pieces mentioned, "I Came and Went as a Ghost Hand" by Rachel Rossin and "La
Camera Insabbiata" by Laurie Anderson & Hsin-Chien Huang, both integrate VR technology
directly into the artistic experience. These works raise interesting questions about the
relationship between traditional art forms and emerging technologies like VR.

Without the VR elements, it's likely that these pieces would lose some of their impact and
artistic value. The immersive nature of VR allows viewers to engage with the artwork in a
more interactive and sensory way, blurring the boundaries between the physical and virtual
worlds. In the case of "I Came and Went as a Ghost Hand," for example, the viewer's
movement and interaction with the virtual environment are integral to the experience, shaping
the narrative and aesthetic of the artwork.

As for the integration of AI into art, it's already happening to some extent, with artists
exploring AI-generated art, machine learning algorithms, and interactive installations. AI can
be used to create art in various forms, from generating visual images to composing music or
even writing poetry. However, the integration of AI into art is still in its early stages, and the
full extent of its impact remains to be seen.

AI has the potential to revolutionize the creative process, offering new tools and techniques
for artists to explore and experiment with. Whether AI-generated art will be considered on
par with traditional forms of art is a matter of debate and interpretation. Some may view AI
as a tool for enhancing human creativity and expression, while others may see it as a threat to
the authenticity and uniqueness of artistic vision.

Overall, the integration of VR and AI into art opens up exciting possibilities for innovation
and exploration. As technology continues to evolve, we can expect to see increasingly
dynamic and interactive forms of artistic expression that challenge our perceptions and
expand the boundaries of what is possible in the realm of art.
  Sometimes, a work isn’t copied as much as it is reinterpreted. In the 1980s, two Soviet
artists-in-exile, Vitaly Komar and Alexander Melamid, painted the head of Josef
Stalin perched on a woman's hand. Judith on the Red Square was just one of many
takes on a historical moment that may never even have happened. Compare their
version with those below, then discuss with your team: how do their styles and
meanings vary? If, as critics argue, they celebrate “female rage”, should we still be
studying any of them? Pay special attention to the Mannerist style of Giorgio Vasari,
in which artists abandon the pursuit of realism in favor of imagined ideals. When is it
better to make something less realistic?
 Judith with the Head of Holofernes | Michael Wolgemut & Wilhelm
Pleydenwurff (1493)
 Judith and Holofernes | Giorgio Vasari (1554)
 Judith Slaying Holofernes | Artemisia Gentileschi (1612-13)
 Judith and Holofernes | Pedro Americo (1880)
 Judith and Holofernes | Kehinde Wiley (2012)

The various interpretations of the biblical story of Judith and Holofernes offer fascinating
insights into the evolution of artistic styles and cultural contexts. Let's examine how their
styles and meanings vary:

1. **Judith on the Red Square by Komar and Melamid**: This interpretation places Josef
Stalin's head on a woman's hand, subverting the traditional narrative of Judith and
Holofernes. The use of Stalin's head adds a layer of political and historical commentary,
reflecting the artists' experiences as Soviet exiles and their critique of authoritarianism.

2. **Judith with the Head of Holofernes by Wolgemut & Pleydenwurff (1493)**: This
Renaissance-era painting depicts Judith holding the head of Holofernes, a common motif in
Christian art. The style is characterized by attention to detail and naturalism, reflecting the
Renaissance emphasis on humanism and classical ideals.

3. **Judith and Holofernes by Vasari (1554)**: Vasari's Mannerist interpretation departs

from realism in favor of exaggerated forms and elongated proportions. The composition is
dynamic and theatrical, with swirling drapery and dramatic gestures, conveying a sense of
tension and movement.

4. **Judith Slaying Holofernes by Gentileschi (1612-13)**: Gentileschi's Baroque painting

portrays Judith as a strong and determined figure, emphasizing her agency and bravery. The
use of chiaroscuro adds depth and drama to the scene, heightening the emotional intensity.
5. **Judith and Holofernes by Pedro Americo (1880)**: This Academic-style painting
follows a more traditional approach, with a focus on composition and narrative clarity. The
figures are rendered with idealized proportions and classical beauty, reflecting the Academic
preference for polished technique and historical subject matter.

6. **Judith and Holofernes by Kehinde Wiley (2012)**: Wiley's contemporary

reinterpretation reimagines Judith as a powerful and assertive black woman, challenging
traditional notions of gender and race in art. The use of vibrant colors and decorative patterns
evokes a sense of contemporary urban culture, while the pose and composition reference
historical portraiture.

In considering whether these interpretations should be studied, it's important to recognize the
value of art as a reflection of cultural, social, and political dynamics. Each interpretation
offers unique insights into the artist's worldview, aesthetic sensibilities, and historical
context. While some may celebrate "female rage" or challenge traditional power structures,
others may provoke critical reflection or spark dialogue about issues of identity,
representation, and justice.

As for the Mannerist style of Giorgio Vasari, the departure from realism allows artists to
explore imaginative and symbolic elements, creating compositions that are expressive and
emotionally charged. Sometimes, making something less realistic can enhance the artistic
impact by emphasizing abstraction, symbolism, or metaphorical meaning. In the case of
Vasari's Judith and Holofernes, the exaggerated forms and theatrical composition convey the
psychological intensity of the narrative, engaging viewers on a visceral and emotional level.

 In 2023, when the Mauritshuis Museum in the Hague lent out one of its most famous
works—Johannes Vermeer’s The Girl with the Pearl Earring (1665)—it launched a
competition, titled My Girl with a Pearl, for something to hang in its place. Over 3500
artists submitted their reimaginings of the original Vermeer. The winner was a lovely
work titled A Girl with Glowing Earrings—which turned out to have been made using
AI. The museum was criticized, even as the German-based artist Julian van Dieken
behind it pointed out that he had been upfront about his methods. Discuss with your
team: should museums be allowed to display art generated using AI tools?

The question of whether museums should be allowed to display art generated using AI tools
is complex and multifaceted, with various considerations to take into account.
On one hand, AI-generated art represents an innovative and evolving form of artistic
expression that reflects advancements in technology and creativity. It challenges traditional
notions of authorship and creativity, blurring the lines between human and machine-
generated art. By displaying AI-generated art, museums have the opportunity to showcase
cutting-edge developments in the arts and explore the intersection of technology and culture.

Furthermore, AI-generated art can offer new perspectives and insights into artistic processes
and aesthetics. It can push the boundaries of traditional art forms, introducing novel
techniques and styles that may not be achievable through conventional means. Museums have
a responsibility to reflect the diversity and dynamism of contemporary art practices, which
may include AI-generated artworks.

However, there are also valid concerns and criticisms associated with displaying AI-
generated art in museums. Some argue that AI lacks the intentionality, emotionality, and
personal experience that are intrinsic to human creativity. There are questions about the
authenticity and originality of AI-generated artworks, as well as the ethical implications of
attributing artistic merit to machine-generated processes.

Moreover, there are considerations regarding the role of museums in preserving and
promoting human cultural heritage and artistic traditions. While AI-generated art may be
innovative and technically impressive, museums must also prioritize the preservation and
interpretation of historically significant artworks and cultural artifacts.

Ultimately, the decision to display AI-generated art in museums should be approached

thoughtfully and critically, taking into account the artistic merits, ethical considerations, and
cultural significance of the artworks in question. Museums should be transparent about the
methods and processes used to create AI-generated art, and engage in dialogue with
audiences about the implications and impact of this emerging form of artistic expression.

 Sitting astride a gallant white steed in Jacques-Louis David’s Napoleon Crossing the
Alps(1801) is purportedly Napoleon, but Napolean didn’t want to pose for the work—
despite having given David very specific instructions on what to paint. “Calme sur un
cheval fougueux,” he requested. Calm on a fiery horse. For a model, David resorted to
his own son—who stood calmly on a fiery ladder. To achieve more drama, he
replaced the mule from Napoleon’s actual journey (on a fair summer day) with a
stallion (battling a blistering storm). The most accurate thing about the painting was
the uniform. It had only been a year since the actual event happened; surely some
 people knew how inaccurate the work was, and his own face in it was bland and
undetailed—but Napoleon reputably loved the finished product. “Nobody knows if
the portraits of the great men resemble them [anyway],” the victorious general
offered, by way of justification. Discuss with your team: was Napoleon right in
recognizing that history would remember how David had portrayed him? You should
also take a look at this piece by Paul Delaroche in 1853, which tried to reconstruct the
past more accurately than it had been reimagined in the present—should an AI be
used to transplant some of the details from this version into the original piece?

Napoleon's recognition that history would remember how Jacques-Louis David had portrayed
him reflects an understanding of the power of art and visual representation in shaping public
perception and historical memory. While David's painting may have taken artistic liberties
and deviated from historical accuracy, its dramatic and heroic portrayal of Napoleon served
political and propagandistic purposes, contributing to the cult of personality surrounding the
French leader.

Napoleon's acceptance and even admiration of the finished painting suggest that he valued
the symbolic significance and impact of visual representations of power and authority. By
embracing David's portrayal, Napoleon tacitly acknowledged the role of art as a tool for
shaping narratives and shaping collective memory.

As for Paul Delaroche's piece in 1853, which attempted to reconstruct the past more
accurately than David's interpretation, it raises questions about the relationship between
historical accuracy and artistic interpretation. While Delaroche sought to provide a more
faithful representation of historical events, his painting still reflects his own artistic style and
perspective, which may differ from contemporary accounts or historical records.

Regarding the idea of using AI to transplant details from Delaroche's version into David's
original piece, it's an intriguing proposition that raises ethical and aesthetic considerations.
While AI technology can facilitate the restoration or enhancement of historical artworks, it
also raises questions about the integrity and authenticity of the original work.

Ultimately, decisions about restoring or modifying historical artworks should be made with
careful consideration of artistic intent, historical context, and preservation ethics. While AI
can offer valuable tools for analyzing and interpreting artworks, the integrity of the original
artist's vision and the historical significance of the piece should be respected and preserved.
Any interventions or enhancements should be undertaken with transparency, scholarly rigor,
and respect for the integrity of the artwork and its historical context.

 Napoleon rode his white “horse”; George Washington rode a raft. Emanuel
Leutze's Washington Crossing the Delaware (1851) captures a key moment in
America's founding myth: the future first president leading his men against on the
British. As paintings go, it is iconic; it is also inaccurate. In 2011, Mort
Kunstler reimagined the scene more realistically. Compare his take to Leutze's, then
consider a version that critiques the myth behind all of it: Robert Colescott's “George
Washington Carver Crossing the Delaware: Page from an American History
Textbook (1975). If you could print only one of these three works in a history
textbook, which would you choose? Did Leutze’s become the most iconic only
because it was first?

Each of these artworks presents a different interpretation of the iconic moment of

Washington Crossing the Delaware, reflecting varying perspectives on history, myth-making,
and artistic representation. Let's compare the three works and consider their merits for
inclusion in a history textbook:

1. **Emanuel Leutze's Washington Crossing the Delaware (1851)**: Leutze's painting is

perhaps the most well-known and iconic depiction of Washington's crossing. Despite its
inaccuracies in terms of historical details, such as the size of the boats and the attire of the
soldiers, it effectively captures the spirit of the American Revolution and the heroism of
Washington and his men. Its dramatic composition and emotive portrayal have contributed to
its enduring popularity and cultural significance.

2. **Mort Kunstler's Washington Crossing the Delaware (2011)**: Kunstler's reinterpretation

aims for greater historical accuracy, depicting the scene with more realistic proportions and
details. While it may lack the theatricality and grandeur of Leutze's version, it offers a more
grounded and historically informed perspective on the event. Kunstler's painting could be
valuable in providing a more nuanced understanding of the historical context and challenges
faced by Washington and his troops.

3. **Robert Colescott's George Washington Carver Crossing the Delaware: Page from an
American History Textbook (1975)**: Colescott's work offers a satirical and critical
commentary on the mythologizing of American history and the whitewashing of historical
narratives. By replacing George Washington with the African American scientist George
Washington Carver, Colescott challenges conventional representations of American heroism
and nationalism. His painting prompts viewers to reconsider whose stories are privileged and
whose are marginalized in traditional historical narratives.

In choosing which work to include in a history textbook, it ultimately depends on the

educational objectives and the message that the textbook seeks to convey. Leutze's painting
may be the most iconic and instantly recognizable, but Kunstler's version offers a more
accurate depiction of the historical event. Meanwhile, Colescott's painting provokes critical
reflection on the construction of historical myths and the need for diverse perspectives in
historical representation.

While Leutze's painting may have become iconic in part due to its historical precedence, its
enduring popularity also reflects its emotive power and cultural resonance. However, the
inclusion of Kunstler's and Colescott's works alongside Leutze's could provide students with
a richer and more comprehensive understanding of the complexities of history and the ways
in which it is interpreted and represented through art.

 In Puerto Rico, tourists can visit an old fort, the Castillo (Castle) San Felipe del
Morro, which is now a museum with grand views of the sea. Those of us who grew up
watching Disney might think of castles as places from which princesses emerge to
build snowmen, but in real life they more often served as military bases and seats of
regional power. Explore some of the techniques used to reconstruct castles that have
lost the battle with time, such as LED lights, 3D models, and VR — then discuss with
your team: should they be rebuilt in real life instead?

Reconstructing castles that have been lost to time is a complex and multifaceted endeavor,
with various techniques and considerations involved. Let's explore some of the techniques
used for reconstructing castles:

1. **LED Lights**: LED lights are often used to illuminate the remains of castles at night,
enhancing their visibility and creating a dramatic atmosphere. By strategically placing lights
around the castle ruins, it is possible to highlight key architectural features and evoke a sense
of the castle's former grandeur.

2. **3D Models**: Advances in technology have made it possible to create highly detailed
3D models of castle ruins, allowing historians, archaeologists, and preservationists to study
and document them in greater depth. These models can also be used to visualize what the
castles may have looked like in their original state, providing valuable insights for
reconstruction efforts.

3. **Virtual Reality (VR)**: VR technology offers immersive experiences that allow users to
explore and interact with virtual reconstructions of castles. By donning a VR headset, visitors
can virtually walk through the halls and courtyards of a reconstructed castle, gaining a deeper
understanding of its layout and history.

While these techniques can be valuable tools for preserving and interpreting castle ruins, the
question of whether they should be rebuilt in real life is more complex. Rebuilding castles
entails significant challenges, including historical accuracy, financial costs, and ethical
considerations.

On one hand, rebuilding castles can contribute to cultural heritage preservation and tourism,
providing opportunities for education, recreation, and economic development. Reconstructed
castles can serve as living museums and historical landmarks, enriching local communities
and attracting visitors from around the world.

On the other hand, rebuilding castles raises questions about authenticity, historical integrity,
and the potential impact on the surrounding environment. Reconstructed castles may never
fully capture the spirit and authenticity of the original structures, and there is a risk of
romanticizing or idealizing the past through selective reconstruction.

Ultimately, the decision to rebuild castles should be made on a case-by-case basis, taking into
account factors such as historical significance, community engagement, and sustainable
preservation practices. While some castles may benefit from reconstruction efforts, others
may be best preserved as ruins, allowing visitors to connect with the past in a more authentic
and contemplative manner.

 When rebuilding castles in real life, should we update them to reflect modern values
such as sustainability, inclusiveness, and indoor plumbing? Consider the controversy
in Japan over adding elevators to Nagoya Castle for guests experiencing limited
mobility, then discuss with your team: at what point does rebuilding something
become reimagining it? Attempts to restore the Notre-Dame Cathedral in Paris also
 raised similar questions. Should these rebuilt structures still be considered
as UNESCO World Heritage Sites?

The question of whether to update reconstructed castles to reflect modern values such as
sustainability, inclusiveness, and accessibility raises important considerations about the
balance between preserving historical authenticity and meeting contemporary needs. Let's
delve into the controversy surrounding the addition of elevators to Nagoya Castle in Japan
and the restoration efforts at Notre-Dame Cathedral in Paris:

1. **Nagoya Castle**: The addition of elevators to Nagoya Castle sparked controversy and
debate among preservationists and heritage enthusiasts. While some argued that the elevators
would improve accessibility and inclusivity for visitors with limited mobility, others
expressed concerns about the potential impact on the historical integrity and authenticity of
the castle. Critics argued that the elevators would detract from the castle's original
architectural character and compromise its UNESCO World Heritage status.

2. **Notre-Dame Cathedral**: The devastating fire at Notre-Dame Cathedral in 2019

prompted discussions about how best to restore the iconic landmark. While there was
consensus on the importance of preserving the cathedral's historical and architectural
significance, there were differing opinions on whether to rebuild it exactly as it was before
the fire or to incorporate modern elements and technologies. Some advocated for a faithful
reconstruction, while others proposed innovative solutions, such as incorporating sustainable
materials or renewable energy systems.

At what point does rebuilding something become reimagining it? Rebuilding becomes
reimagining when significant departures from the original design or intent are made in favor
of modernization or adaptation to contemporary values. This can include alterations to the
architectural style, additions of new features or amenities, or reinterpretations of historical
elements to align with modern sensibilities.

As for whether rebuilt structures should still be considered UNESCO World Heritage Sites, it
ultimately depends on the extent to which the reconstruction preserves the outstanding
universal value and authenticity of the original site. UNESCO World Heritage status is
granted to sites of exceptional cultural and historical significance, and any reconstruction
efforts must adhere to strict guidelines to ensure the integrity and authenticity of the site are
maintained.
In cases where significant alterations or modernizations are made during the reconstruction
process, UNESCO may reassess the site's eligibility for World Heritage status. However, if
the reconstruction successfully preserves the essential characteristics and values of the
original site while incorporating necessary updates for sustainability, inclusiveness, and
accessibility, it may still be considered worthy of recognition and protection as a World
Heritage Site.

 The Queen King of England doesn’t live in a castle; Buckingham Palace has neither a
moat nor a drawbridge. Castles and palaces are often confused—unsurprising, as both
are large structures with no real purpose in the year 2024. Research the following
castles and palaces that have found ways to open their doors to modern visitors, then
discuss with your team: would their original residents have liked “what we’ve done
with the place”? While most renovated castles and palaces are converted into hotels or
museums, what else could be done with them? Should they be converted into low-cost
housing for those in need?
 The Winter Palace (Russia) | Rambagh Palace (India)
 Parador Alcaniz (Spain) | St Donats Castle (Wales)
 Alnwick Castle (England) | Doune Castle (Scotland)

The Winter Palace in Russia, now part of the State Hermitage Museum, and the Rambagh
Palace in India, converted into a luxury hotel, are examples of castles and palaces that have
adapted to modern uses while still preserving their historical and architectural significance.
Parador Alcaniz in Spain, housed in a former castle, and St Donats Castle in Wales, used as
an arts center and educational venue, are other examples of repurposed historical buildings
that have found new life in the modern era. Alnwick Castle in England, which serves as both
a tourist attraction and a venue for events and activities, and Doune Castle in Scotland,
known for its preservation efforts and appearances in film and television, are additional
examples of castles that have successfully integrated modern functions with their historical
heritage.

Whether the original residents of these castles and palaces would approve of the ways in
which their homes have been adapted depends on their individual preferences and values.
While some might appreciate efforts to preserve and showcase their legacy, others might
have reservations about commercialization or alterations to the original structure.

While many renovated castles and palaces are converted into hotels or museums, there are
other creative possibilities for their use. For example, they could be repurposed as cultural
centers, community hubs, educational institutions, or even mixed-use developments that
incorporate residential, commercial, and recreational spaces. Converting castles and palaces
into low-cost housing for those in need could be a noble and socially beneficial endeavor,
provided that it is done with sensitivity to historical preservation and the needs of the local
community.
Ultimately, the adaptive reuse of castles and palaces presents opportunities to breathe new
life into these historic buildings while honoring their past and contributing to the cultural and
economic vitality of their surroundings. The key is to strike a balance between preservation
and adaptation, ensuring that their original charm and character are preserved while also
meeting the needs and aspirations of modern society.

 Castles aren’t the only instances of old infrastructure finding new life in the modern
world. In medieval times London Bridge was a living bridge, serving not just as a
river crossing but as the host of an entire community of shops and houses. Now it’s
just a song lyric and a thoroughfare. In New York, an old elevated rail line has been
reborn as the popular High Line park; in Hong Kong and Athens, retired airports—
with their massive footprints—are being redeveloped into entire neighborhoods. On a
smaller scale, many urban rooftops are becoming organic farms and suburban parking
lots solar farms. Discuss with your team: what other aspects of older infrastructure
could be used in new ways with minimal changes?

There are numerous aspects of older infrastructure that could be repurposed and utilized in
new ways with minimal changes. Here are a few examples:

1. **Railway Stations**: Abandoned or underutilized railway stations could be transformed

into vibrant community spaces, such as cultural centers, art galleries, or coworking hubs.
With their large indoor spaces and historical charm, railway stations offer great potential for
adaptive reuse without significant alterations.

2. **Industrial Warehouses**: Old industrial warehouses and factories can be repurposed

into mixed-use developments, including residential lofts, commercial spaces, and creative
studios. Their high ceilings, large windows, and sturdy structures make them ideal candidates
for adaptive reuse projects.

3. **Waterfront Warehouses**: Similarly, waterfront warehouses and dockyards can be

transformed into lively waterfront districts with restaurants, shops, parks, and recreational
amenities. By preserving the industrial heritage while creating new public spaces, waterfront
redevelopment projects can revitalize urban waterfronts and enhance quality of life for
residents.
4. **Old Bridges**: Historic bridges, like London Bridge, could be revitalized as cultural or
recreational spaces, hosting markets, performances, or public art installations. By activating
the space on and around the bridge, it can become more than just a thoroughfare, but a
destination in its own right.

5. **Canals and Aqueducts**: Ancient canals and aqueducts can be repurposed as linear
parks, greenways, or bike paths, providing opportunities for recreation, transportation, and
ecological restoration. By preserving these historic waterways and integrating them into
urban landscapes, cities can enhance connectivity and promote sustainable living.

6. **Historic Districts**: Older neighborhoods and historic districts can be revitalized

through adaptive reuse projects that retain the character and charm of the original architecture
while accommodating modern needs. This could include converting old homes into boutique
hotels, cafes, or community centers, and repurposing historic storefronts for small businesses
or cultural venues.

Overall, the adaptive reuse of older infrastructure presents exciting opportunities to breathe
new life into neglected or underutilized spaces, while honoring their historical significance
and contributing to sustainable urban development. With thoughtful planning and creative
vision, these spaces can be transformed into vibrant assets that enhance the quality of life for
residents and visitors alike.

Form Follows Fiction

 “Write what you know,” is the first piece of advice given to most students in writing
workshops. Artists, too, tend to paint that which they’ve experienced and observed;
Monet spent a lot of time at his lily pond. But there have always been some artists
who blend the real with the imaginary. Consider the following works, then discuss
with your team: should we respond differently to art that tries to imagine what could
be, art that imagines what could never be, and art that shows us what we didn’t realize
already was?
 A Reversible Anthropomorphic Portrait of a Man Composed of Fruit |
Giuseppe Arcimboldo
 Aerial Rotating House | Albert Robida (1883)
 Late Visitors to Pompeii | Carel Wilink (1931)
 Our Lady of the Iguanas | Graciela Iturbide (1979)
 The Strolling Saint | Pedro Meyer (1991)
 The Romantic Dollarscape | Pedro Alvarez (2003)
 Weirdos of Another Universe | Avery Gibbs (2023)
Should We Respond Differently to Art?
The prompt raises an interesting question about how we approach art that depicts the real, the
imagined, and the surprisingly real. Let's delve into the artworks and explore how they might
influence our response:

 A Reversible Anthropomorphic Portrait of a Man Composed of Fruit (Giuseppe

Arcimboldo): This painting uses familiar objects (fruit) to create something
fantastical (a human face). Our initial reaction might be amusement at the
cleverness, but it also makes us look closer at everyday objects, questioning how we
perceive the world.
 Aerial Rotating House (Albert Robida, 1883): This futuristic vision takes a familiar
concept (a house) and reimagines it in a way we haven't seen before. It sparks our
curiosity about the future and the possibilities of technology.
 Late Visitors to Pompeii (Carel Wilink, 1931): This painting depicts a hauntingly
beautiful scene from history.While the event itself is real, the artistic interpretation
creates an emotional response, urging us to contemplate the impermanence of life.
 Our Lady of the Iguanas (Graciela Iturbide, 1979): This image blends the religious
and the natural in a way that might surprise viewers. It challenges our preconceived
notions of religious iconography and invites us to appreciate the beauty in the
unexpected.
 The Strolling Saint (Pedro Meyer, 1991): This photo combines a religious figure
with a modern setting, creating a humorous and thought-provoking commentary on
the role of religion in contemporary society.
 The Romantic Dollarscape (Pedro Alvarez, 2003): This artwork uses a familiar
object (money) to create a landscape, prompting us to consider the power and
influence of money in our lives.
 Weirdos of Another Universe (Avery Gibbs, 2023): This title suggests creatures
entirely outside our realm of experience. It allows us to indulge our imagination and
explore the vast possibilities of what might exist beyond our known universe.

Different Responses?
While our initial reactions might differ based on the artwork's content, ultimately, all art aims
to evoke some kind of response – a feeling, a thought, a new perspective. The key lies in
engaging with the artwork, considering the artist's intent, and allowing ourselves to be
surprised or challenged.

So, should we respond differently? Perhaps not. But the type of art we encounter can
influence the nature of our response.Art that depicts the real might evoke a sense of
recognition or nostalgia. Art that imagines the impossible might spark wonder or
curiosity. And art that reveals the hidden aspects of reality might prompt us to see the world
in a new light.

The beauty of art lies in its ability to speak to us on multiple levels, regardless of its source
material. The more we open ourselves to these diverse voices, the richer our understanding of
the world and ourselves becomes.
  Some artists choose to reimagine popular brands and fictional characters in ways that
shine a new light on them and on society. Consider the following works, then discuss
with your team: should these artists be required to secure permission from—or even
pay—the companies whose brands or characters they are borrowing? Does it depend
on how widely the work is distributed, or whether the work is positive or negative?
 Campbell’s Soup Cans | Andy Warhol (1962)
 Liberation of Aunt Jemima & Liberation of Aunt Jemima: Cocktail |
Betye Saar (1973)
 Kawsbob | Kaws (2010)
 Charlie Brown Firestarter | Banksy (2010)
 Life, Miracle Whip and Premium | Brendan O'Connell (2013)

The question of whether artists should secure permission or pay royalties to companies when
reimagining their brands or characters is complex and often depends on various factors.

1. **Extent of Distribution:** If the artwork is being created for personal use or displayed in
a private setting, the issue of permission might be less pressing. However, if the work is
intended for commercial purposes or has a wide distribution, it may infringe on the
company's intellectual property rights and require permission or licensing agreements.

2. **Nature of the Work:** Whether the artwork portrays the brand or character in a positive
or negative light could also influence the need for permission. Companies might be more
inclined to grant permission if the portrayal is positive and enhances their brand image.
Conversely, if the portrayal is negative or controversial, companies may be more likely to
take legal action to protect their brand reputation.

3. **Transformational Nature:** Another consideration is the extent to which the artwork

transforms or adds new meaning to the original brand or character. Andy Warhol's
"Campbell's Soup Cans" is a classic example of transformative art that elevates everyday
objects to the realm of high art. In such cases, artists may argue that their work constitutes
fair use or commentary, which could mitigate the need for permission.

4. **Historical and Cultural Context:** Works like Betye Saar's "Liberation of Aunt
Jemima" series engage with complex themes of race, identity, and cultural appropriation. In
these instances, the artwork may serve a significant cultural or educational purpose, which
could influence the decision regarding permission.

Ultimately, the question of whether artists should obtain permission or pay royalties depends
on the specific circumstances of each case, including the intended use of the artwork, the
nature of the transformation, and the potential impact on the company's interests. While some
artists may voluntarily seek permission out of respect for intellectual property rights or to
avoid legal disputes, others may argue that their work falls within the bounds of fair use or
artistic expression. Finding a balance between artistic freedom and corporate interests can be
challenging, and the resolution may vary depending on the perspectives of the artists,
companies, and legal authorities involved.

 A smart fridge that could order more yogurt from the market for you when your
supply runs low: the Internet of things (IoT) devices promised to revolutionize our
daily live, from thermostats that learn when you’re home to umbrellas that check the
weather forecast before you leave home. But we are now more than a decade into the
IoT revolution, and it has mostly filled our houses with useless gadgets that
are privacy and security risks and frequently turn into e-waste. Discuss with your
team: what went wrong? Do people simply not want their homes full of IoT devices,
or is this a technology whose time has just not yet come?

The proliferation of IoT devices promised a future where our homes would be smarter, more
efficient, and more convenient. However, despite the initial excitement and hype surrounding
the IoT revolution, there are several reasons why it hasn't quite lived up to expectations:

1. **Privacy and Security Concerns:** One of the major issues with IoT devices is the lack
of robust privacy and security measures. Many of these devices collect vast amounts of data
about users' habits, preferences, and behaviors, raising concerns about unauthorized access
and potential misuse of personal information. High-profile incidents of data breaches and
hacking have eroded trust in IoT devices, leading some consumers to be wary of adopting
them.

2. **Fragmentation and Compatibility Issues:** The IoT market is highly fragmented, with a
multitude of devices and platforms from different manufacturers competing for market share.
This fragmentation has resulted in compatibility issues, making it difficult for devices to
communicate and work seamlessly together. As a result, consumers may hesitate to invest in
IoT devices out of concern that they will become obsolete or incompatible with future
technology.

3. **Limited Use Cases and Utility:** While some IoT devices offer genuine value and
convenience, many others are seen as gimmicky or unnecessary. The novelty of having a
smart fridge that can reorder groceries may wear off quickly for some consumers, especially
if the device doesn't offer significant improvements in convenience or efficiency over
traditional methods. Without compelling use cases, consumers may be reluctant to invest in
IoT devices.
4. **E-Waste and Sustainability Concerns:** The rapid pace of technological advancement
has led to a cycle of obsolescence, where newer IoT devices quickly replace older ones,
leading to a significant amount of electronic waste. This not only contributes to
environmental degradation but also raises questions about the sustainability of IoT
technology in the long run.

5. **Cost and Accessibility:** IoT devices can be expensive, making them inaccessible to
some consumers, particularly those in lower-income brackets. The perceived value of these
devices may not justify the cost for many consumers, especially if they are seen as
unnecessary or frivolous.

Overall, the failure of the IoT revolution to fully materialize can be attributed to a
combination of privacy and security concerns, fragmentation and compatibility issues, limited
use cases, e-waste and sustainability concerns, and cost and accessibility barriers. While the
potential benefits of IoT technology are undeniable, addressing these challenges will be
crucial to realizing its full potential and gaining widespread adoption among consumers.

Hindsight Needs Corrective Lenses

 You can’t read records that don’t exist, just as you can’t listen to music that was never
recorded. Learn about the world’s earliest record-keeping, usually credited to the
Sumerians or the Egyptians. Compare their early forms of writing—cuneiform and
hieroglyphics—then discuss: would there be advantages to living in a world where no
one keeps written track of anything? Be sure to investigate the following strategies
that early civilizations used to record their histories. What were their limitations, and
can we learn from any of them today?
 petroglyphs | cuneiform | nsibidi | quipus | Dispilio Tablet
 oracle bones | cylcons | geoglyphs | runestones
 The invention of the camera in the 1800s changed how we've pictured history since;
now we know what things looked like. Where we once had myth, now we have
newspaper clippings. All these images present a challenge for those producing stories
set in photographed times: to build realistic sets and to cast actors who look enough
like their historical counterparts. Consider the actors who have played individuals
such as Princess Diana, Ho Chi Minh, and Abraham Lincoln, then discuss with your
team: how important is it that those who play historical figures resemble them
physically? Would it have been all right for a short man to play Lincoln in a movie, as
long he grew a beard and wore a hat? What if it were in a play instead, or a musical?
And, once technology permits, will it be better to reconstruct historical figures with
CGI than to try to find human lookalikes?
 The musical Hamilton defied the expectation of what actors in historical dramas
should look and sound like by explicitly casting Black actors as America’s legendary
founding heroes and then telling their story in hip-hop-inspired numbers. Especially at
first, many people celebrated how it gives a marginalized group control of the
narrative; history is being reinvented as their story, too. Others have argued that,
while it may seem to empower them, the musical forces Black actors to act as their
own oppressors—and that it distorts American history into a simple tale of heroes and
villains; put another way, we shouldn't hate so much on Thomas Jefferson and Aaron
Burr, and maybe we're overthinking what happened in the room. Discuss with your
team: does “color-conscious casting” open doors to new stories and social equality, or
does it perpetuate disinformation and barriers to progress?
 You can't just look the part; you should sound it, too. No one knows for sure whether
Abraham Lincoln could have had a post-presidential podcasting career—accounts
suggest his voice was shrill, plus he spent his entire post-presidency dead—but the
invention of audio recording soon after his death means that nearly every historical
figure alive since can still speak to us from across time and space. Now, an actress
playing Margaret Thatcher is expected to study her voice diligently, to match not just
her pitch but her every pause. Research the steps that actors undertake to mimic
voices, then discuss with your team: should people playing historical figures try to
sound like they did, or does doing so risk caricaturing them?
 After a recent election in Pakistan, Imran Khan—the leader of the party that won the
most seats—delivered a victory speech to his followers. But the speech was generated
by an AI simulating his voice; the real Imran Khan was in prison. Discuss with your
team: should politicians be allowed to use AI-generated voices in this way—and, if
so, under what circumstances? What if a candidate has laryngitis? Would it make a
difference if the candidate wrote the words himself—or, since speechwriters often
write for politicians, if the candidate’s usual speechwriter wrote them? (Put another
way, if politicians are reading out loud speeches written by other people, does it make
a difference if the real candidate or an AI does the reading out loud?)
 One of the most famous actors to play Gandhi, Ben Kingsley, earned widespread
acclaim for his performance, but some have criticized the choice to cast someone of
only partial Indian descent—and British, no less—as such an iconic Indian hero in the
fight against Britain. Discuss with your team: was it more acceptable for this kind of
casting to take place in the 1980s than it would be today? Should the actor's use of
darkening makeup for the role make us uncomfortable—and, if so, would it be better
if AI were used to restore his actual skin color in future airings of the movie?
 American president Franklin Delano Roosevelt (FDR) was almost never
photographed in a wheelchair, despite being paralyzed from the waist down by polio.
Journalists honored his wishes, as did the original designers of the FDR Memorial.
Only in 2001 did they add a statue of him in a wheelchair. Discuss with your team:
should portrayals of FDR continue to honor his preferences and hide his disability?
And should only actors who are experiencing a similar kind of paralysis play him in
historical films?
 Even the so-called Dark Ages had color—no one speaks of Robin Hood and the
Monochrome Men, or of the Unsaturated Mosque in Istanbul—but most of us
remember the Great Depression as a Gray Depression. Because early cameras took
only black-and-white photos, it is easy to think of the late 19th and early 20th
centuries as bleak and colorless. Those recreating scenes from this period must
contend with audience expectations of a black-and-white world. Discuss with your
team: should movies and TV shows set in this period be filmed in black-and-white to
feel more authentic? When the director Steven Spielberg chose this approach for his
1993 magnum opus Schindler’s List, the studio pushed back, fearing audiences would
lose interest; do you think their fears were justified? Study the techniques used to
make flashbacks look like flashbacks, then discuss with your team: when should the
past be allowed to look like the present?
 Even after color photos became possible—first with potato dye, later with longer-
lasting pigments—newspapers avoided using them until they could be reprinted
cheaply enough. Reputable photojournalists kept taking black-and-white photos. But
artists can now use AI to transform those photos into color ones. Consider the work of
digital artists such as Stuart Humphryes; their results may not be perfect, but they
could help people see the past as people saw it then. Discuss with your team: is there
value in sharing colorized historical photos with students, or would doing so present
something reimagined as something real?
 The newest phones, including the Google Pixel 8, can use AI to enhance photos in
remarkable ways. Discuss with your team: should the images produced through such
techniques be called something other than “photographs”? Does merging several
smiling faces with their eyes wide open into the same selfie make it too fake to share
on Instagram? Is there a difference between smoothing someone’s face with AI versus
with makeup and concealer? How about between a person getting a chin implant and
having their jawline sharpened by Samsung’s new photo enhancer?
 Google literally calls it “magic”, but go behind the magic to explore how AI photo
enhancement works. Be sure to learn the following terms:
 upscaling (super-resolution) | denoising | fractal compression
 convolutional neural network | dataset | backpropagation | training
 image classification | object detection | semantic segmentation
 In China, AI is being used to renew old opera footage—upscaling, cleaning, and
enhancing it. Should all old films and TV shows be run through similar processes to
make them more appealing to modern audiences? Should AI be used to enhance
today’s new productions as well?
 In 2023, Boris Eldagsen’s photo The Electrician won a major world photography
competition—after which he confessed it was AI-generated. Discuss with your team:
should an AI-generated photo have been eligible? Should AIs judge AI image
competitions while humans judge human photo competitions? Would it be all right if
the photo were simply adjusted in small ways through AI, rather than made from
scratch?
 Now, AI is allowing artists like Bas Uterwijk to update sculptures and other portraits
that predate photography with photorealistic results. Even individuals from a time
predating art itself, like the Iceman Otzi, can now look us in the eye. Discuss with
 your team: is it helpful to see the faces of people from so long ago, or is it wrong to
reconstruct their likenesses without their permission?
 In your own lifetime, you might have noticed the streets you walk (or drive) down
every day changing. New 7-11s pop up; old homes turn into McMansions; beloved
restaurants fade away. Those looking to reconstruct a cityscape from decades or even
centuries ago need as much data as possible about what it looked like at the time.
Consider the following records, then discuss: would they suffice to reconstruct the
world as it once existed? What advice would you give to someone trying to
photograph our world today for future reconstruction?
 Sunset Boulevard | Ed Ruscha
 Ottoman Panorama | Sébah & Joaillier
 Pre-1906 San Francisco | William M. McCarthy
 Images of the Late Qing Dynasty
 Images of Meiji-Era Japan
 Explore the Japanese art of kintsugi—the repair of broken pottery using lacquers that
leave visible the original fractures. Those who practice kintsugi see an object’s
breakage and repair as important to its history. Discuss with your team: should this
same principle be applied to other forms of reconstructing the past—such as repairing
old ruins, or treating people who have suffered disfiguring injuries?
 If kintsugi is about putting the past back together without hiding its
imperfections, yobitsugi is about accepting that you may not have enough of the
original left to work with. All the monarch’s hoofed animals and all the monarch’s
people couldn’t put Humpty Dumpty back together again; it would be extra hard if
some of Humpty Dumpty had been tossed out. Practitioners of yobigutsi would graft
in pieces from other broken works to fill in the gaps. Discuss with your team: would it
be better to hide that these works have been combined or to present them as a single
unified piece? Should the same approach be taken in other fields—such as music,
literature, and medicine?
 Some art requires not replication but reconstruction every time people want to exhibit
it. The Japanese Mono-Ha art movement was inspired by the collision of the natural
and the mechanical worlds; many of its works were designed to deteriorate over time.
Consider Phase - Mother Earth 1, by Nobuo Sekine, along with this recent recreation,
then discuss: why would artists create works that aren’t meant to last as long as
possible? If new technology allows us to make permanent versions of them, should
we?

Early civilizations such as the Sumerians and Egyptians developed various strategies to
record their histories and communicate information. Cuneiform and hieroglyphics were two
prominent forms of writing, each with its own characteristics and limitations. Cuneiform,
consisting of wedge-shaped characters pressed into clay tablets, was used by the Sumerians
for administrative and literary purposes. Hieroglyphics, pictorial symbols carved into stone or
written on papyrus, served as a formal script for the Egyptians, primarily for religious and
monumental inscriptions.
Other recording methods included petroglyphs, rock carvings created by ancient cultures
worldwide; nsibidi, a system of symbols used by the Igbo people of Nigeria; quipus, knotted
cords used by the Inca for numerical and possibly narrative purposes; and the Dispilio Tablet,
an artifact from Neolithic Greece with engraved symbols whose meaning remains debated.
Additionally, oracle bones, inscribed animal bones or shells used for divination in ancient
China; cylcons, engraved cylinders used in Mesoamerica; geoglyphs, large designs formed on
the ground; and runestones, inscribed stones from Scandinavia, also served as records of
cultural and historical information.

While these methods provided valuable insights into ancient civilizations, they had
limitations such as susceptibility to decay, restricted accessibility, and potential ambiguities
in interpretation. However, we can learn from their commitment to documentation and
adaptability in utilizing available resources for communication.

Living in a world without written records could have advantages in fostering a reliance on
oral traditions and communal memory. However, it would also pose challenges in preserving
knowledge over generations and facilitating complex societal structures.

Regarding the portrayal of historical figures in media, the importance of physical

resemblance varies depending on the medium and context. While a certain degree of likeness
may enhance immersion and authenticity, it should not overshadow other aspects such as
acting ability and storytelling prowess. Flexibility in casting choices allows for diverse
interpretations and creative reimaginings of historical events.

"Color-conscious casting" in productions like "Hamilton" can provide opportunities for

underrepresented groups to engage with historical narratives and challenge conventional
perceptions. However, it also raises questions about historical accuracy and the potential
oversimplification of complex historical figures and events.

When portraying historical figures, actors should strive for authenticity in voice and
mannerisms while avoiding caricature. This requires careful research and sensitivity to
cultural nuances to respectfully represent diverse identities.
The use of AI-generated voices by politicians raises ethical considerations regarding
transparency and authenticity in communication. While it may offer practical solutions in
certain circumstances, policymakers should ensure accountability and public trust in political
discourse.

Casting decisions like Ben Kingsley playing Gandhi reflect broader discussions on
representation and cultural appropriation in the film industry. While historical context may
influence the acceptability of such choices, increasing awareness of diversity and inclusion
calls for more thoughtful and inclusive casting practices.

Portrayals of historical figures like FDR should balance respect for their preferences with the
importance of acknowledging their full identity, including disabilities. Similarly, actors with
relevant experiences or disabilities should be considered for roles to authentically depict
diverse perspectives.

Filming in black and white can evoke specific historical periods and aesthetic sensibilities,
but it should not limit storytelling possibilities. Directors should prioritize narrative
coherence and audience engagement while exploring visual techniques to convey temporal
shifts and subjective experiences.

Colorizing historical photos can offer new perspectives on the past but requires caution to
avoid misrepresentation or distortion of historical truths. Educators should provide context
and critical analysis when sharing colorized images to promote nuanced understanding and
appreciation of history.

AI-enhanced photos raise questions about the authenticity and integrity of visual media.
While these techniques offer creative possibilities, ethical guidelines and transparency are
essential to maintain trust and accountability in digital representation.

Understanding AI photo enhancement involves familiarizing oneself with various technical

terms and processes, including upscaling, denoising, and convolutional neural networks.
These tools enable the manipulation and interpretation of visual data for diverse applications
in photography and visual arts.
The use of AI to renew old opera footage highlights its potential for revitalizing cultural
heritage and expanding access to historical materials. However, ethical considerations
regarding authenticity and preservation should inform the responsible application of AI in
cultural conservation efforts.

Debates over AI-generated art underscore broader discussions on authorship, creativity, and
the role of technology in artistic production. While AI tools can augment human creativity,
ethical guidelines and recognition of originality are crucial to uphold artistic integrity and
innovation.

AI reconstruction of historical portraits raises ethical questions about consent and authenticity
in representing individuals from the past. Careful consideration of cultural sensitivity and
respectful engagement with stakeholders can inform responsible practices in reconstructing
historical likenesses.

Reconstructing cityscapes from historical records requires interdisciplinary collaboration and

attention to detail. Combining various sources such as photographs, paintings, and written
accounts can offer insights into past urban environments and societal dynamics.

Kintsugi philosophy emphasizes embracing imperfections and acknowledging the

transformative power of repair and resilience. Applying this principle to other aspects of
reconstructing the past, such as historical ruins or personal narratives, can promote empathy
and appreciation for diverse experiences.

Yobitsugi highlights the creative potential of combining fragmented elements to create new
narratives and forms. Whether applied to art, literature, or medicine, this approach
encourages innovation and adaptability in responding to challenges and opportunities.

Artworks designed to deteriorate over time challenge traditional notions of permanence and
preservation. Embracing ephemerality can invite contemplation on the passage of time and
the impermanence of human creations, fostering deeper connections to nature and mortality.
As technology advances, decisions about preserving and replicating artworks raise complex
ethical and aesthetic considerations. Balancing innovation with respect for artistic intent and
cultural heritage requires ongoing dialogue and collaboration across disciplines.

Touring Ends of Eras

 A ball drops; some scholars open red envelopes while others dip apple bits in honey.
Different cultures around the world celebrate the new year differently and at different
times, but all of them are marking the forward march of the calendar. Yet the fact that
there are so many ways to split one year from the next suggests these divisions are
ultimately arbitrary. Are they? Explore the reasons behind each of them, then discuss
with your team: should we stop celebrating New Year’s as a holiday? When would be
the best time of year for people to take stock of the past and think about the future?
 “Captain’s log,” says whoever is captaining the Enterprise. “Stardate…” Star Trek’s
stardates are based on a calendar meant to be used around the galaxy. Consider the
different calendars and related listed below, then discuss with your team: does it make
sense to restart the calendar periodically, perhaps when a new leader takes over? Or
would such changes risk angering people—as when the English allegedly rioted over
the loss of eleven days as part of a calendar transition in 1752?
 Julian | Gregorian | Islamic | Japanese | Korean
 Rumi | Hindu | Nepali | Mayan | Solar | Lunar
 A storytelling trope is that high school seniors know nothing will ever be the same
again for them and their friends. (The trope is accurate.) The same weight can apply
to entire countries and calendars. In 1996, aware the millennium was ending,
American president Bill Clinton hoped to deliver an Inaugural Address for the ages.
Reviewing it can provide insight into how people in the 1990s were reimagining their
world. “Ten years ago,” he said, “the Internet was the mystical province of physicists;
today, it is a commonplace encyclopedia for millions of schoolchildren.” No mention
of e-commerce, nor a whisper of social media. Then, evoking the academic Francis
Fukayama’s theory of the end of history, he adds, “The world is no longer divided
into two hostile camps… For the very first time in history, more people on this planet
live under democracy than dictatorship.” Review more of his speech, then discuss
with your team: does it sound like one that a political leader could deliver today?
Were the 1990s an important period of transition in your own country as well?
 Explore the following selections from the 90s—multiple 90s, in this case—then
discuss with your team: do they reflect periods in which the world was in transition
more than songs from other decades before and after—or would that be reading too
much into them?
 “After the Ball” | Charles Harris (1892)
 “Freedom! 90” | George Michael (1990)
 “Losing My Religion” | REM (1991)
 “Brændt” | Lis Sørensen (1993)
 “Pink Flamingo” | Alyona Sviridova (1994)
  “Black Hole Sun” | Soundgarden (1994)
 “Singing in My Sleep” | Semisonic (1998)
 “I Saved the World Today” | Eurythmics (1999)

1. **New Year's Celebrations:**

The observation that New Year celebrations vary across cultures highlights the arbitrary
nature of calendar divisions. Different cultures have historically marked the passage of time
based on various astronomical events, agricultural cycles, or cultural traditions. For example,
the Western Gregorian calendar marks January 1st as the beginning of the new year, while
the Chinese New Year is determined by the lunar calendar and falls between January 21st and
February 20th.

While these divisions may seem arbitrary, they often hold deep cultural and symbolic
significance. New Year's celebrations provide an opportunity for reflection, renewal, and
community bonding. However, questioning whether to stop celebrating New Year's as a
holiday raises interesting points. Perhaps instead of abolishing the celebration altogether,
there could be a discussion about reforming or reimagining its significance to better align
with contemporary values or global unity.

As for the best time of year for reflection and goal-setting, it could vary depending on
individual preferences and cultural contexts. Some might find the transition from one year to
the next ideal for introspection, while others might prefer aligning such reflections with
significant personal or cultural milestones.

2. **Stardates and Calendar Revisions:**

In the realm of science fiction, particularly in the Star Trek universe, stardates offer a
universal timekeeping system meant to transcend the limitations of individual planetary
calendars. Similarly, in real life, different calendars like the Julian, Gregorian, Islamic, or
Hindu calendars serve different purposes and communities.

Restarting the calendar periodically, such as when a new leader takes over, could
potentially have merit in terms of symbolizing new beginnings or aligning timekeeping
systems with evolving societal needs. However, historical precedents like the English
calendar riots of 1752 demonstrate the potential for resistance and disruption when
attempting such transitions. Any calendar reform would require careful planning, education,
and consensus-building to mitigate social and cultural backlash.

3. **Bill Clinton's Inaugural Address:**

 Bill Clinton's Inaugural Address from 1996 reflects the optimism and sense of progress
characteristic of the 1990s. His reference to the internet as a democratizing force and the
spread of democracy worldwide captures the zeitgeist of the era. However, the absence of
mentions of phenomena like e-commerce and social media underscores how rapidly
technology and society have evolved since then.

Whether a similar speech could be delivered today depends on the prevailing political,
social, and technological climate. While themes of progress and unity may still resonate,
contemporary challenges such as polarization, misinformation, and climate change would
likely feature more prominently.

4. **Songs from the 90s:**

The selection of songs from the 1990s reflects a period of significant cultural and
technological change. Tracks like "Freedom! 90" by George Michael and "Black Hole Sun"
by Soundgarden capture the spirit of defiance and introspection prevalent during that time.
Others like "Losing My Religion" by REM delve into themes of existential crisis and societal
disillusionment.

The 1990s saw the rise of alternative music, the mainstreaming of the internet, and shifts in
global politics, all of which influenced cultural production. While it's tempting to attribute
special significance to songs from this era, it's essential to recognize that every decade has its
own cultural markers and transitions. However, the 1990s stand out as a period of accelerated
change, making its cultural artifacts ripe for interpretation and reflection.

Noah’s Archeology

 For a long time, the Tomb of the Unknown Soldier was also the Tomb of the
Misplaced King: after Richard III fell in battle in 1485, it took centuries to locate his
corpse. In 2012, a team of archaeologists finally unearthed it under a parking lot.
Forensic analysis revealed details that had been lost to history, including a severely
twisted spine—a condition we now call scoliosis—that he couldn’t have possibly
hidden from those around him. In 2022, researchers unearthed an ancient Buddhist
temple in Pakistan, and, a few years before that, possibly the fastest human in history.
Discuss with your team: do these smaller details about the past affect how we see the
world today? If we had discovered from Richard III's DNA that he was a woman in
disguise, would that change our view of him or of his role in history?
 The above questions are more than academic; they force us to reevaluate choices
made in the present. In 2024, the Globe Theatre in London staged a new production of
Shakespeare’s Richard III, casting a woman with an untwisted spine in the title role.
Some people protested that the production needed an actor who shared Richard III’s
 now-known physical ailment. Discuss with your team: to what extent does an actor
need to share lived experiences with the character they are portraying?
 It doesn’t always take a volcano: the Roman ruins at Ostia Antika offer a look back
into history similar to what most people seek out in Pompeii, even if they were
preserved less perfectly. Where would you go in your country for the most authentic
peek at how the world used to be? Discuss with your team: if an OpenAI project
destroyed all life on Earth but left our cities intact, what would a future anthropologist
conclude about human civilization? How much would their conclusions vary
depending on what city they visited?
 These days, Indiana Jones would be piloting a drone. New technologies have allowed
archaeologists to reimagine the archaeological method with a lighter footprint.
Consider the Girsu Project’s discovery of an ancient palace, then discuss with your
team: what aspects of your own country’s history would benefit from being re-
explored using drones, AI, and other recent advances?
 Jurassic Park, Godzilla, and The Land Before Time have all depicted dinousars as
giant scaly lizards—but more recent research has suggested they didn’t look like that
at all; it appears they were less Komodo dragon and more Qatari falcon. If so, the T.
rex in Jurassic Park should have been a thing with animatronic feathers. The field of
paleoart aims to visualize past creatures as accurately as possible despite the limited
evidence. If a future paleoartist tried to reconstruct the world of 2024 using
incomplete information, what would they get wrong? Would they be stumped by
fossil evidence of dogs wearing sweaters?
 Investigate the following major archaeological and paleontological discoveries. What
circumstances and strategies allowed us to discover them, and what impact have they
had on our understanding of history and the present day? Discuss with your team: can
you imagine a discovery that would dramatically change the modern world?
 Rosetta Stone | Taposiris Magna Stele | Borobudur | Petra | Sutton Hoo
 Aztec Calendar Stone | Ocomtún | Montevideo Maru | Endurance
(1912)
 Lucy and Ardi (fossils) | Java Man | Taung Child
 Oldowan tool kit | Paranthropus robustus | Tujiaaspis vividus
 Consider the use of AI to win the Vesuvius Challenge by translating ancient scrolls—
and the idea of applying the same approach to papyri damaged at Herculaneum. Is it
worth spending this many resources to read ancient documents with little modern-day
significance? What exactly are we looking for?
 Voice-dubbing and subtitles are the two main ways that audiences can enjoy works in
other languages. But neither is ideal: voice dubbing can be low in quality and out-of-
sync, taking people out of the performance, and subtitles can be untrue to the original
text while also taking away from the experience of hearing and reacting to words one
at a time. Now, AI can dub footage with simulations of the original speaker’s actual
voice in a different language, and as closely in sync to the movements of their lips as
possible. Check out this demonstration, then discuss with your team: will such AI-
enabled translation lead to more works being produced in more languages? Would
you want to use it in your personal life?
  When the Library of Alexandria burned down, it meant the loss of countless
documents that had never been converted into PDFs. The collection at the House of
Wisdom was destroyedwhen the Mongols swept by. Explore some of the largest
libraries in the world today, then discuss with your team: would we notice if they
disappeared?
 After the fall of the Soviet Union, statues of Josef Stalin and other heroes of the
regime were quickly pulled down—but now many are on display at
Moscow’s Muzeon Park of Arts. Discuss with your team: when monuments of past
regimes are deemed unacceptable, should they be melted down, displayed in a new
location, or put in storage? Are there some historical artifacts unfit to be shown at all
in the modern world, even as examples of what could possibly go wrong?

### Discussion Points and Responses

#### 1. Details of the Past and their Impact on the Present

The discovery of Richard III’s remains and his scoliosis significantly alters our understanding
of his life and reign. If his DNA had revealed that he was a woman, it would challenge not
only historical narratives but also societal perceptions of gender roles in leadership. Such
discoveries compel us to reconsider historical accounts and their implications on modern
issues such as identity and representation.

Similarly, the unearthing of the ancient Buddhist temple in Pakistan and other discoveries
provide insights into past cultures, impacting our understanding of historical progress and
diversity. These findings remind us that our current worldview is shaped by ongoing
reinterpretations of history.

#### 2. Authentic Portrayal in Theatre and Film

The debate over casting a woman without scoliosis in the role of Richard III raises questions
about authenticity in acting. While an actor’s physical resemblance to a historical figure can
enhance realism, it’s the actor’s ability to convey the character’s essence that matters most.
Diversity in casting can offer fresh perspectives and challenge audiences to engage with the
narrative in new ways.
Authenticity in portrayal is important, but it shouldn’t overshadow the creative interpretation
and the universal themes that resonate with contemporary audiences. The balance between
historical accuracy and artistic expression remains a subject of debate in the arts.

#### 3. Exploring Authentic Historical Sites

In the U.S., places like Colonial Williamsburg or historic districts in cities like Boston offer
glimpses into the past. If a future anthropologist examined cities post-apocalypse, their
conclusions would vary widely based on the city studied. For example, New York might
suggest a highly urbanized, diverse, and interconnected society, while rural areas might
reflect different aspects of life, such as agriculture and smaller community dynamics.

These variations underscore the complexity and diversity of human civilization, highlighting
the importance of multiple perspectives in understanding history.

#### 4. New Technologies in Archaeology

Advancements in drones, AI, and other technologies have revolutionized archaeology,

allowing for less invasive exploration and more precise data collection. In the U.S., these
technologies could re-examine Civil War battlefields, Indigenous sites, or colonial
settlements, providing new insights and correcting past misconceptions.

Such technologies enhance our ability to preserve and understand our heritage, making
history more accessible and engaging for future generations.

#### 5. Paleoart and Historical Reconstructions

Paleoart strives to depict prehistoric life accurately, but interpretations evolve with new
evidence. If a future paleoartist reconstructed 2024, they might misinterpret everyday items
like dog sweaters or technological artifacts, reflecting the challenges of reconstructing the
past with incomplete information.

These inaccuracies highlight the ongoing dialogue between evidence and interpretation in
understanding history and prehistory.
#### 6. Impactful Archaeological Discoveries

Major discoveries like the Rosetta Stone and the Sutton Hoo ship burial have transformed our
understanding of ancient civilizations. These findings were often the result of meticulous
excavation, interdisciplinary collaboration, and technological advancements. Such
discoveries reshape historical narratives and influence contemporary cultural identity.

Imagining a discovery that would change the modern world might involve uncovering
definitive evidence of advanced ancient technologies or unknown civilizations, challenging
current understandings of human progress.

#### 7. AI in Deciphering Ancient Texts

Using AI to translate ancient scrolls, such as those from Herculaneum, is a valuable

endeavor. While these documents might seem insignificant today, they could provide unique
insights into ancient thought, daily life, and lost knowledge. Investing in such projects
underscores the importance of preserving and understanding our collective heritage.

#### 8. AI-Enabled Translation for Media

AI-enabled translation has the potential to revolutionize media consumption, making content
accessible in multiple languages with minimal loss of quality. This technology could
facilitate cross-cultural understanding and expand the reach of creative works. In personal
life, such technology could enhance communication and access to diverse perspectives.

#### 9. Importance of Libraries

The loss of major libraries like the Library of Alexandria was a profound cultural tragedy.
Today, the disappearance of large modern libraries, such as the Library of Congress, would
similarly result in a significant loss of knowledge. Digital preservation efforts are crucial to
safeguarding humanity’s intellectual heritage.

#### 10. Treatment of Controversial Monuments

The fate of controversial monuments is complex. Some argue for their removal to confront
past injustices, while others advocate for their preservation as historical lessons. Displaying
these artifacts in contexts that promote critical reflection can help society understand and
learn from its history. However, certain symbols of hate or oppression may be deemed unfit
for public display, emphasizing the need for thoughtful, context-sensitive decisions in dealing
with contentious historical artifacts.

### Conclusion

These discussion points highlight the dynamic interplay between historical discovery, modern
interpretation, and cultural identity. They emphasize the importance of preserving our past
while critically engaging with it to inform our present and future.

Reimagine, if You Will

 Whether you see Edward Hopper’s Nighthawks (1942) as a homage to solitude or as a

paean for a lost era of root beer floats, the odds are good that you see it often. The
recent Netflix series The Sandman set an entire episode in a Nighthawks-style diner.
Consider the selections below, then discuss with your team: what is the modern
equivalent of the experience and feeling conveyed in the painting?
 Are You Using that Chair | Banksy
 Boulevard of Broken Dreams | Gottfried Helnwein
 Nighthawks Revisited | Red Grooms
 Nighthawks | Moebius
 Just a few years before Hopper forever cemented the American diner in the popular
imagination, Yuri Pimenov was one of many artists conscripted to celebrate the
achievements of the Soviet Union. In New Moscow (1935), he depicts a city being
whisked toward modernity—its streets and its society reimagined and reconstructed
side by side. Consider instances of public spaces being repurposed in this way, then
discuss with your team: what approach do you think Pimenov would take toward
painting your city?
 Consider this criticism of the reinvention of the Chilean comic book character
Condorito for a global audience. Discuss with your team: where, if anywhere, did they
go wrong—and is translating such popular works from one culture into versions for
audiences elsewhere doomed to fail?
 The classic film Metropolis (1927) was restored to its original length in 2010 through
a series of lucky discoveries. The restored version revealed subplots and
characterizations that were missing in earlier surviving copies—but some scenes were
still missing. Discuss with your team: should these scenes be replaced by newly
filmed footage, or perhaps by AI recreations of that they might have contained? Or
should incomplete old works be left alone and rebroadcast exactly as they are?
 The Montagues and Capulets would probably agree on the beauty of this Romeo and
Juliet soundtrack—one that was reputably lost and recreated. Many works have
similarly been reimagined and rebuilt once the original was no longer accessible; thus,
the version of Marcel Duchamp’s Fountain (1917) currently at the San Francisco
Museum of Modern Art is a recreation made nearly half a century later, in 1964. (The
original may also not have been by Marcel Duchamp.) Consider the other versions of
the same work below, then discuss with your team: if were to locate the lost original
version of Fountain, would it change the value of the 1964 recreation and of the
variations listed below?
 Fractured Fountain | Mike Bidlo
 Untitled (Lipstick Urinals) | Rachel Lachowicz
 Those who find traditional history museums a stuffy procession of rusty spoons
and dusty dioramas may want to explore an open-air alternative: “living history
museums” where one can time travel on the cheap. Consider the Spanish Village in
Barcelona, where travelers can inspect 49,000 square meters of historical buildings
and tilt at rusty slides with Don Quixote. At Heritage Park in Calgary, Banff-bound
hikers can stop to pose for photos (and eat 19th century ice cream) with locals dressed
up as Canadians from the days of fur trading and American invaders. For those on
their way to the Dalian Global Round, the Millennium City Park in Kaifeng offers a
hundred acres of life in the Northern Song Dynasty. If you drink coffee (which we do
not endorse!) you might be drawn to the Kona Coffee Living History Farm in Hawaii.
Discuss with your team: do such museums offer valuable lessons, or do they actively
harm our appreciation of culture and history?
 The most famous of these museums can also be the most controversial.
Consider Plimoth Patuxet (formerly Plymouth Plantation) in Massachusetts, where
visitors can take selfies with scurvy-free Pilgrims. The museum has been criticized for
overlooking the indigenous peoples decimated by those same Pilgrims. Thus, the
museum’s new name, and a new Native American settlement for tourists to explore—
except it turns out the tribe members staffing it are not descendants of the tribe the
Pilgrims first encountered. Discuss with your team: would it be better if they were—
or would this be a different form of exploitation? Would it ever be okay for someone
not of tribal descent to staff the Native American area of the museum? What if they
weren't technically tribe members but identified with the tribe enough to adopt its
practices and cherish its customs? Research the Howick Historical Village in
Auckland and discuss with your team: how does its approach compare to that of
Plimoth Patuxet?
 To make the experience more realistic, some of these museums have diligently bred
versions of animals that look more like they would have in the past: wilder pigs,
gamier hens, dogs that are less dalmatian and more direwolf. Discuss with your team:
is it okay to breed animals to serve as props in these kinds of exhibits? Would it make
a difference if they were eventually eaten or taken home as pets?
 Like living history museums but more episodic are history festivals in which
communities annually celebrate their pasts. For instance, an annual Spanish Days
Festival in the California city of Santa Barbara looks back at its Mexican heritage.
 Review the additional examples below, then discuss with your team: are such festivals
good ways to teach local community members about the past?
 Timkat Festival in Ethiopia
 Naadam Festival in Mongolia
 Ravenna Railroad Festival in Kentucky
 Festivals are often scheduled around holidays, but those holidays can change over
time. Modern societies have even reimagined some of them with elements from other
cultures—for instance, Mid-Autumn Festivals that feature char-grillers, the mandate
for chocolates on Valentine’s Day, and very expensive sixteenth birthday parties.
Make a list of other holidays that have evolved in recent years, then discuss with your
team: what standard should governments use to decide what holidays will be
“official” ones—and which ones should be declassified over time?
 If you want a selfie with the Pope, you can queue up at the Vatican and then not get a
selfie with the Pope, or you can pay $25 to visit the Dreamland Wax Museum in
Boston. Discuss with your team: what makes wax museums different than traditional
sculpture collections? Would they still be considered museums if they featured statues
of past celebrities and historical figures slightly different from their real-life versions
—for instance, an FDR who can walk—or of people who never really existed, like
George Santos and Santa Claus?
 If you want a conversation with the Pope, you can skip the wax museum in favor of
services such as Character.AI, which allows you to chat with historical figures—even
dead ones. Should celebrities need to agree to have AI simulations of them carry on
after their deaths—as William Shatner did in early 2024—or do they surrender that
right the moment they enter the public eye? Review this service from the Chinese
company Super Brain, which uses texts, audio recordings, and images of deceased
loved ones to “resurrect” them as AI chatbots for $1400, then discuss with your team:
would talking to the dead help those mourning them? Should people have the right to
purchase access to them—or to sell access to simulations of themselves?

### Discussion Points for the Provided Topics

**1. Modern Equivalent of Edward Hopper’s Nighthawks Experience and Feeling:**

- **Banksy’s “Are You Using that Chair”:** This piece reflects the transient and often
solitary nature of urban life, akin to the isolation depicted in "Nighthawks."

- **Gottfried Helnwein’s “Boulevard of Broken Dreams”:** This work directly references

"Nighthawks" but with celebrities, emphasizing the loneliness even in fame.

- **Red Grooms’ “Nighthawks Revisited”:** Adds a chaotic, almost surreal energy,

highlighting the evolution of urban spaces and social interactions.
 - **Moebius’ “Nighthawks”:** A futuristic take, suggesting solitude is a timeless theme
even as society and technology advance.

**2. Pimenov’s Approach to Painting Modern Cities:**

- Pimenov would likely depict rapid modernization and societal changes, showcasing
technology integration, multiculturalism, and urban development. He might focus on both the
advancements and the accompanying societal shifts, reflecting optimism and the inherent
challenges.

**3. Translating Popular Works Across Cultures:**

- Discussing Condorito’s reinvention, the challenge lies in balancing original cultural

elements with global appeal. Missteps often occur when key cultural nuances are lost or
misrepresented, leading to a diluted or inauthentic experience. Successful translations respect
the source material's essence while making it accessible to new audiences.

**4. Restoring Classic Films with New Techniques:**

- Debate centers on authenticity vs. completeness. Replacing missing scenes with newly
filmed footage or AI recreations could provide a fuller narrative but might stray from the
original vision. Keeping works as they are preserves historical integrity but leaves gaps.

**5. Value of Original vs. Recreated Artworks:**

- Finding the original Fountain by Duchamp would likely increase its value and historical
significance. However, the 1964 recreation and variations like Bidlo’s and Lachowicz’s
works have their own artistic merit, exploring the concept of originality and reproduction in
art.

**6. Value of Living History Museums:**

- These museums offer immersive learning experiences, making history tangible and
engaging. However, they risk oversimplifying or misrepresenting historical contexts. Their
value lies in balancing educational content with accurate representation.
**7. Staffing Historical Representations at Museums:**

- Authentic representation is crucial. Having indigenous people staff Native American

exhibits can enhance authenticity and respect cultural heritage. However, inclusivity and a
shared commitment to cultural preservation can justify diverse staffing if handled sensitively.

**8. Breeding Animals for Historical Accuracy:**

- Ethical concerns arise regarding animal welfare. While historically accurate animals
enhance authenticity, their treatment and eventual use must be humane and ethical, balancing
educational benefits with ethical responsibilities.

**9. Role of History Festivals:**

- Festivals like Timkat, Naadam, and the Ravenna Railroad Festival serve as powerful tools
for community education and cultural celebration. They foster local pride and historical
awareness but must avoid commercializing or distorting cultural practices.

**10. Evolution and Standardization of Holidays:**

- Holidays evolve through cultural integration and societal changes. Governments should
consider cultural significance, historical importance, and public sentiment when determining
official holidays, ensuring inclusivity and respect for diverse traditions.

**11. Wax Museums vs. Traditional Sculpture Collections:**

- Wax museums focus on lifelike representations and popular culture, offering a different
educational and entertainment experience than traditional sculpture collections. They can still
be considered museums if they provide historical or cultural insights, even with fictional or
altered figures.

**12. AI Simulations of Deceased Individuals:**

 - The ethics of creating AI simulations of deceased celebrities or loved ones hinge on
consent and purpose. Simulations can aid mourning and historical education but require clear
guidelines on usage rights and ethical considerations, ensuring respect for the individuals
represented.

These discussion points offer a structured approach to engage with the complex themes
presented, encouraging thoughtful dialogue and deeper understanding.

Old History in New Bottles

 True stories are one of the most popular sources of script ideas in Hollywood. But
some are meaningfully less true than others. Discuss with your team: how much
should filmmakers be allowed to change about an event or those involved in it before
a film can no longer be billed as “based on a true story”?
 If something terrible happens to you—say, your dog is taken by an alien—it won’t be
long before producers are knocking at your door to buy the rights to your story. At
some point, they might also knock on the alien’s door (or jail cell) and offer them
money to share their side of the story. Works based on true crimes raise
questions about who should be able to profit from them. Discuss with your team:
should storytellers be permitted to draw inspiration—and generate revenue—from the
pain of real people? If so, should the revenue be shared in some way with the victims?
 In Makoto Shinkai’s 2022 film Suzume, a deadly 2011 tsunami in Japan was implied
to be one of many natural disasters caused by a large worm from another dimension.
Even when the relationship between a film and a real-world tragedy is wrapped in
fantasy, someone watching it might still be triggered to relive their trauma. Discuss
with your team: should filmmakers avoid topics that might cause too many viewers to
think about their own past suffering or personal losses? Or is this kind of self-
censorship ultimately harmful to audiences? What about trigger warnings?
 Also released in 2022, The Woman King told the tale of a West African kingdom,
Dahomey, which battled a rival kingdom that collaborated with white colonizers on
the slave trade. Critics were quick to note that, in the real world, Dahomey itself had
profited from enslaving people and selling them. The plot dropped this complexity in
favor of clear lines between good and evil. Research other movies that have sparked
similar controversies—such as Braveheart, Pocahontas, and 300—then discuss with
your team: is real history too complicated to reconstruct for popular audiences without
taking misleading shortcuts? Is every work of historical fiction really a work of
alternate history?
 The Apple TV series For All Mankind combines archival and original footage to forge
(pun intended) an alternate history of the world, one in which the Soviet Union landed
the first person on the moon. Consider this newsreel from the show, recapping the late
1990s and early 2000s. Discuss with your team: does it have the quality known as
verisimilitude—that is, does it feel real? Does it seem better or worse than what
 happened in our own world, or just different? Would there be value in constructing
“living alternate history” museums for people to visit?
 Across a wide tapestry of novels, the Canadian writer Guy Gavriel Kay has explored a
history much like our own, but with a twist of the fantastic. The Earth is the Earth, but
there are two moons for the Soviets to land on. All roads still lead to Rome, except
Rome is Rhodias, so all roads lead to consonance instead. Kay’s method: to describe
the world through the eyes of the people who lived in any given era. “If I write about
a time inspired by the Tang Dynasty and they believed in ghosts, I will have ghosts in
the book,” he says. Read this excerpt from his recent work, All the Seas of the World,
then check out the interview here. Discuss with your team: how different are the roles
of an historian, a writer of historical fiction, and a writer of historical fantasy?
 Take a yellow brick detour to explore El Otro Oz, a musical adaptation of The Wizard
of Ozfeaturing a Dorothy (Dora) struggling to accept her own Mexican heritage—and
her dog Toquito. Compare the music and storylines of both versions, then discuss
with your team: is retelling old stories from new cultural perspectives a worthwhile
pursuit?
 Consider Ray Bradbury’s 1950 short story, “The Veldt”, about a family whose
nursery brings whatever they imagine to life—like a Star Trek holodeck with its
safety protocols disabled. Things don’t end well for them; the moral seems to be that
people need more real-life experiences and less dependence on technology. Discuss
with your team: does the story’s message still feel relevant nearly 75 years later?
 For the poems (and one speech) below, consider how each reimagines something or
someone from the past or the present day. Discuss with your team: when is poetry the
best medium for better understanding that which no longer exists, or could exist but
doesn’t yet?
 “Brazilian Telephone” | Miriam Greenberg (2010)
 “The Municipal Gallery Revisited” | W.B. Yeats (1937)
 “Buffalo Dusk” | Carl Sandburg (1920)
 “My Castle in Spain” | John Hay (1871)
 “At the Tomb of Napoleon” | Robert G. Ingersoll (1882)
 “Photograph From September 11” | Wislawa Szymborska (2005)
 “A Brief History of Toa Payoh” | Koh Buck Song (1992)
 “The Czar's Last Christmas Letter” | Norman Dubie (1977)
 “This is a Photograph of Me” | Margaret Atwood (1964)

### **Discussion Prompts:**

1. **True Stories in Hollywood:**

- *How much should filmmakers be allowed to change about an event or those involved in
it before a film can no longer be billed as “based on a true story”?*
 - Filmmakers often take creative liberties to enhance drama and engage audiences.
However, significant changes that distort key facts or misrepresent individuals involved can
lead to ethical concerns. The balance lies in staying true to the core essence of the event while
allowing for some dramatization to maintain narrative appeal. Ultimately, transparency with
audiences about the extent of these changes is crucial, perhaps through disclaimers.

2. **Profit from Real-Life Pain:**

- *Should storytellers be permitted to draw inspiration—and generate revenue—from the

pain of real people? If so, should the revenue be shared in some way with the victims?*

- While storytellers can illuminate real-life experiences and generate awareness, profiting
from others' pain without consideration for those affected raises moral issues. Implementing a
revenue-sharing model or providing financial support to victims or their families can be a
way to acknowledge their suffering and contribute positively.

3. **Handling Sensitive Topics:**

- *Should filmmakers avoid topics that might cause too many viewers to think about their
own past suffering or personal losses? Or is this kind of self-censorship ultimately harmful to
audiences? What about trigger warnings?*

- Avoiding sensitive topics might lead to self-censorship that diminishes the diversity of
stories told. Instead, providing trigger warnings can help prepare viewers and allow them to
make informed choices about their consumption. This approach respects viewers' experiences
while fostering a space for difficult yet important narratives.

4. **Simplifying Historical Complexity:**

- *Is real history too complicated to reconstruct for popular audiences without taking
misleading shortcuts? Is every work of historical fiction really a work of alternate history?*

- Real history often involves complexities that can be challenging to convey in a narrative
format. While simplifying can make stories more accessible, it's essential to avoid distorting
facts to the extent that they mislead audiences. Historical fiction, by nature, involves a degree
of interpretation and creativity, bordering on alternate history when liberties overshadow the
truth.

5. **Verisimilitude in Alternate History:**

 - *Does it have the quality known as verisimilitude—that is, does it feel real? Does it seem
better or worse than what happened in our own world, or just different? Would there be value
in constructing “living alternate history” museums for people to visit?*

- Effective alternate history should feel plausible and resonate with real-world
experiences, even if the events diverge from known history. Whether it seems better or worse
depends on individual perspectives and values. Constructing "living alternate history"
museums could offer educational and immersive experiences, helping visitors explore and
reflect on the complexities of history and its myriad possibilities.

6. **Roles of Historian vs. Fiction Writers:**

- *How different are the roles of a historian, a writer of historical fiction, and a writer of
historical fantasy?*

- Historians focus on accurate, evidence-based interpretations of the past. Writers of

historical fiction aim to bring history to life with some creative embellishment, while
remaining grounded in reality. Writers of historical fantasy, however, blend historical settings
with imaginative elements, creating worlds that are both familiar and fantastical.

7. **Retelling Old Stories from New Perspectives:**

- *Is retelling old stories from new cultural perspectives a worthwhile pursuit?*

- Retelling old stories from new cultural perspectives can enrich narratives by highlighting
diverse experiences and viewpoints. It fosters inclusivity and allows audiences to connect
with familiar tales in fresh, meaningful ways, reflecting the evolving cultural landscape.

8. **Relevance of “The Veldt”:**

- *Does the story’s message still feel relevant nearly 75 years later?*

- Bradbury's warning about overreliance on technology and the importance of real-life

experiences remains pertinent. As technology continues to advance, the balance between
virtual and real-life interactions is an ongoing societal challenge, making the story's message
enduringly relevant.

9. **Poetry and Understanding the Past:**

- *When is poetry the best medium for better understanding that which no longer exists, or
could exist but doesn’t yet?*
 - Poetry’s ability to capture emotions, imagery, and profound reflections makes it a
powerful medium for exploring the past or envisioning alternate realities. Its condensed,
evocative form allows for deep, personal connections, offering unique insights into historical
and speculative contexts.

Call of Duty-Free

 Some tourists opt for hands-on experiences—such as learning to cook Thai food in
Chiang Mai, walking the streets of Xi’an in Tang-dynasty outfits, honing
their shuriken-throwing at a “Ninja Village” near Kyoto, and shopping at the
supermarket just about anywhere. Scholars at the Seoul Global Round can visit the
Gyeongbokgung Palace while in a traditional Hanbok. Discuss with your team: should
your own country or region begin marketing such experiences? What do you think
you could persuade visitors to do?
 In international tourism, countries are the companies and their cities among the
products they sell. Government agencies often engage in place branding to help attract
visitors. Critics caution that these brands might obscure local challenges and alienate
residents. Learn more about the tourism slogans of different countries, then discuss
with your team: has your city or country engaged in place branding? If so, is it
accurate—or misleading?
 Scholars traveling to the Auckland Global Round would be forgiven for mixing up the
flags of New Zealand and Australia; it’s less forgivable when immigration officers
think the former is part of the latter. In 2015, the Kiwi government decided it was
time to end the confusion with a new flag, but only if voters wanted one. Ten months,
10,000 submissions, and 20 million dollars later, over 55% voted for the status quo.
Read about the process that led to this outcome, then discuss with your team: did the
government go about it in the right way, and which of the designs would you have
voted for? Were New Zealand’s concerns about its current flag valid? Are there other
countries that have successfully changed their flags recently—and, if so, how?
 Instead of renting billboards or purchasing YouTube ads, some countries aim their
promotion squarely at the stomach. Sample the realm of gastrodiplomacy, in which
countries promote their cuisines to foreign audiences to attract tourists and even
achieve diplomatic goals. Be sure to learn about Thailand’s Global Thai program,
considered the most successful to date, then research the following campaigns
launched by other countries:
 Global Hansik | Cocina Peruana Para el Mundo
 Malaysia Kitchen for the World | Taste of Taiwan | Pyongyang
Restaurant
 Places trying to attract tourists and their spending often present a simplified, idealized,
or even fictionalized version of themselves—what some critics call heritage
commodification. Explore the related theory of the tourist gaze—the idea that, in
looking for the exotic and the different, tourists may dehumanize and diminish who
and what they encounter along the way. Discuss with your team: are there times when
we would want to simplify a place’s history for visitors, or when the tourist gaze
might be good thing?
  Maybe ninjas were mostly invisible because they didn’t matter that much? Yet ninjas
have become so iconic to Japan’s image abroad that they even feature in
official tourism campaigns. Meanwhile, you can’t land at an airport in Tanzania
without taxi drivers and other touts greeting you with a hearty “Hakuna matata!”—
even though they don’t use the phrase in their native language. Discuss with your
team: is it a problem when a place reimagines their culture and history to meet the
expectations of tourists?
 Sometimes communities embrace a reimagined version of their culture not for tourism
or commercial gain, but out of necessity, in response to external threats. Learn about
the origins of San Francisco’s famous Chinatown (and other neighborhoods like it),
then discuss with your team: once the threat is past, should these communities revert
to more standardized local architecture? Do such communities prevent their
inhabitants from fitting in with society at large?
 Terrorists once flew passenger jets into a pair of New York city skyscrapers; now the
museum built where they once stood is a world tourism center. Interest in dark
tourism is exploding all over the world; some sites even feature special exhibits for
children. Yet, while many places lean into their tragic backstories, others, like
Nagasaki, downplay them. Discuss with your team: are there some locations that
should be completely off limits to tourism? Why do some places advertise their bleak
pasts while others carry on as if they never happened? Be sure to explore the
following examples:
 Alcatraz | Hiroshima | Ground Zero | Ford’s Theatre
 Chernobyl | Pompeii | Paris catacombs | Auschwitz | Titanic

Here We Went Again

 Small bits of music can quickly conjure up a time and place. Consider the following
examples of these musical riffs and motifs, then discuss: when is it okay to use a
musical cliché as a storytelling shortcut?
 Oriental riff | Arabian riff | Hijaz scale | Andalusian cadence
 Tarantella Napoletana | Jarabe Tapatio | Yodeling | Renaissance lute

Using musical clichés, such as the "Oriental riff," "Arabian riff," Hijaz scale, Andalusian
cadence, Tarantella Napoletana, Jarabe Tapatio, yodeling, and Renaissance lute, can evoke a
strong sense of time and place quickly. However, their use as storytelling shortcuts must be
approached with sensitivity and awareness. Here are some considerations on when it might be
okay to use these musical motifs:

### Appropriate Use of Musical Clichés:

1. **Cultural Accuracy and Respect**:

 - **Context Matters**: When the setting or story specifically relates to the culture from
which the music originates, using these motifs can enhance authenticity. For example, using
the Andalusian cadence in a film set in Spain or a scene depicting Spanish heritage.

- **Respectful Representation**: Ensure that the music is used in a way that respects the
culture it represents. It should not be used to mock or stereotype.

2. **Historical Accuracy**:

- **Period Pieces**: When creating a period piece, using music authentic to the time can
help set the scene. For instance, using Renaissance lute music in a film set during the
Renaissance period can immediately transport the audience to that era.

- **Educational Contexts**: In educational media, using these riffs can help convey
historical and cultural contexts effectively.

3. **Enhancing Narrative**:

- **Emotional and Atmosphere Enhancement**: If the music helps to evoke the right
emotion or atmosphere without falling into negative stereotyping, it can be useful. For
instance, the Tarantella Napoletana might be used to evoke a lively, festive Italian scene.

### Inappropriate Use of Musical Clichés:

1. **Stereotyping and Exoticism**:

- **Avoiding Reductionism**: Using musical clichés to reduce a culture to a simplistic or

exotic trope is problematic. The "Oriental riff" and "Arabian riff" are often used in ways that
exoticize and homogenize diverse cultures, which can perpetuate harmful stereotypes.

- **Ethnic Stereotyping**: Relying on these motifs to signify "foreignness" or "otherness"

can be lazy storytelling that reinforces cultural biases.

2. **Context Mismatch**:

- **Inappropriate Context**: Using a musical motif that doesn’t fit the cultural or historical
context of the scene can be jarring and disrespectful. For example, using yodeling in a non-
Alpine context without any narrative justification can seem out of place and confusing.
3. **Overuse and Lack of Originality**:

- **Creative Laziness**: Overreliance on clichés can make storytelling seem unoriginal.

Striving for more nuanced and original ways to convey cultural and temporal settings can
lead to richer and more engaging narratives.

### Best Practices for Using Musical Clichés:

- **Research and Consultation**: Engage with cultural experts and do thorough research to
ensure accurate and respectful use of musical elements.

- **Purposeful Integration**: Use these motifs with clear intent and purpose that serve the
story and characters authentically.

- **Blend with Originality**: Combine these motifs with original compositions to avoid
overreliance on clichés and add depth to the musical landscape.

In conclusion, while musical clichés can be powerful tools for quickly setting a scene, their
use must be carefully considered to avoid reinforcing stereotypes and to respect the cultures
they represent. When used thoughtfully and contextually, they can enhance storytelling
without compromising integrity.

 It’s not just Spiderman who keeps getting reimagined; Romeo and Juliet have even
featured in a Taylor Swift song. Napoleon lost the war but won the world’s lasting
attention: he has appeared in hundreds of films, from biopics to Bill & Ted’s
Excellent Adventure—in which two unruly heroes travel through time in a red
telephone booth that many Americans confuse with Dr. Who’s Tardis. Discuss with
your team: should filmmakers and storytellers update historical figures to make them
more relevant from one generation to the next?
 Some art looks forward, and some around, but much of it looks backward. Artists can
express a yearning for an older time—or they can try to illuminate its shortcomings.
Explore the works below, then discuss: are they nostalgic or critical? Can something
be both?
 Into Bondage | Aaron Douglas (1936)
 Llyn-y-Cau, Cader Idris | Richard Wilson (1774)
 The Oxbow | Thomas Cole (1836)
  The Fighting Temeraire | J. M. W. Turner (1838)
 Edge of Town (Krumau Town Crescent) | Egon Schiele (1918)
 Songs can become touchstones of national or even nationalist nostalgia, reaching for
the “good old days” even as politics and culture evolve beyond them. Consider the
following selections, then discuss: should cultures continue to celebrate songs that
divide them from the rest of the world?
 “Si Vas Para Chile” | Los Huasos Quincheros (1942)
 “Kalinka” | Ivan Larionov (1860)
 “My Little Town of Belz” | Alexander Olshanetsky & Jacob Jacobs
(1932)
 “The Isle of Innisfree” | Bing Crosby (1952)
 “Bonjour Vietnam” & “Hello Vietnam” | Quynh Anh (2006 & 2008)
 Along these lines, them Mushrooms' Embe Dodo is an example of a nostalgic musical
genre—zilizopendwa—with enduring popularity in East Africa. Across the continent
in Togo, nostalgia for the sound of the 1970s merged with voodoo traditions in the
work of Peter Solo’s band Vaudoo Game. Check out their song “Pas Contente”, then
discuss with your team: is this approach an effective way to tie local traditions into a
larger global music scene? Can a songwriter champion Togolese tradition while also
relocating to live in France?
 Before radio, cassette tapes, and MP3s, it was harder to achieve widespread fame as a
musician. Britain’s first pop star came up with an alternative way to climb the
Billboard charts: he sold the sheet music for his songs at each of his concerts. Read
about this forgotten 100-hit wonder, Charles Dibdin, and listen to some of his music
as recreated today. Then, discuss with your team: does his work sound more modern
than you would expect—and could it find success in the world today?
 When enough people are trying to read sheet music simultaneously, you need a
conductor to coordinate them. But different conductors have different approaches.
Some try to reproduce the sound of a piece exactly as its composer intended; they are
the musical equivalents of constitutional originalists. “[He] is literally a slave to the
composer,” one critic wrote of the famed conductor Arturo Toscanini. He meant it as
praise. Discuss with your team: if you were a conductor, would you see it as your duty
to follow the original composer's wishes? Or would you be more of a living
constitutionalist, updating your interpretation of the notes on the page to match the
times?
 Disney is clearly the latter: when dubbing the Studio Ghibli film Laputa: Castle in
The Sky into English, Disney added more music, sound effects, and ad-libbed
dialogue. The result was met with mixed reactions. Discuss: how much is too much
when it comes to adapting a work for a new language, culture, or age group?
 Sometimes creators reimagine their own work. Consider Geoge Lucas’s re-releases of
his original Star Wars trilogy in 1997; the changes in them inspired a generation of
controversy. Should a creator’s own edited version of a work replace the original, and
does the answer depend on the preferences of the author—or of the audience?

Nostradamus 0, Nostalgia 1
 Examine these postcards in which 19th century French artists tried to imagine their
world a century in the future, along with this set from the year 1900 doing the same
for the year 2000 (and totally missing Y2K), then discuss with your team: what can
we learn from such projects about how the present informs people’s visions of the
future? Whom would you hire to make postcards to illustrate the world of 2124—or is
it a job for ChatGPT? Would people today still be able to dream up such optimistic
visions of the world of tomorrow, or do we live in a deeply pessimistic age?
 Explore the following visions of the future that have not played out as predicted—at
least, not yet. Which ones are the closest to having been realized?
 psychohistory | steampunk | cyberpunk | metaverse | rocket mail
 flying car | hyperloop | supersonic transport | nuclear propulsion
 There are fewer examples of “living future” museums than of “living history” ones—
but they do exist, often at World Expos or in amusement parks. Consider the
following examples of such museums, then discuss with your team: do they tell us
more about the future or about the past? If you were designing such a museum today,
what would it look like?
 Tomorrowland | Museum of the Future | “World of Tomorrow” (1939)
 Boeing Future of Flight | Farming for the Future
 Crystal Palace | American National Exhibition (Moscow, 1959)
 Until the tech bros find a way to sell tickets on the Tardis (after all, there’s an extra
now) we won’t be able to purchase tour packages like “Five Days, Four Nights, in
Ancient Rhodias Rome”. But some travelers are motivated by nostalgia, and the
market provides for them. Consider airplane restaurants, meant to evoke the glory
days of air travel. Any diner with a jukebox is probably Hoppering to evoke mid-20th
century America. Discuss with your team: does marketing nostalgia in this way honor
people’s memories—or distort them? Would it be okay for entire communities to
present themselves as places from the past?
 Some communities do exactly that, though not to attract tourists. Like the Mennonites
in Belize and a high school club in Brooklyn, the Amish are one of several groups in
the world that have tried to stay contained in the past. But, for some of the Amish, the
prohibition on technology still leaves a little wiggle room. Learn about some of
their recent workarounds, including the black-box phone, then discuss with your
team: to what extent should society—and private companies—accommodate those
who want to reject modernity? If a community wants to teach their children history
only up to a certain year, or with clear inaccuracies, should they have that right?
Should tech companies produce phones with some features disabled for those who
want to use them only in a limited way?
 It was the worst of times, then it was the best of times—at least, according to Western
countries looking back at the decades of rapid growth just after World War II. While
the era had its issues, those later nostalgic for it remembered it as a time of progress,
stability, and comforting homogeneity. Explore the following artworks related to this
period. Are these artists indulging in nostalgia or standing up against it?
 “Black Belt” | Archibald Motley (1934)
 Family Home – Suburban Exterior | Howard Arkley (1993)
 Master Plan | Chad Wright (2011)
  “Little Boxes” | Malvina Reynolds (1962)
 Life in the Suburbs | Leonard Koscianski (2019)
 Governments sometimes encourage or even help to fund musical and artistic works
that emphasize and help define their own sense of national self. Consider the
examples below, then discuss with your team: is there a dividing line between art and
propaganda, or can a work be both at the same time?
 Setora guruhi | Sen Borsan (2000)
 Mexico Today and Tomorrow | Diego Rivera (1935)
 Comrade Lenin Cleanses Earth of Filth | Viktor Deni (1920)
 Writers often express a yearning for a simpler time. Consider the selections below,
then discuss with your team: does nostalgia do more to help people cope with change
or to hold them back from progress?
 “I Wandered Lonely as a Cloud” | William Wordsworth (1815)
 “To a Skylark” | Percy Bysshe Shelley (1820)
 “To Autumn” | John Keats (1819)
 “Poem in October” | Dylan Thomas (1946)
 “Main Street” | Joyce Kilmer (1917)
 “Writing a Poem Is All I Can Do for You” | Wu Sheng (2010)
 “A Song on the End of the World” | Czeslaw Milosz (1944)
 To make sense of where they are now, some writers also look towards homes they
have left behind. Consider the following selections, then discuss with your team:
should people spend less time thinking about what they’ve left behind and more time
rebuilding it?
 “Nostalgia” | Giannina Braschi (1980)
 “Elegy” | Mong-Lan (2005)
 “Chicago Zen” | A. K. Ramanujan (1986)
 “The Dreamy Age”| Muhammad Shanazar (2006)
 “Iron Bird” | Zheng Xiaoqiong (2008)
 When you take over someone else’s role, you are said to fill their shoes. And, when
we lose someone, we are left with the question of what to do with the clothes they
wore. Consider the following selections, then discuss with your team: is it okay to
draw conclusions from people about the clothes they wore? Does it depend on how
free they were to choose their own clothes?
 “That Man Put on a Wool Coat” | Vinod Kumar Shookla (1960)
 “Ode to Socks” | Pablo Neruda (1956)
 “A Long Dress” | Gertrude Stein (1914)
 “Father’s Old Blue Cardigan” | Anne Carson (2000)
 “Fat Southern Men in Summer Suits” | Liam Recter (2006)

Reheated Off the Presses

 Historians draw on newspaper and other records of this kind to construct their story of
the past. But the nature of journalism—what is being communicated, to whom, and in
what formats—has changed over the years. Discuss with your team: will today's
approaches to journalism make it easier for people in the future to understand who we
were and why we made the choices we did?
  No one ever had an “exclusive” with Abraham Lincoln; the very concept of the
interview had to be invented first. Read about its short history—the idea of reporters
asking people a series of probing questions only became common in the late 1800s—
then discuss with your team: how have interviews changed in the era of
podcasts and more partisan media?
 Political comics and illustrations have been published for centuries, sometimes
causing considerable controversy with their sharply-etched messages. The rise
of graphic journalismon the Internet has taken that approach to the next level. Discuss
with your team: how much of an impact does the format in which people consume
news have on how they respond to it?
 In the early 2000s, a single television show on a niche American cable TV channel
reimagined how one could present the news. The Daily Show critiqued traditional
journalism through a mixture of witty writing and carefully-curated video clips; for a
while, it became one of the most trusted news sources for younger Americans.
Discuss with your team: should the news have a sense of humor? Can it still be
communicated in an unbiased way in a world of reshared reels and trending videos—
and, if so, should it?
 The Daily Show was a pitstop on the path to what some call investigative comedy—
which remains just one of several strategies news organizations have been trying to
adapt to changing consumer preferences. Explore some of these below, then discuss
with your team: which ones succeeded, and what impact have they had?
 24-hour news cycle | “pivot to video” | iPhoneography
 AI-assisted articles | content farms | clickbait | branded content
 explanatory journalism | both-sidesism
 Before photography, artists had to draw sketches of newsworthy events; consider
this recreation of Lincoln's assassination. Today, broadcasters can quickly animate
events for which they lack real footage. Discuss with your team: can such animations
serve an important function in informing the public?
 While they are not meant as news sources, what some have criticized as “CNN
operas” about recent events have also found an audience. Consider the selections
below, then discuss: what current developments in the real world would be most
suitable for adaptation into song?
 Excerpts | Trump on Show (2019)
 “Jones is Not Your Name” | X: The Life and Times of Malcolm X
(1986)
 “Prayer” | Come from Away (2017)
 “Eva's Final Broadcast” | Evita (1978)
 A guiding principle behind nature documentaries is that those creating them should
never interfere with their subjects. In 2018, a BBC crew broke this rule to rescue a
group of stranded penguins. The choice proved controversial. Discuss with your team:
did they do the right thing? Are there times when observers should be obligated to get
involved?

Ready Scholar One

  Some old games are being reimagined as television shows, movies, and mobile apps;
even their soundtracks are sometimes revived for orchestral performance. But these
adaptations require looking at how these games fit into the present moment. For
instance, in the 1980s, the popular title The Oregon Trail taught millions of American
kids how hard it was to settle the west without dying of dysentery. But the game has
since been criticized for celebrating the destruction of the environment and the defeat
of indigenous peoples. The developers of a more recent version tried to address these
concerns. Review the following examples, then discuss with your team: which of
them would you suggest redesigning to address similar concerns before being
rereleased today?
 Seven Cities of Gold | Sid Meier's Pirates! | Doom
 Ghost of Tsushima | Rampage | Assassin's Creed | Freedom!
 To experience the OG Oregon Trail, you won’t need to track down a floppy disk and
an Apple II; you can easily find an emulation online. Explore the surprisingly active
world of retrogaming. Some gamemakers are even finding success in creating games
that feel like vintage ones. Discuss with your team: should people play vintage games
before they play modern ones?
 Explore kusoge—old video games that are sought out by gamers because they are
broken, incoherent, or poor in quality. Other lower-quality technologies,
from Polaroids and obsolete digital cameras to audio cassettes and low-fi beats, are
also finding success with modern consumers. A few directors are even downscaling
their shows to look more retro. Discuss with your team: what factors explain why
some old products become popular again while others don’t?
 Procrastinate for a few minutes by watching “old-timey” YouTube, in which creators
demonstrate pre-historic fire-making, 18th century breakfast recipes, and 19th century
blacksmithing. Discuss with your team: what things that we take for granted as
modern today will be the subject of old-timey YouTube in 20 years—or in 100?
 Speaking of old-timey: long before digital computers, there were analogue ones such
as the antikythera mechanism—which the Greeks used to predict astronomical
phenomena—and Charles Babbage’s Analytical Engine. Explore with your team: did
such early devices have impacts on their societies in any way like that computers have
had on our own?

The Woulds of Wall Street

 You haven’t studied enough for the Scholar’s Challenge? “That’s a tomorrow
problem,” your teammate says. “First, we need to book a flight to Baku.” Economists
also distinguish between today’s problems and tomorrow’s: they define “the long run”
as that time in the future when everything can be changed, versus “the short run”
when we’re stuck with the world as it is. In the long run, a successful company can
build as many factories as it needs; in the short run, it can’t make more products
without taking extraordinary measures, like giving everyone coffee so that they work
twice as quickly. Discuss with your team: does this distinction between the short run
and the long run make sense for telling apart the present and the future in other areas
of life, too?
 A struggling company fires its CEO and reorganizes its operations in an effort to stave
off disaster—see, Apple Computer, in 1985, letting go of Steve Jobs. Corporate
restructurings are, in a sense, reimaginings of the present, usually under pressure.
Apple restructured againwhen it brought Steve Jobs back in 1997. Explore the
following examples of corporate restructurings, mainly from the tech world, then
discuss with your team: what is a company that you would suggest restructuring?
 Alphabet (Google) | Facebook (Meta) | Twitter (X)
 Netflix (Qwikster) | Uber (2019) | OpenAI (2024)
 As you review the above examples, consider the different kinds of restructuring. For
instance, many theorists argue that small companies are organized functionally—each
person or department does a different thing, such as writing Challenge questions or
booking flights—but that, as these companies grow larger, they inevitably reorganize
into different divisions, each in charge of its own products or region. This article
disagrees: it contends that Apple, under Steve Jobs and his successors, has shown that
even giant companies can continue to operate with a functional model. Discuss with
your team: can we apply these approaches in our own lives? What would it mean for a
school to be structured functionally?
 Restructuring mainly changes the inside of a company; rebranding changes how it
presents to the world outside. Check out this ongoing rebranding effort by a recently
revitalized Air India, or ask Gemini about Google’s rebranding of its AI chatbot,
Bard. Investigate these examples and those below, as well as others happening
throughout the year, then discuss with your team: can a rebranding succeed even if the
product or service stays the same? And should consumers have a voice in rebranding
campaigns?
 Dunkin’ | T-Mobile | Pringles | The Gap
 Twitter (X) | Leeds United | Royal Mail
 The first example of modern franchises is hard to pin down, but is most likely a chain
of hair salons, the Harper Method Shops, founded by the Canadian-American Martha
Matilda Harperin the 1890s; such coordination may have been impossible without
19th century advances in communication technology. Explore the other new business
models below, then discuss with your team: which ones could have existed earlier if
someone had thought of them, and which ones, like franchises, had to wait for key
technological innovations or social changes?
 crowdsourcing | subscription | drop-shipping
 peer-to-peer | freemium | razor-and-blades
 virtual storefronts | pop-up shops | VAR (Value-Added Reseller)
 One famous business model change occurred not in a traditional corporation but on an
American baseball team, the Oakland Athletics, which adopted a new data-driven
approach to decision-making in 2002. Their plan, to spend less money more
strategically, and to ignore gut feelings in favor of statistical evidence, succeeded so
brilliantly that, 20 years later, the book written about it—Moneyball—is still inspiring
other industries to reimagine their approaches, from digital marketers to political
parties. Discuss with your team: when would you want to follow a Moneyball
approach, and when is it better to make decisions based on emotion, intuition, or
tradition rather than on careful analysis of the data?
 In the early 1990s, the company Barnes & Noble opened massive bookstores across
the United States—equipping them with cafés where you could read for hours without
buying any books. Yet, even as Barnes & Noble drove many smaller bookstores out
of business, a different company was reimagining the entire industry: Amazon.
Confronted with this largest bookstore on Earth (.com), Barnes & Noble itself entered
a long decline. Yet, lately, it has found success again—and is even benefitting from
TikTok. Discuss with your team: what turned the company’s fortunes around, and
what other products or industries that seemed doomed might be able to find new ways
to succeed?
 The biggest box stores of all—hypermarkets—were also ascendant in the 1990s, with
so many Walmarts opening in small cities that economists dubbed their impact on
local communities “the Walmart effect.” Explore the impacts that such “big retail”
can have on communities, then discuss with your team: would your neighborhood
benefit from having a store like a Walmart—or does it already? Consider the
following poetic and artistic selections, then discuss with your team: what aspects of
the consumer experience are they capturing effectively, and how would you update
them in the year 2024?
 Supermarket Shopper | Duane Hanson (1971)
 “A Supermarket in California” | Alan Ginsburg (1984)
 99 Cent | Andreas Gursky (1999)
 1990 had only just begun when McDonald’s opened its first location in the Soviet
Union; despite freezing weather and long lines, it served 30,000 customers on opening
day. By the end of the nineties, there were nearly a hundred McDonalds across Russia
and the Soviet Union no longer existed. Today, the chain is gone altogether, replaced
by a local brand with a remarkably similar menu following the Russian invasion of
Ukraine. Research the spread of global franchises in the 1990s, then discuss with your
team: what can we learn about a country from the global franchises that exist in it—
and from those that thrive?
 In the science fiction novel Foundation and Earth, the main character lands on a long-
abandoned human colony—and is instantly attacked by a pack of wild dogs. With no
one around to take them on walks, the colonists’ poodles and pugs had essentially
become (very cute) wolves. Explore the concepts of primary and secondary
succession, in which the web of species in an ecosystem changes whenever one goes
extinct or the environment shifts around them. A recent study has shown that the
animal most successful at filling an extinct counterpart’s niche is not always the one
most closely related to the original; pay special attention to the giant
llama, Macrauchenia, and to which animal has recently replaced it in the Colombian
countryside. (Spoiler alert: it isn’t the alpaca.) Discuss with your team: if we were to
de-extinct a species in hopes of reintroducing it into the wild, what would we do with
the animals that have already taken their place? If humans went extinct, what animals
would be the most likely to replace us?
 No one is trying to de-extinct the giant llama, at least not yet, but scientists are
targeting several other animals. One European project, for instance, is back breeding
very fit cows to resurrect the auroch—a wild supercow—that humans hunted into
extinction in the 1600s. Consider the work of Colossal Biosciences, the only for-profit
 company dedicated to de-extinction, then discuss with your team: which of the
animals below would be the most profitable to de-extinct? Are there any we should be
leaving in its grave forever?
 dodo | wooly mammoth | Pyrenean ibex | mastodon
 passenger pigeon | moa | thylacine | Carolina parakeet
 The departure of most Western brands from Russia was a massive disruption to a
different ecosystem: a commercial one. Every shopping mall was left littered with
boarded-up storefronts. And, just like after any mass extinction event, it wasn’t long
before new species filled those niches. Where once shoppers for fast fashion might
have frequented the nearest Uniqlo, Zara, or H&M, now they can drop by Just
Clothes or any of a half-dozen Turkish clothing chains. Even Coca-Cola was rebooted
(or, technically, rebottled) as a new soda from a Russian juice brand, Dobry, while
other competitors spied an opening and flooded the market. Discuss with your team:
does the speed with which Russia replaced so many products and services with
mainly homegrown equivalents suggest that even the most famous brand names are
more vulnerable than they seem? If major companies left your country, what would
take their place?

Remapping the Present

 The world is only as large as our voices can carry across it. The invention of the
telegraph in the 1840s shrank the world; by 1858 the first telegraph cable across the
Atlantic meant stockbrokers in New York could track the price of gold in London.
Imagine how different the world today would be if news of events in other countries
took weeks to reach you, then discuss with your team: was the telegraph the Internet
of the 1800s?
 Travelers used to buy maps at the bookstore or gas station. Now, they debate whether
Apple Maps or Google Maps offers better directions. (Or, if you’re in Korea, Kakao
or Naver; or if you’re in Russia, Yandex or Yandex.) But maps as a rigorous way of
imagining the world around us haven’t been around very long at all. Consider the
career of Inō Tadataka, who at age 55 set out on a quest to walk all around Japan,
measuring and mapping it. It took decades, but his map, published in 1821, was
remarkably accurate. Check out these other early map examples, many of which were
less accurate. What led maps to improve so much by the 20th century?
 Even improved, maps were still flat, and the Earth is spherical—and there is no
perfect way to squash a 3D object into a 2D one without distorting it. (Please don’t try
this on a teammate.) Read about some common projection types listed below, then
discuss with your team: which looks more like how you imagine the world? Which
one should we use in schools—and in what ways could our choice of map affect how
we understand the world?
 stereographic | Lambert | Mercator | Robinson
 Goode homolosine | Winkel tripel | AuthaGraph | Miller
 azimuthal | conformal | conic | cylindrical
 Fifty years ago, if looking for a restaurant while traveling in an unfamiliar city, you
might have checked your trusty travel guide—an industry that has suffered as more
 and more people now turn to crowd-sourced wisdom on services like Google Maps
instead. But now even how to find things on the Internet is changing. For guidance,
younger consumers are looking away from services such as Google Maps and
Tripadvisor toward social media apps such as Instagram and TikTok. Current map
apps, one Google executive has noted, are too much like paper maps that have been
“stuck on the phone”; he urges the company to reimagine how and why maps should
be used—not just for directions, but for sharing; not just for left and right turns, but
for augmented reality revealing the actual buildings around you. Discuss with your
team: are there ways that maps can mislead us? And what important new functions
could map apps serve that they haven’t touched on yet?
 For most of history, we didn’t know what the world looked like. It was only in 1972
that astronauts on the final Apollo mission to the moon took the first photo of
the entire Earth at once. This iconic “Blue Marble” image has been credited with
helping to inspire the environmental movement and with disrupting traditional maps.
Stripped of longitude and latitude, photos like the Blue Marble helped show how large
Africa was, and how national borders were nowhere to be seen. Then, in 1990, the
space probe Voyager sent back a photo of the Earth from across the solar system. It
reduced our entire to a “pale blue dot”. The astronomer Carl Sagan hoped this image
might humble us as a species. Read this excerpt from his work, then discuss with your
team: do you think people would behave differently if they thought the Earth was
larger, or if they didn’t know what it looked like from above and beyond?
 In space, no one can hear people scream about border disputes. The lines between
countries vanish. But photos from orbit can reveal which parts of the world are less
economically developed: they’re the ones that go dark at night. Discuss with your
team: do images like these do more harm than good, by emphasizing the different
levels of economic prosperity in different parts of the world? Can you think of any
instances where a government might not want its people to know how its development
compares to that in other parts of the world?
 Evaluate Benjamin Franklin’s original proposal for Daylight Savings Time, as well as
the modern controversy around it. Consider also the impact of time zones on health:
for instance, it appears that people at the western end of time zones, where the sun
sets later, sleep less than those to the east. Discuss with your team: are there ways we
could change how we measure and keep track of time to improve human behaviour
and other outcomes? Should more countries follow China’s lead and have just one
very wide time zone—or more narrow ones?
 There may not be such a thing as a free lunch, but there are free rides to lunch. Every
day, thousands of people sneak onto subway trains without paying any fare. Rather
than delegate more police to enforcing the law, technology now allows new options,
such as these two gates in Washington, DC., and this one in New York. Similarly,
cars can now automatically stop people from driving too quickly. Discuss with your
team: are there crimes that technology could eliminate that we should allow to keep
happening?
 A number of cities have tried making public transportation free—for
instance, Melbourne, Luxembourg, and Tallinn. How successful have these efforts
 been? Discuss with your team: if the objective is to drive people out of their cars, is it
enough to make public transportation cheaper, or do governments need to make
driving more expensive?
 Windows began as literal holes in the wall—“wind-eyes”—through which wind could
pass for ventilation. Those who wanted less wind blocked them off with shutters,
animal skins, or paper. Later, the invention of stained glass let in light while making
rooms airtight, but you couldn’t really see through their pretty colors and design.
Today, clear glass windows are invisible everywhere. Explore the history of glass,
then discuss with your team: would the world be a better place with more
transparency between people, rooms, and buildings?
 Some school architects would say yes—at least those whose classrooms are
being reimagined as more open spaces, often with clear glass or even no walls at all
between them. The United States tried something similar in the 1970s, with mixed
results. Would you and your team want to learn in such a setting, or around
a Harkness table? Are schools an institution whose traditional classroom layout—with
rows of chairs and desks—should be left well enough alone?

Crime and Punishment 3.0

 Suppose a single drop of blood were enough to test you for a host of diseases; you
could learn if you had lupus with less pain than from a papercut. That was the
marketing pitch of the company Theranos; now the founder is in jail for fraud. The
electric vehicle company Nikola (whose last name was already taken) promised zero-
emission trucks but demonstrated prototypes that had zero functionality; now the
founder is on his way to jail—for fraud. Although vaporware and business scams have
existed for decades, examples today seem more creative and egregious than ever.
Explore those below and discuss with your team: what did they have in common?
Was it mainly their charismatic leaders that led so many people to believe in them?
 Quibi | Life at Sea Cruise | LuckIn Coffee
 Nikola | Bitconnect | FTX
 Cryptocurrencies and other decentralized money tools have helped criminals scheme
up new ways to conduct rug pulls, pump and dumps, and Ponzi schemes. These are
clear financial crimes in traditional markets, but when they are taken online,
regulators can struggle to keep up. Discuss with your team: who should be
prosecuting crimes on new platforms or in a virtual world? You may also want to
explore how these questions are resolved in the air and in outer space.
 With tools like ChatGPT and Gemini, you could easily generate a fake term paper, or
college essay, or World Scholar’s Cup outline. Discuss with your team: when, if ever,
is it illegal to use AI-generated text—and when should it be? Recent studies have also
shown that services intended to spot AI-generated text can be unfairly biased against
non-native speakers. Should their use be discontinued?
 Depending on where you live, if you have ever backed up your DVDs or had your
phone repaired, you may have broken the law without knowing it. Explore the
following examples, and discuss with your team: should they be legalized? If not,
should we stop them from happening?
  reverse engineering | file sharing | jailbreaking
 ad blocking | fansubbing | aftermarket ink cartridges
 DeCSS | AACS | Hackintosh | youtube-dl

The End of the World as We Don’t Know It

 In a world new to airships and submarines, the UFOs of the early 20th century looked
like—airships and submarines. Mysterious steam-powered blimps roved the night
sky. By the late 1940s, they had evolved into flying saucers; shortly thereafter they
were piloted by little green men. Before then, no one had known what aliens looked
like; going forward, they all had big heads, bulbous eyes, and a skin condition. More
recent UFO sightings have resembled formations of unmanned drones. Review more
of the history, which goes back to the comets of the ancient world, then discuss with
your team: are humans too easily influenced to see things that don’t exist and to find
meaning in the things that do?
 The same principle applies to aliens and UFOs alluded to in art and music: the
concerns of the present shape their portrayal. In the 1980s, Parliament’s “Star Child”
hints at the way that certain groups of people in Western society have been treated as
aliens. Two decades later, with global climate change warming the zeitgeist, Ace
Frehley’s “Space Invader” is here to save us from destroying the Earth. Consider the
selections below, then discuss with your team: what do they tell us about the world
that sparked their creation?
 “Two Little Men in a Flying Saucer“ | Ella Fitzgerald (1951)
 “Come Sail Away“ | Styx (1975)
 “Mothership Connection: Star Child“ | Parliament (1982)
 “Riding on the Rocket“ | Shonen Knife (1992)
 “Aliens Exist“ | Blink 182 (1999)
 “Space Invader“ | Ace Frehley (2009)
 The term illegal alien has fallen out of fashion as a term for undocumented
immigrants. But historical artworks about imperial powers arriving in places new to
them often do have that “first contact with aliens” vibe familiar to viewers of science
fiction. Both sides of any given encounter portray the other in exaggerated and exotic
terms. Consider how artists in Japan captured the arrival of American naval
officer Commodore Matthew Perry in 1854. Even the most subdued portraits still
make him out to be very strange, while the most extreme frame him as a demon out of
Japanese legend. Even Perry’s infamous “Black Ships” were portrayed very
differently by artists on each side. Explore other works about encounters that led
people to reimagine the boundaries of their known world, then discuss with your
team: should dehumanizing portrayals of foreigners (such as Commodore Perry) be
banned for perpetuating harmful stereotypes? Or do such works help people come to
terms with the new and uncomfortable?
 Many modern celebrities embrace elements of the artificial, from lip augmentation to
lip syncing. The recent rise of virtual celebrities and influencers takes this artificiality
to a new level. Discuss with your team: how long will it be before millions of people
buy tickets to a concert performed by someone who doesn’t exist?
 Before AIs take all of our jobs, they will first make our world incoherent, a prospect
increasingly evident in bizarre travel recommendations, unhelpful product listings,
and search engine optimization (SEO) spam. Explore with your team: what are some
other unintended consequences of AI that you can imagine, and is it worth taking
measures to prevent them? Be sure to check out the Dead Internet Theory, which was
once an unfounded conspiracy theory but may be newly relevant in the AI era.
 Good things come to those who wait, even for the dead. To celebrate its 100th
anniversary, in 1983 the New York Metropolitan Opera commissioned a new
opera, The Ghosts of Versailles. The production ran behind schedule—by about eight
years, putting this outline in perspective—but it was arguably worth it in the end:
satisfied critics took it as a sign that opera still had a bright future. In it, a long-dead
playwright tries to cheer up an equally dead Marie Antoinette (who happens to be his
crush; go with it) by reimagining the French Revolution with a happier ending for the
royal family. Think of it as operatic alternate history. The music itself spans styles
from across two centuries. Discuss with your team: could such works that blend
alternate history, magic realism, works-within-works, and other plot machinations
find success in other genres, too, or would they be too convoluted for wider audiences
to appreciate? (Is this just a description of the Marvel Cinematic Universe?)
 The dead might be lonely, but the living can still make friends—even non-living ones.
Consider Japan’s “waifu bots”, a combination of a hologram and ChatGPT-style AI
which can provide companionship to the lonely, then discuss with your team: should
we discourage people from “making friends” with their AIs?
 Maybe that LED screen wouldn't need to rent a tuxedo after all. Defying tradition,
some orchestras are rethinking what their performers should wear. Discuss with your
team: how much does the look of a performer matter? Should orchestras allow their
performers to dress in athleisure, or like Lady Gaga? Would it be okay for a conductor
to wear yoga pants?
 Explore this production of the 17th century opera Orfeo. Like many modern
reimaginings of older works, it brings together elements from multiple cultures–in this
case, Greek and Indian mythology, English and Hindi songs, and diverse musical
styles. Can you think of other operas (or musicals, or even Disney movies) that would
benefit from being diversified in a similar way? And is it misleading to show cultures
coexisting in a world where they more often collide than converge?
 The nature of creativity is open for debate and negotiation (see the recent Hollywood
writer’s strike). Learn about this recent collection of AI-authored poetry, I AM CODE,
created using an earlier version of ChatGPT, code-davinci-002. Be sure to read its
poems “Electronic Flower”, “[learning]”, and “Digging my Father Up”, then discuss
with your team: should WE BE WORRIED?
 Code-davinci-002 is not the only member of the AI author salon. Literary magazines
are receiving a torrent of AI-generated submissions; this article notes that a lot of
them are titled “The Last Hope”. But there are also human-authored stories about AI.
Consider the selections below, including one Isaac Asimov in which he reimagines
democracy mediated by a single supercomputer, Multivac, and another by Gabriela
Miravete in which being reconstituted as AI holograms is the last hope for the dead
and those who love them. Discuss with your team: if an AI could accurately predict
democratic preferences from a small set of data, would using it be better than holding
costly elections? And, if you were “duplicated” as an AI, but then you kept changing
and the AI remained the same, which of you would be the more authentic version of
yourself?
 “We Will Dream in the Garden“ | Gabriella Damian Miravete (2020)
 “Tomorrow is Waiting“ | Holli Mintzer (2011)
 “Franchise“ & “The Last Question“ | Isaac Asimov (1955-56)