The Future of Arts and Society

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e r u t u F The s t r A e h t f y o t e i c o S d an A Guide for Public Discussion Edited by Natalie Hopkinson, Ph.D. Fellow of the Interactivity Foundation

RTS & SOCIET

Attribution — Noncommercial Share-­Alike License 3.0 dŚŝƐ ǁŽƌŬ ŝƐ ƉƌŽǀŝĚĞĚ ƵŶĚĞƌ ƚŚĞ ƚĞƌŵƐ ŽĨ Ă ƌĞĂƟǀĞ ŽŵŵŽŶƐ ƩƌŝďƵƟŽŶ͕ EŽŶĐŽŵŵĞƌĐŝĂů͕ ^ŚĂƌĞ ůŝŬĞ >ŝĐĞŶƐĞ͘ dŚĞ ďĂƐŝĐ ƚĞƌŵƐ ŽĨ ƚŚŝƐ ůŝĐĞŶƐĞ ĂƌĞ ƐƵŵŵĂƌŝnjĞĚ ďĞůŽǁ͘ dŽ ǀŝĞǁ Ă ĐŽƉLJ ŽĨ ƚŚŝƐ ůŝĐĞŶƐĞ ƚŽŐĞƚŚĞƌ ǁŝƚŚ Ă ůŝŶŬ ƚŽ ŝƚƐ ĨƵůů ůĞŐĂů ĐŽĚĞ ǁŝƚŚ Ăůů ŝƚƐ ƚĞƌŵƐ͕ ǀŝƐŝƚ ŚƩƉ͗ͬ​ͬĐƌĞĂƟǀĞĐŽŵŵŽŶƐ͘ŽƌŐͬůŝĐĞŶƐĞƐͬďLJͲŶĐͲƐĂͬϯ͘Ϭͬ͘ dŚŝƐ ǁŽƌŬ ŝƐ ĂůƐŽ ƉƌŽƚĞĐƚĞĚ ďLJ ĐŽƉLJƌŝŐŚƚ ĂŶĚͬŽƌ ŽƚŚĞƌ ĂƉƉůŝĐĂďůĞ ůĂǁ͘ ŶLJ ƵƐĞ ŽĨ ƚŚŝƐ ǁŽƌŬ ŽƚŚĞƌ ƚŚĂŶ ĂƐ ĂƵƚŚŽƌŝnjĞĚ ƵŶĚĞƌ ƚŚŝƐ ůŝĐĞŶƐĞ Žƌ ĐŽƉLJƌŝŐŚƚ ůĂǁ ŝƐ ƉƌŽŚŝďŝƚĞĚ͘

Generally, under the terms of this license, you are free:

To Share — ƚŽ ĐŽƉLJ͕ ĚŝƐƚƌŝďƵƚĞ͕ ĂŶĚ ƚƌĂŶƐŵŝƚ ƚŚĞ ǁŽƌŬ͘

To Remix — ƚŽ ĂĚĂƉƚ ƚŚĞ ǁŽƌŬ͘

Under the following conditions: ƩƌŝďƵƟŽŶ — zŽƵ ŵƵƐƚ ĂƩƌŝďƵƚĞ ƚŚĞ ǁŽƌŬ ďLJ ƌĞĨĞƌĞŶĐĞ ƚŽ ŝƚƐ ƟƚůĞ͕ ƚŚĞ /ŶƚĞƌĂĐƟǀŝƚLJ &ŽƵŶĚĂƟŽŶ ĂƐ ŝƚƐ ƉƵďůŝƐŚĞƌ ĂŶĚ ĐŽƉLJƌŝŐŚƚ ŚŽůĚĞƌ͕ ĂŶĚ ŝŶĐůƵĚĞ ŶŽƟĐĞ ƚŚĂƚ ƚŚĞ ǁŽƌŬ ŝƐ ĂǀĂŝůĂďůĞ ƵŶĚĞƌ Ă ƌĞĂƟǀĞ ŽŵŵŽŶƐ ƩƌŝďƵƟŽŶ͕ EŽŶĐŽŵŵĞƌĐŝĂů͕ ^ŚĂƌĞͲ ůŝŬĞ >ŝĐĞŶƐĞ͘ /Ŷ LJŽƵƌ ĂƩƌŝďƵƟŽŶ ĂŶĚ ŽƚŚĞƌǁŝƐĞ͕ LJŽƵ ŵƵƐƚ ŶŽƚ ŝŶ ĂŶLJ ǁĂLJ ƐƵŐŐĞƐƚ ƚŚĂƚ ƚŚĞ /ŶƚĞƌĂĐƟǀŝƚLJ &ŽƵŶĚĂƟŽŶ ĞŶĚŽƌƐĞƐ LJŽƵ Žƌ LJŽƵƌ ƵƐĞ ŽĨ ƚŚĞ ǁŽƌŬ͘ EŽŶĐŽŵŵĞƌĐŝĂů — zŽƵ ŵĂLJ ŶŽƚ ƵƐĞ ƚŚŝƐ ǁŽƌŬ ĨŽƌ ĐŽŵŵĞƌĐŝĂů ƉƵƌƉŽƐĞƐ͘ ^ŚĂƌĞ ůŝŬĞ — /Ĩ LJŽƵ ĂůƚĞƌ͕ ƚƌĂŶƐĨŽƌŵ͕ Žƌ ďƵŝůĚ ƵƉŽŶ ƚŚŝƐ ǁŽƌŬ͕ LJŽƵ ŵĂLJ ĚŝƐƚƌŝďƵƚĞ ƚŚĞ ƌĞƐƵůƟŶŐ ǁŽƌŬ ŽŶůLJ ƵŶĚĞƌ ƚŚĞ ƐĂŵĞ Žƌ ƐŝŵŝůĂƌ ůŝĐĞŶƐĞ ƚŽ ƚŚŝƐ ŽŶĞ͘

With the understanding that: tĂŝǀĞƌ — ŶLJ ŽĨ ƚŚĞ ĂďŽǀĞ ĐŽŶĚŝƟŽŶƐ ĐĂŶ ďĞ ǁĂŝǀĞĚ ŝĨ LJŽƵ ŐĞƚ ƉĞƌŵŝƐƐŝŽŶ ĨƌŽŵ ƚŚĞ /ŶƚĞƌĂĐƟǀŝƚLJ &ŽƵŶĚĂƟŽŶ͘ WƵďůŝĐ ŽŵĂŝŶ — tŚĞƌĞ ƚŚĞ ǁŽƌŬ Žƌ ĂŶLJ ŽĨ ŝƚƐ ĞůĞŵĞŶƚƐ ŝƐ ŝŶ ƚŚĞ ƉƵďůŝĐ ĚŽŵĂŝŶ ƵŶĚĞƌ ĂƉƉůŝĐĂďůĞ ůĂǁ͕ ƚŚĂƚ ƐƚĂƚƵƐ ŝƐ ŝŶ ŶŽ ǁĂLJ ĂīĞĐƚĞĚ ďLJ ƚŚĞ ůŝĐĞŶƐĞ͘ KƚŚĞƌ ZŝŐŚƚƐ — /Ŷ ŶŽ ǁĂLJ ĂƌĞ ĂŶLJ ŽĨ ƚŚĞ ĨŽůůŽǁŝŶŐ ƌŝŐŚƚƐ ĂīĞĐƚĞĚ ďLJ ƚŚĞ ůŝĐĞŶƐĞ͗ zŽƵƌ ĨĂŝƌ ĚĞĂůŝŶŐ Žƌ ĨĂŝƌ ƵƐĞ ƌŝŐŚƚƐ͕ Žƌ ŽƚŚĞƌ ĂƉƉůŝĐĂďůĞ ĐŽƉLJƌŝŐŚƚ ĞdžĐĞƉƟŽŶƐ ĂŶĚ ůŝŵŝƚĂƟŽŶƐ dŚĞ ĂƵƚŚŽƌ͛Ɛ ŵŽƌĂů ƌŝŐŚƚƐ ZŝŐŚƚƐ ŽƚŚĞƌ ƉĞƌƐŽŶƐ ŵĂLJ ŚĂǀĞ ĞŝƚŚĞƌ ŝŶ ƚŚĞ ǁŽƌŬ ŝƚƐĞůĨ Žƌ ŝŶ ŚŽǁ ƚŚĞ ǁŽƌŬ ŝƐ ƵƐĞĚ͕ ƐƵĐŚ ĂƐ ƉƵďůŝĐŝƚLJ Žƌ ƉƌŝǀĂĐLJ ƌŝŐŚƚƐ͘ EŽƟĐĞ — &Žƌ ĂŶLJ ƌĞƵƐĞ Žƌ ĚŝƐƚƌŝďƵƟŽŶ͕ LJŽƵ ŵƵƐƚ ŵĂŬĞ ĐůĞĂƌ ƚŽ ŽƚŚĞƌƐ ƚŚĞ ůŝĐĞŶƐĞ ƚĞƌŵƐ ŽĨ ƚŚŝƐ ǁŽƌŬ͘ dŚĞ ďĞƐƚ ǁĂLJ ƚŽ ĚŽ ƚŚŝƐ ŝƐ ǁŝƚŚ Ă ůŝŶŬ ƚŽ ƚŚĞ ĨŽůůŽǁŝŶŐ tĞď ƉĂŐĞ͗ ŚƩƉ͗ͬ​ͬĐƌĞĂƟǀĞĐŽŵŵŽŶƐ͘ŽƌŐͬůŝĐĞŶƐĞƐͬďLJͲŶĐͲƐĂͬϯ͘Ϭͬ͘ WƌŝŶƚĞĚ ŝŶ ƚŚĞ hŶŝƚĞĚ ^ƚĂƚĞƐ ŽĨ ŵĞƌŝĐĂ ďLJ͗

Interactivity Foundation P.O. Box 9 Parkersburg, WV 26101-­0009 www.interactivityfoundation.org

TABLE OF CONTENTS 7+( ,17(5$&7,9,7< )281'$7,21 $576 )2580 ....................... 4 35()$&( ...........................................................................................6 32/,&< 5(0,; 7+( 38%/,& )$&( 2) $57 .............................. 8 ([SDQG DQG XSGDWH GHÀQLWLRQV RI DUW DQG WKH SODFHV ZKHUH SHRSOH LQWHU-­ act with it

32/,&< 0$,17$,1 7+( /,*+7+286( ......................................12 Promote excellence and high standards in the arts to push society forward

32/,&< 23(1 6285&( $57 )25 *5($7(5 &5($7,9,7< ... 16 Think differently about who “owns” ideas

32/,&< $57 +8576 ..................................................................20 Protect society from the possible harm of artistic creations

32/,&< 6&+22/6 2) $57 ......................................................24 Find a place for imagination and inspiration in all public enterprises

32/,&< 35,9$7,=( ,7 ................................................................28 Protect artistic creation from the possible harm of social controls

32/,&< 7+( $57 2) ',3/20$&< ...........................................32 Use artistic exchanges to improve international relations

POLICY 8, 9, 10 ...............................................................................36 What did we miss?

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This is not the kind of report that you just read. It is designed for you, along with your peers in the classroom, group, club, neighborhood, commu-­ nity center, church, temple, mosque, book club, and social organization, to interact with it, argue with it, draw on it, and, most of all, have a conversa-­ tion exploring policy possibilities around the arts. If you’re interested in hosting a Future of the Arts & Society discussion, here are some suggestions on how to do it: ‡ $UUDQJH IRU D URRP WKDW DOORZV SDUWLFLSDQWV WR IDFH HDFK RWKHU ZKLOH WKH\ WDON DQ RSHQ URRP ZKHUH FKDLUV FDQ EH VHW XS LQ D FLUFOH D GLQQHU RU D FRQIHUHQFH WDEOH ZRUNV ZHOO )RRG DQG UHIUHVKPHQWV DUH DGYLVDEOH SRV-­ VLEO\ E\ SRWOXFN 7KHUH LV HQRXJK PDWHULDO LQ WKLV UHSRUW IRU XS WR WKUHH VHV-­ VLRQV LI \RX GLVFXVV ´SRVVLELOLWLHVµ SHU VHVVLRQ ‡ ,QYLWH VL[ WR HLJKW LQGLYLGXDOV WR SDUWLFLSDWH ,I PRUH WKDQ SHRSOH ZDQW WR MRLQ \RX FDQ EUHDN WKHP LQWR VPDOOHU JURXSV RI DW PLQLPXP ÀYH SHRSOH (DFK JURXS FRXOG GHVLJQDWH D PRGHUDWRU ZKR ZLOO JXLGH WKH FRQYHUVDWLRQ ‡ 7R JHW UHSRUWV IRU HYHU\RQH HLWKHU UHTXHVW )5(( FRSLHV IURP WKH ,QWHUDFWLY-­ LW\ )RXQGDWLRQ E\ FDOOLQJ RU GRZQORDG FRSLHV RI WKH UHSRUW IURP ZZZ LQWHUDFWLYLW\IRXQGDWLRQ RUJ RU KWWS LI DUWV WXPEOU FRP 4

THE FUTURE OF ARTS & SOCIETY

The moderator’s role is to guide the group through different possibilities. Each “possibility” has a summary, questions to consider, explanation of the thinking behind the possibility, and ideas on how to implement it. The moderator should select a possibility, and then give participants a couple of minutes to read it. The moderator can begin the conversation by asking participants to answer the “Questions to Consider.” The rest of the conver-­ VDWLRQ FDQ ÁRZ IURP WKH JURXS·V WKRXJKWV DQG UHDFWLRQV WR GLIIHUHQW HOH-­ ments of each possibility. The group can repeat this process for each of the possibilities. Enjoy!

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PREFACE   On a 1998 visit to the White House, Czech Republic President Vaclav Havel described how jazz helped him imagine freedom in the darkest days of commu-­

“Music,â€? the poet-­president said, “is the enemy of totalitarianism.â€? nist oppression.

But even in the best of economic times, art for art’s sake may seem like a luxury that society can ill-­afford. However, creativity and innovation will continue to serve as vital engines driving the future of the U.S. economy. Cultural diplomacy is much less costly than war. Today, it is more important than ever to explore public decisions being made about the arts. For more than a year, a diverse panel of citizens—including a graphic designer, sculptor, playwright, attorney, cura-­ tor, media scholar, poet, comedian, journalist, hip-­hop DUWLVW HFRQRPLVW PDQDJHPHQW FRQVXOWDQW Ă€OPPDNHU waitress, and arts administrator—met in Washington, D.C., to explore issues around the arts that they ex-­ pect will need to be addressed by public policy in the future. The panel thought broadly about what “the artsâ€? might be and explored a broad range of factors that might impact the role they play in society. It explored different concepts and visions of what the arts might be. Concerns spanned from edu-­ cation, technology and its impact on the arts, in-­ tellectual property, and global and local econo-­ mies. The group unpacked the various dimensions of the arts in society and looked at emerging concerns regarding how the arts might be created, taught, FRQVXPHG Ă€QDQFHG DQG GLVWULEXWHG )LQDOO\ WKH group developed seven possibilities to address these concerns. We offer these possibilities to you not as prescriptions, but as a way to initiate discussions about the future of the arts in a democratic society. 66

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REMIX THE PUBLIC FACE OF ART

6800$5< This policy argues that society will need to work more quickly to adapt to changes and re-­evaluate which art and art spaces are publicly subsi-­ dized. This means remixing the public space we create for art and, in some cases, even pulling the plug on old art forms.

The Bean in Chicago’s Millennium Park.

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THE FUTURE OF ARTS & SOCIETY :+< 5(0,; 7+( 38%/,& )$&( 2) $57" This possibility comes from a concern that with every passing year, more artists are trying to squeeze their work into increasingly limited public spac-­ es (museums, theaters, concert halls, and libraries). Emerging technolo-­

gy is generating ways to create and distribute more types of art and even more ways for us to interact with it. While society is evolving rapidly, too many of our ed-­ ucational and cultural institutions are still devoted to subsidizing and pro-­ moting “European classic” art forms and media that are decreasingly rel-­ evant to a diverse society. Traditional gate-­keeping systems are distorted by the personal biases and politics of a narrow segment of the population.

Bus stop of the future?

These conventional gate-­keeping mechanisms may lead to a limited and self-­perpetuating ideal. It would be more democratic to open up more ways for the public to interact with the arts. In response, this policy would continually expand boundaries DQG GHÀQLWLRQV RI ´DUWµ WR JLYH D SODW-­ form for artists who are creating the art of the future, artwork that moves beyond our current narrow conven-­ tions. This policy approach empha-­ sizes art that pushes beyond our cur-­ rent narrow conventions and is more relevant to an increasingly diverse population. Interactivity Foundation

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REMIX  THE  FACE  OF  ART +2: :( &$1 '2 ,7 This policy would reimagine what constitutes art and how we access it. For some, cultural institu-­ tions, such as libraries, museums, theaters, and galleries, would get a physical, conceptual, and technological overhaul.

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THE   FUTURE  OF  ARTS  &  SOCIETY +2: :( &$1 '2 ,7 5HLQYHQW WKH OLEUDU\ VR WKDW LW LV WUDQVIRUPHG LQWR DQ DOO SXUSRVH PXOWLPHGLD FHQWHU 6KLIW SXEOLF IXQGLQJ WR IRFXV RQ DFFHVV WR DUW UDWKHU WKDQ RQ PDLQWDLQLQJ EXLOGLQJV DV VSDFHV IRU DUW 7KLV ZRXOG PHDQ URWDWLQJ VSDFHV DQG PL[LQJ XS WKHLU XVHV 7KLV FRXOG LQFOXGH WHPSRUDULO\ UHSXUSRVLQJ SXE-­ OLF VSDFHV LQ XQFRQYHQWLRQDO ZD\V IRU DUWLVWLF XVH 0XOWLPH-­ GLD WRROV PD\ KHOS HYROYH DUW VSDFHV IURP SK\VLFDO WR YLUWXDO 5HGXFH WKH QXPEHU RI WHQXUH WUDFN DFDGHPLF SRVLWLRQV LQ D YDULHW\ RI GLVFLSOLQHV WR PDNH URRP IRU QHZ IDFXOW\ QHZ LGHDV DQG QHZ DSSURDFKHV WR WKH DUWV DQG WR SXEOLF LQWHUDF-­ WLRQ ZLWK WKH DUWV /LEUDU\ DQG PXVHXP FROOHFWLRQV FDQ EH GLJLWL]HG IRU YLUWXDO DFFHVV RU FROOHFWLRQV FRXOG WUDYHO DV ´PXVHXPV LQ D ER[ µ Sir  Duncan  Rice  Library,  University  of  Aberdeen,  Britain

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6800$5< This policy asserts D SXEOLF EHQHĂ€W to fostering excel-­ lence in the arts. Society should cre-­ ate a “lighthouseâ€? for the arts, a beacon to simulta-­ neously allow maximum freedom from market-­based con-­ trols or censorship, while pushing soci-­ ety forward.

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THE FUTURE OF ARTS & SOCIETY :+< 0$,17$,1 7+( /,*+7+286(" This policy possibility arises from concerns about our ability to create and recognize JUHDW ZRUNV RI DUW QRW GHÀQHG E\ FRPPHU-­ cial success or immediate market appeal. Before public decisions are made about art, the work must be evaluated.

Is it vandalism or a new form of JUDIÀWL DUW" 6KRXOG LW EH SUHVHUYHG or removed?

This policy approach would support the role of “gatekeepers in the arts” in edu-­ cational and cultural institutions. Gate-­ keepers support historic preservation and protect cultural heritage, but they would also support groundbreaking, innovative work—art that can’t sustain itself com-­ mercially. This need not mean supporting Jean-­Michel Basquiat portrait, Long Island City, New York art that is unpopular; it might be art that is participatory, engaging, and available through a variety of media. Public resources would be needed to ensure a focus on quality and community dialogue versus private emphasis on rat-­ LQJV DQG TXDQWLÀDEOH PHDVXUHV 6RFLHW\ PXVW HQVXUH WKDW WKHUH LV DOZD\V D place for artists, as opposed to letting the market determine the supply. This policy would use federal, state and local public arts, and cultural agencies to maintain a “lighthouse”—a beacon of cultural institutions that point the way toward excellence while helping society navigate its way forward.

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Public  spaces  can  serve  as  forums  where  innovative  performance  art  and  live  music  thrive.

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6800$5< This policy possibil-­ ity recognizes that artistic creation is impossible without remixing or trans-­ forming elements of prior artworks. In response, it would allow art and ideas to be freely shared, remixed through an “open sourceâ€? framework for ar-­ tistic content to encourage the IUHH Ă RZ DQG exchange of ideas.

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So who “owns� the dance moves? Who has a right to take the dance public?

16

THE FUTURE OF ARTS & SOCIETY :+< 23(1 6285&( $57" This policy envisions new models for the ownership, distribution, and control of artistic creations that look beyond the Industrial Age notions of “intellectu-­ al property.” Traditionally, intellectual property and copyright laws were tools for artists to protect their ability to make a living using their work. Increasing-­ ly, intellectual property policy has been used to lock up creative work and to exert strict control over certain elements of them. Since the Industrial

Age, technological changes have made it easier to share and remix creative works, while making it harder to determine own-­ ership and enforce these laws when violations happen. Artistic creation isn’t the product of an assembly line. It is about developing an indi-­ vidual voice that transforms and remixes what has come before.

1866: Alice’s Adventures in Wonderland, written by Lewis Carroll and illustrated by John Tenniel.

1951: Disney’s animated adaption of Alice in Wonderland

2010: Disney’s adaption of Alice in Wonder-­ land

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:+< 23(1 6285&( $57" 3

This policy approach recognizes the remix nature of all creative artwork. It is impossible to create something purely “new” and without relation to what has come before. Ideas are constantly refor-­ matted. There is no end or beginning of an idea. Re-­editing, even the erasure of history, is not new. Jazz music, for example, is a cumula-­ tive tradition where artists learn the standards well enough to make them their own then build upon them in improvisation. Technology is creating a permanent archive of expressions, ideas, music, DQG FXOWXUH RQOLQH 5DWKHU WKDQ ÀJKWLQJ D UHDU guard action against our ability to remix, or trying to lock down this archive and subject it to perma-­ nent intellectual property control, this policy em-­ braces technology to enable more sharing and creative remixing of artistic works.

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6800$5< This possibility focuses public policy on the many ways society could minimize the dam-­ age that art may do as it becomes harder and harder to regulate or moni-­ tor the content and distribution of artis-­ tic expressions.

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THE   FUTURE  OF  ARTS  &  SOCIETY :+< $57 +8576" Who decides where the line is drawn between free expression and avoid-­ ing harm? What happens when artistic content does harm to society? What happens when art targets in a nega-­ tive way groups that have less power in society? What if, for example, artistic expression is used to exploit children and women, or denigrates people for their ethnicity or sexual orientation?

Art is typically protected as free speech. And often the goal of art is to provoke, push buttons, LQà DPH DQG DQJHU Critical dia-­

logue is the goal. This utility must be protected. However, artistic expression can help drive, shape, or normalize certain views and practices that soci-­ HW\ Ă€QGV XQDFFHSWDEOH 6RPH DUWLVWV through their popularity, have a sort of bully pulpit. This possibility does not put the power to squelch certain kinds of expression into one person’s hands; rather it looks at the variety of tools so-­ ciety will have at its disposal to ensure no harm is done.

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6800$5< This policy views art as a “public goodâ€? that should be available to all, since it will be RI EHQHĂ€W WR DOO This possibility would have the arts infused throughout all of our public education sys-­ tems and pub-­ lic spaces to spur creativity in a variety of Ă€HOGV

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SCHOOLS  OF  ART  48(67,216 72 &216,'(5 &DQ \RX WKLQN RI D WLPH ZKHQ DQ HQ-­ FRXQWHU ZLWK WKH DUWV RU OLWHUDWXUH KHOSHG \RX EHWWHU XQGHU-­ VWDQG VRPHWKLQJ" +RZ GRHV RXU IDVW SDFHG ZRUOG DIIHFW FKLOGUHQ¡V DELOLW\ WR WKLQN FUHDWLYHO\" ,V WKHUH DQ\ YDOXH LQ SUHSDULQJ VWXGHQWV WR H[SUHVV WKHPVHOYHV DUWLVWLFDOO\ DQG WKLQN FUHDWLYHO\ EH\RQG EHFRPLQJ D SURIHV-­ VLRQDO DUWLVW" ,Q ZKDW Ă€HOGV DUH WKHVH VNLOOV XVHIXO" 'RHV DUW SULPDULO\ EHQHĂ€W WKH HOLWH RU LV WKHUH D ODUJHU SXEOLF EHQHĂ€W DV ZHOO"

THE FUTURE OF ARTS & SOCIETY :+< 6&+22/6 2) $57" Art doesn’t only happen inside studio or museum walls. It doesn’t just happen during art class. It also happens in the research lab and the workplace. Art is

part of a continuum of learning and is malleable and applica-­ ble to other aspects of life.

However, with the rise of standardized testing and a focus on the “basics,” math and science especially, the arts are increasingly marginalize to most educational curricula. But it is increas-­ ingly clear that a vital and competitive economy requires creative thinkers. Even in the so-­called STEM disciplines of science, technology, engineering, and mathematics, advances often come not from following predetermined pro-­ cesses but by breaking new ground. The ability to do that is something that students of all ages gain through ac-­ cess to the arts and arts education. The goal is not to train everyone to be-­ come “artists,” but to help the public explore, discover, and bring to life new ideas in all areas of school and work. The policy would infuse art and art education in publicly owned buildings, libraries, community centers, and gov-­ ernment buildings to foster this sense of creativity for young and old. Society can thus counteract a long his-­ WRU\ RI H[FOXVLYLW\ LQ WKH ÀQH DUWV E\ SXW-­ ting it in a variety of public spaces. Interactivity Foundation

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This possibility would take the govern-­ ment out of the art business altogeth-­ er. It would free up artistic expression from governmental or public interven-­ tion. At the same time, it would re-­ move public subsi-­ dies from the arts.

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THE FUTURE OF ARTS & SOCIETY :+< 35,9$7,=( ,7" For this policy possibility, it is essential to keep art free from public interfer-­ ence. The government often tries to exert control over artistic creations by the power of the purse. By removing public funding from the equation, art can be freed from governmental intervention. Whenever there is public support for the arts, the discussion over what is “good” becomes political, because everyone feels entitled to their opinion. Private philanthropy has been the foundation for supporting the arts for centuries. Angel inves-­

tors, wealthy benefactors, or venture capitalist projects often seed innovative work. Corporate philanthropy is good for soci-­ ety and can help companies get access to new and foreign markets. Private sources could step in for maintenance, or preservation of public assets such as museums, theaters, and schools.

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6800$5< This possibility would encourage art to be used as a tool to promote harmonious re-­ lationships with countries around the world.

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A Kathakali dance performance in Kerala, India

32 32

THE FUTURE OF ARTS & SOCIETY :+< 7+( $57 2) ',3/20$&<" The arts can speak across boundaries. They can serve as a means of glob-­ al communication. This policy seeks to maximize the capacity of the arts E\ RSHQLQJ XS WKH ÁRZ RI LQWHUQD-­ tional artistic exchanges. The view of American culture for most foreigners LV OLPLWHG WR +ROO\ZRRG ÀOPV DQG SRS music; these exaggerations of cul-­ tural dynamics leave little room for honest and meaningful exchange. They also can have an overpowering effect that squelches voices around the world. In response, this policy would support international artistic exchanges that do not hinge on com-­ mercial viability. Non-­commercial

art can be a tool for fostering cultural understanding for the United States and its policies abroad. The arts can also be a tool

for empowering marginalized groups throughout the world to gain a voice and be heard.

Interactivity Foundation

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Give us feedback! IF’s Future of the Arts &

Society project is a living document that we expect to evolve over time with new editions. We need your help to make it better. Please e-­mail questions, reactions, and suggestions for how to improve the next edition of this report by e-­mailing if@citynet.net or by posting your thoughts at http://if-­arts.tumblr.com. You can also tweet us at @IF_arts

Take our survey! Research is an important

part of what IF does. You can greatly help us E\ FRPSOHWLQJ D Ă€YH PLQXWH VXUYH\ E\ YLVLWLQJ www.interactivityfoundation.org/public-­discus-­ sions/survey-­monkey-­links/ and using code 141-­ 21-­00 or by printing and mailing it to: F R 'U 1DWDOLH +RSNLQVRQ &XUDWRU $UWV DQG 6RFLHW\ 3URMHFW 3 2 %R[ ,QWHUDFWLYLW\ )RXQGDWLRQ 3DUNHUVEXUJ :HVW 9LUJLQLD

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3XEOLVKHG 'LVFXVVLRQ %RRNV Let’s Talk Politics: Restoring Civility Through Exploratory Discussion (2013)

'LVFXVVLRQ 5HSRUW The Future of Higher Education (2012) America’s Democratic Promise (2011)* Democratic Nation Building (2011) Food: What Might Be For Dinner? (2011)* The Future of Energy (2011) The Future of K-­12 Education (2011)* Future Possibilities for Civil Rights Policy (2011)* Helping Out: Humanitarian Policy for Global Security (2011)* Health Care: The Case of Depression (3rd edition, 2010) How Will We All Retire? (2010) Privacy & Privacy Rights (2nd edition, 2010) The Future of Regulation (2009) Property (2009) Rewarding Work (2007) Science (2007) Anticipating Human Genetic Technology (2006)

2WKHU 'LVFXVVLRQ 5HSRUWV Julius “Jay” Stern: A Biography (2010) Contrasting Possibilities & the IF Discussion Process (2nd edition, 2009) Facilitation Guidebook for Small Group Citizen Discussions (2nd edition, 2009) Support Materials for the IF Discussion Process (2009) Teaching Tips (2009) Guidebook for Student-­Centered Classroom Discussions (2008) Public Discussion as the Exploration & Development of Contrasting Conceptual Possibilities (2006) Facilitation Guidebook (2005) *Reports are available in Spanish In pursuit of its mission to encourage and enhance the discussion of—and engagement with— broad public policy ideas (or “possibilities”), the Interactivity Foundation continues to conduct new discussion projects and develop new Discussion Reports from those projects. It is also contin-­ ually revising its prior reports and developing new discussion guidebooks and other materials. The above list of publications was accurate as of the print date. For an up-­to-­date listing, visit the IF website at www.interactivityfoundation.org. Interactivity Foundation provides copies of its reports both online and printed without charge and encourages others to use, share, redistribute, and modify the reports within the terms of the creative commons license found on the inside front cover.

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