Making up s**t

Astrophysicist Neil deGrasse Tyson and theoretical physicist Brian Greene in conversation about the great leaps of logic and intuition behind discoveries in quantum physics.

GREENE

The way the nutrino was predicted was from looking at these particle decays and finding that the energy budget was not adding up. And so the idea was maybe there's an invisible particle that's carrying away some additional energy…

TYSON

Was this Enrico Fermi?

GREENE

Yes!

TYSON

So what I like about this is [Fermi says] “Look folks. I can’t explain this. Let’s make some shit up.”

GREENE

Yes! But geniuses…make up shit that’s right!

Neil deGrasse Tyson and Brian Greene Confront the Edge of our Understanding, at 31:04. Star Talk. July 2, 2024. From Left to right: Tyson, commedian and co-host Chuck Nice, and Greene.

TIME names MuSo one of the World's 100 Greatest Places for 2024

TIME Magazine has named MuSo, the Museum of Solutions, one of the World's 100 Greatest Places for 2024.

Congratulations to my beloved (brave, visionary, foolhardy, loving, stubborn :) MuSo colleagues — and the kids and community who keep it real there, every day.

MuSo is in good company here. Fifty-one cultural and nature/heritage destinations in 31 countries are named in TIME's list, among them are the Putep ‘t-awt nature trail and whale observatory in Quebec, Canada; the Ivomo Tea Cooperative in Gisakura, Rwanda; and the Bab Al Salam Mosque in Muscat, Oman.

These are marvelous destinations indeed! But for my own part, as I've said before, I'm a little uncomfortable with these kinds of honors. They can feel arbitrary and superficial, and there are always hundreds of other extraordinary places, projects, and communities, all over the world, that will never get the recognition and support they deserve.

Also, as part of MuSo's founding team, I know our blind spots and skeletons-in-the-closet all too well: If only the reviewers knew too…LOL! My lips are sealed!

That being said, little winks of recognition like TIME's Greatest Places list provide a kind of validation that is incredibly useful to the teams and founders/funders who leap into the void, almost literally*, to start and sustain risky projects like MuSo.

It's scary — a vulnerable feeling — to create a startup venture of any kind, let alone one that seeks to reach so deeply, and so publicly, into the "now" and futures of young people. A billion decisions must be made, often quickly and in a vacuum of expertise and evidence, and it can be hard to tell which decisions are consequential or costly, right or wrong, until long after the moment has passed. Successes often feel quiet and fleeting, while mistakes can be public and harsh.

And a new concept like MuSo is an uncertain proposition for visitors and community too: What is this strange, new place? What will be expected of me? What will I do there? How will it make me feel?

So the editorial imprimatur of TIME — really every sliver of evidence that something new is heading in a good direction — really does help to give founders, funders, teams and communities some confidence that the bold new thing they're creating together makes sense at some level.

That's half the battle, as far as I'm concerned: to gain the confidence and resilience to keep working on hard things together ("Work that matters", as Tim O'Reilly once said), whether in the schoolyard, at the family dinner table, or on a global scale.

In a way, there's some symmetry in this equation. Some poetry too. Finding confidence and resilience is in the meta-purpose of MuSo: to help everyone keep working together — joyfully, purposefully, and playfully — until we get the good stuff right.

//

This post on LinkedIn (link)
TIME's 100 Greatest Places, 2024, MuSo: https://time.com/6992399/museum-of-solutions/
The whole list: https://time.com/collection/worlds-greatest-places-2024/

* During MuSo’s construction I almost stepped off a scaffolding into an open 9-story stairwell.

“[Neil Postman’s] questions can be asked about all technologies and media.

What happens to us when we become infatuated with and then seduced by them?
Do they free us or imprison us?
Do they improve or degrade democracy?
Do they make our leaders more accountable or less so? Our system more transparent or less so?
Do they make us better citizens or better consumers?
Are the trade-offs worth it? If they’re not worth it, yet we still can’t stop ourselves from embracing the next new thing because that’s just how we’re wired, then what strategies can we devise to maintain control?”
Andrew Postman, in his 2005 introduction to his father, Neil Postman's, classic 1985 book Amusing Ourselves to Death: Public Discourse In the Age of Show Business, page xv.

The reader must come armed

It is no accident that the Age of Reason was coexistent with the growth of a print culture, first in Europe and then in America.

In the eighteenth and nineteenth centuries, print put forward a definition of intelligence that gave priority to the objective, rational use of the mind and at the same time encouraged forms of public discourse with serious, logically ordered content.

A written sentence calls upon its author to say something, upon its reader to know the import of what is said. And when an author and reader are struggling with semantic meaning, they are engaged in the most serious challenge to the intellect.

This is especially the case with the act of reading, for authors are not always trustworthy. They lie, they become confused, they over-generalize, they abuse logic and, sometimes, common sense.

The reader must come armed, in a serious state of intellectual readiness. This is not easy because [the reader] comes to the text alone. In reading, one's responses are isolated, one's intellect thrown back on its own resources. To be confronted by the cold abstractions of printed sentences is to look upon language bare, without the assistance of either beauty or community. Thus, reading is by its nature a serious business. It is also, of course, an essentially rational activity.
Neil Postman, in Amusing Ourselves to Death: Public Discourse In the Age of Show Business chapter 4, The Typographic Mind, pages 50-51. With apologies to Mr. Postman I've re-ordered and condensed the text (skipping a few paragraphs) for brevity/clarity.

But we are not enemies

“At the end of the day, we are all Americans. Sure, we have differences on policy. One side wants to give everyone healthcare and good wages. The other wants to create a white Christian ethnostate where the president can legally assassinate anyone at will. But we are not enemies.”
Writer Zack Bornstein via Twitter/x. July 1, 2024

Photographic conscience

After Richard M. Nixon saw Nick Ut’s wrenching image of the 9-year-old Kim Phuc, he said,

“I’m wondering if that was fixed.”*

Trump, who frequently invokes claims of fake news and lies even though there are easily available transcripts, photographs and video to refute his claims, isn’t suggesting that forthcoming images of suffering migrants will be manufactured or fake though he will likely make that claim, too. At the moment, Trump is doing something more ominous. He is perverting the logic of the photographic conscience. No longer do we see an image of terrible suffering and say, never again. Rather, we imagine the dreadful details of terrible suffering, and then steel ourselves to look away.
Diverting Focus: Trump is already numbing us to the horrific images his plans would create, by Philip Kennicott. Washington Post, July 4, 2024. (Diverting Focus is the headline in the print edition.)
* When Nixon said he wondered if Nik Ut's photo was "fixed" he was wondering if it was fake. (Nixon was famously paranoid as well as being a criminal and an unbelievable a**hole.)
“Nothing I have seen — in photographs or in real life — ever cut me as sharply, deeply, instantaneously. When I looked at these images, something broke. Some limit had been reached.”
Susan Sontag, on her reaction to seeing images from the Nazi atrocities in Europe, from her seminal 1977 book On Photography. Via Diverting Focus: Trump is already numbing us to the horrific images his plans would create, by Philip Kennicott. Washington Post, July 4, 2024. (Diverting Focus is the headline in the print edition.)
Kennicott reflects on the power of documentary photography to act as a kind of “photographic concience” in society and Trump's efforts to desensitize us to its effects.

Fiction and democracy

Moral panics over fiction are common in democracies, because the inner lives and motives of others matter a great deal in a democracy, arguably more so than in other political systems where people have less direct control over their social experience — and less freedom of expression. In a democracy, your fellow citizens can organize for social progress or encourage the passage of draconian laws that terrorize minorities. Fear of other people, and how they might work together to shift reality, is the reason the contest over written language so often extends to the realm of make-believe — of fiction. Fiction is the story of other people; this is what makes it dangerous.
Book Bans Are on the Rise. But Fear of Fiction Is Nothing New. By Lyta Gold. The New York Times, July 1, 2024

Leaving Mumbai

After 4 years on the project and a year as Director I’ve packed my bags and said goodbye, for now, to my fabulous friends, colleagues and community at the Museum of Solutions (MuSo), Mumbai. Thank you! I am overwhelmed by your kindness and generosity and I’ve learned more from you than you’ll ever know!

It was a privilege to help nurture this new museum and its library (LiSo, the Library of Solutions) from concept to reality; to help build and lead the founding team; and to welcome tens of thousands of visitors to our new state-of-the-art building — “a world-class space to champion the art of finding solutions,” as a reviewer at Condé Nast Traveler recently put it — unique in Mumbai and India, if not the world.

Four years ago Tanvi Jindal, MuSo’s founder, asked if I would help her think about a new “museum of solutions” she was envisioning for the site of an old industrial building in the middle of Mumbai.

How could we create a new kind of museum in one of the world’s largest and most challenging cities to catalyze action for the U.N. Sustainable Development Goals, foster new approaches to education, and help young people make meaningful change in the world together?

…And could we also make it fun?

Though Mumbai and India were new to me, this question of museums, play, and civic impact was not. Through years of work with the Smithsonian Institution, the U.N., and other cultural and civil-society conveners around the world I’ve been part of a decades-long movement to *flip the script* on traditional museum practice and help people use their own cultural institutions as platforms for the public good.

And this moment demands nothing less.

With a population of 22 million, Mumbai is indicative of the world’s 40+ megacities (cities with over 10 million inhabitants). Along with megacities like Shanghai, Jakarta, Paris, and L.A., Mumbai is home to daunting social and environmental problems — as well as astonishing creativity and drive. But the problems and the vitality often seem to live in different worlds.

Mumbai is India’s financial capital but over half of its residents live in slums. It is India’s innovation and creative hub (Bollywood! The city of dreams!) but many of its neighborhoods will be underwater by midcentury, drowned by rising seas due to climate change. Education is highly valued, but it is predominantly structured around rote memorization and test achievement, not the world as we see it today.

Young people are often caught in the middle of this dynamic, squeezed between a daily fight for survival, antiquated educational and social systems, and their own profound abilities to see and create a future filled with beautiful change.

Furthermore, young people — all people — have a fundamental human right to be involved in the decisions that will affect their futures, but too few conveners will help them find their way.

If we can learn to solve problems in places like Mumbai we stand a good chance of surviving and thriving in the 21st century. Museums like MuSo can be a kind of civic infrastructure in this regard. By being bold, inclusive, and action-oriented — rooted in reality but also participatory and fun — we can bring people together to build social capital and elevate everyone’s ability to imagine and build a future that is joyous, sustainable, and just.

What’s next for me? I don’t know — I’m still catching up on sleep and processing what I’ve learned! But with any luck, I’ll keep working in this direction: young people and their grownups in vital civic spaces, enthralled by the chance to play and explore together — making life better one small solution at a time.

//

This text is a slightly expanded version of this post on LinkedIn.

Setting up the Library of Solutions, Mumbai. November 2023. CC-BY

“Public libraries are of and for the people. Fundamentally democratic, they usually do not ask visitors to justify their presence or pay an entry fee. Fewer and fewer such nondiscriminatory and noncommercial spaces exist in our towns and cities today.”
The Strange Magic of Libraries, by Stuart Kells. The Paris Review, April 9, 2018
We have been working with amazing young people here in Hawai'i. [...] The young people today, they are determined. They understand what's happening to their planet, and they are committed to advocating for a better future for them and generations to come.
Julia Olson, as quoted in Young climate activists just won a ‘historic’ settlement by Victoria Bisset, Washington Post. June 28, 2024. I've ligtly edited/shortened Olson's quote.
Olson is the co-executive director and chief legal counsel of Our Children's Trust, which has been representing young people in lawsuits claiming that government inaction (or worse) has violated young people's right to a clean environment. The article outlines a “historic” settlement between youth activists and the state of Hawai'i that requires the state to “cut its transportation sector’s planet-warming pollution and to consult with young people about its climate impact.”
Audrey drew up a list of things that every child should be able to do by age sixteen and stuck it on the wall. It read, in part:
  • Clean a fish and dress a chicken
  • Write a business letter
  • Splice or put a fixture on an electric cord
  • Operate a sewing machine and mend your own clothes
  • Handle a boat safely and competently
  • Save someone fron drowning using available equipment
  • Read at a tenth grade level
  • Listen to an adult talk with interest and empathy
  • Dance with any age
The list changed with the times, adding computers and contraception, and nobody really kept score, but everybody got the idea.
The Long Ride: The surf legend Jock Suthrerland's unlikely life, by William Finnegan. The New Yorker, June 10, 2024. Audrey is Jock Sutherland's mother. She raised her children — all “water babies” — on the coast of Oahu, Hawai'i in the 1950s and 60s.

MuSo in Condé Nast ‘7 best museums in Mumbai’

Opened in late 2023, Museum of Solutions (MuSo) is a unique, experiential children’s museum that’s designed as a world-class space to champion the art of finding solutions.
Condé Nast Traveler, The 7 Best Museums in Mumbai. 17 June 2024.
I'm usually a little cynical about these kinds of designations but the outside validation will be helpful for our young brand and I think the writer, Prachi Joshi, really nailed it with that first line about ‘a world-class space to champion the art of finding solutions’.

By no means sufficient…

Imagine eight brilliant critical thinkers sitting around a table to consider means to improve the town's water supply. None of those brilliant minds can get started until someone puts forward a proposal. […] But where does the proposal come from? Who has been trained to put forward the proposal?

Critical thinking is a very important part of thinking, but it is by no means sufficient. What I so strongly object to is the notion that it is enough to train critical minds.
Edward de Bono, Six Thinking Hats, Chapter 25.