That's what I'm talking about. It's the same thing, but you can't put it back. I might be talking about like portraiture in the morning. Yeah. We're going to change your epsilon to five. Good morning everybody. Good morning. We're getting lunch. We're ready for the fair. So here at the library, it's already been to see all of the people coming in and the activities that we have at the various tables. So this will be a nice moment to just look around us in some of the schools and resources that we have. We have bigger sorts of educators and having these classrooms and communities here. And then we'll be able to learn more and roam and listen and learn. And then we're going to come back here at about 2.30. Just a final wrap up and some conversation about what can be improved and how these kinds of activities are going to help you think differently. So I'm Lisa Bernse. And I direct the teaching and learning program at New America, which is a organization based in D.C. We have offices inapolis and in terms of New York and many other places. And one of our roles is to, in a time of rapid technological change and societal change, to really lift up new ideas and innovations that can help people to be better to each other at the very base of it all. But also to better understand our world and to create more equity and opportunity for people in our communities. So that's a big broad mission statement. This particular project is one that is a piece of that plan that New America has. The mission here in Pittsburgh over the past several months and continuing through the next several months. We are running an events series that, as you've seen in some of our materials, and I think many of you have also seen our postcards and others, is called Overcoming Obstacles to Connection. A humanities plus tech approach. And the idea of this is honestly to help recognize what richness there is in storytelling, in history, in art, in performance that helps us stay connected as individuals in communities, as members of families, as students in classrooms. But also to use the new tools, how to think about those now, to preserve that sense of connection and to even elevate it and look at this year that it already is. So we started with a series under our event in July that was focused on educators and raising their voices to help understand what's possible for educators working with new tools, but also what concerns they may have about a variety of things, everything from artificial intelligence to the way different social media is used. This particular event is focused on our roots in understanding history better and using new tools such as data visualizations and maps of all kinds to foster that better understanding of where we've come from and where different groups of people have come from and how they've come together. And we'll have a third event in early December that we'll look at arts and manufacturing and we'll bring together some of those themes of artisanry and craft, but in a technological world and how makerspaces and other types of environments for learning are helpful to really elevate people's connection to each other but by using new technologies. So we have been, it's been a lot of fun for us to be doing this project. We're just very grateful to partner, so I just really quickly wanted to call out, kind of, particularly from this event, Dan, Hensley and Amy Welsh, who have been back and forth and are doing a lot for the fair now, have been working diligently on this project with us. We're very thankful to Science History Center on Amanda as well as Mary Ruth, for putting together the workshop for educators and for Ryan Hoffman at CREAT Lab and other partners at CREAT Lab who's been doing this and thinking about this as well. And Remake Learning, and we're going to hear from, she and the director of Remake Learning at just a moment as an advisory partner on this and helping us make these connections across different organizations that are here in Pittsburgh locally. So a couple of quick notes, and I'm going to introduce our speaker, our speaker's plural for this lunch conversation. I do want you to know that there are, on the table there by the door, there are more yellow stickies and other kinds of materials to jot down notes and ideas, things that just occurred to you as you were listening to the educator workshop this morning. So we can just get those ideas down while they're fresh in your mind. We'll be bringing some of that back together and giving a talk at 2.30. But also, as you can see we have teams and students from Pittsburgh area around us as videographers. And that's because Steel Town Entertainment is one of our fantastic partners on this project. We're very grateful to them. So this is an opportunity both for Steel Town and its crew to be engaged in these conversations. But it's also just a really important moment for us to be able to have a moment to capture some of what we're talking about so that it can be used in the future. So, and I know there may be something we do not want to be on camera and so we're aware of that and our crew also is recognizing that too. So the materials that are coming out of these events just wanted you to know where they're going to land. And you all very much have, please feel free to give us feedback and comments about how they will be used. We will be producing at the end of all of this materials that will be online but also available through a larger culminating event that we're going to do. As a way to sort of stitch together some of the new ideas that have been generated from the bigger questions that community members have. And a lot of that's coming from our interviews that are on camera as well as some of the comments that come from discussions during the various events that we had. So that's why I think that some people here have been taking some photos and we thank you all for your understanding of that but also your participation in it because it's what really makes this a lot of fun. So my last note is that in addition to what we just described on November 12th here in Pittsburgh, participant media will be doing a screening with the new Americas helping to kind of facilitate this of its new documentary. And this documentary, you might have heard of American Factory. It's gotten a lot of buzz. The Obama's organization will be kind to it as well. And so you'll have an opportunity if you live here in Pittsburgh to go to dinner and screening and discussion of that new documentary. And information about that will be coming to all of you as well soon. So thank you. I'm going to turn it over now to Andy Mink. So Andy is the VP for Education Programs at the National Humanity Center. The National Humanity Center is based in Seattle, Florida. Yeah, North Carolina. But it is an organization that crosses, spans the United States in terms of the way it connects scholars and its scholarship to the communities. Andy's background for years and started as a public school teacher has been how to use digital invasions to lift up new scholarship but also how people understand it and grasp it and makes the sense of it. So I'm really thrilled to have Andy here with us. The National Humanity Center is a partner on this broader project like this and we'll be hearing more about that in our next events as well. And so I'm going to turn it over to Andy now. Thanks for being with us. Of course, thank you. Good morning. Good afternoon, actually, I should say. Thanks for having me. I want to thank Lisa and New America for partnering with us and inviting us to be a part of this. But actually, I'm going to pause for just a moment because I'm having a moment. The very first class of kids I stood in front of, 27 kids, 1992, and it was in the building in a room where there were no windows.  And right now I'm having this olifactory moment of smelling your chips and your lunch. It feels just like teaching those kids and having food everywhere and hearing their crunch. And it's funny, those kinds of experiences that form everything, certainly that I have done ever since 27 kids that first period, 152, I think that whole day. And ultimately, I think the work and the conversation I like to have over lunch is that connection between research and scholarly work in academics and technology with a much more practical part in the classroom. So what I'm going to try to do for just a handful of minutes is try to maybe articulate that bridge and think about ways in which we can embrace technology or embrace computers or embrace these kinds of digital landscapes that we're all living in. They're doing it in a way that matters for the kids we work with, the students we work with really at any age. At any point, please feel free to go and visit our website, nationalhumanitycenter.org. National Humanities Center, as Lisa said, is located in Durham, North Carolina. It was constructed in 1978 and it continues to be the only non-profit, fully independent research center in the humanities in the world. So every single year we get a cohort of university professors. They apply from all over the country. And if they're selected, they move to North Carolina and they come to that building every single day. And they come to their own private study and they do the work. That work is research in both projects. That work is collaboration with colleagues in interdisciplinary ways. That work is more increasingly digital projects. And these are folks who cover the full span of the humanities from history and literary scholarship to the classics to art and music, whatever that may be. So in many ways the center is designed to advance our understanding of the world. And I really want to emphasize that point as we talk today because the humanities is often sort of put at odds with the STEM disciplines. And we often have to articulate the value of the humanities. And from my perspective it's no less and in fact maybe more important than a lot of the other hard skills that we teach and we learn and we practice in our world. Technology and math and science, these things are super important about how to do things and maybe even what to do. But the humanities is why we do it. This is the point right now and I'm actually increasingly optimistic in this complicated world we live in that the humanities will continue to be a really important way to understand ourselves, the way we position with other people and our community and the responsibilities we have there. So I think the work that we do 42 years later, nearly 1500 alumni, every major award won in all the major disciplines is really important to helping us understand that world. Our education department then, what I run, is designed to create bridges between that scholarly world and the classroom. When I meet classroom very broadly, we work certainly with K-12 education all across the country. We also work with community colleges and post-secondary educators how to infuse content into the work that you do. So when I think of what we do in education it really is intended to be very collegial, very side by side. We put scholars and teachers at all levels together to really try to understand how content, how scholarship can affect teaching practice. Some of you will remember this. It really is about more you know, right? I mean no matter how confident you are as a teacher, if you want to navigate the complexities of standing in front of all these students of any age, the more you know, the more able you are to do those things and make those kinds of choices and allow things to be a little bit more open-ended. From that process and all the initiatives that you can find on our website, we develop content and that content is designed to be open and free and it's designed to be applicable again to really any classroom that handles the humanities in a both curriculum and extracurricular way. Then I think ultimately what this is intended to do is build advocacy for the humanities. These aren't extra things you do when everything else is done. Aesthetics, beauty, civil discourse, understanding our identity, understanding culture, recognizing marginalized voices. These are really important facets of our democracy. It's not extra stuff, but rather really critical work that we do. And that advocacy I think is just constantly reaffirming and reminding all of us why these subjects and these disciplines matter. So I'm actually not going to talk to you much at all about technology in the next handful of minutes. I'm not going to really talk about the gadgets and the programs and the software much. Although those are super important expressions of what we try to do in the humanities. What I'm going to talk to you about is geospatial thinking. Because from my perspective it's more about how we think geospatially than what the tools may do for us but a map, if you open in a book or scroll down off that ceiling, that big roll that they used to have to pull the maps down. Maps are not two-dimensional objects. They're not facsimiles of the real world. They're not polaroids that we take of the world and we show and go, huh, this is exactly what it is or where things are. Maps, it seems to me, tell stories. And that's what the humanities do, is give us a vocabulary for telling stories. So take a look at that map. What do you guys think that's a map of? Land? Okay. What's that a map of? What's a display? What's the symbology do you think? What kind of material is it on? It's a what? It is. It's exactly right. It's a deer skin. So what do you think these circles and these lines and these sort of abstractions, what do you think they represent? Definitely communities. So you see native names in most of the circles. There's a big square down here that says Virginia. And then there's a series of much more symmetrical lines here. You likely can't read this because it's facing me. It says, Charles, what do you think this is a map of? Oftentimes when we give maps to younger students, they immediately think that maps show you how to get to places. Is this a map of destination? Like how to get somewhere? I don't think so either. I think the scale is completely off. Virginia and Charleston are not nearly that far apart. So what do you think it's showing? Yes, and? But not necessarily the location of where they're living. So I don't know that the Cherokees are necessarily living next to this one, right? But you're right, it is a native community. But they're all sort of equal sizes, not all. So there's some kind of scale to the groupings that they've done. But what do you think the connections are between those circles of lines? Alliances for sure around what in particular do you think? Trade. Trade. It's a trade map. So this is a map that tells the English how they can trade with different natives. And you basically have to follow the lines that connect. You can't get to this tribe unless you go through this one. You can't talk to and negotiate with one of these unless you go down the path. So it's actually a map of trade relationships and the ways in which these communities interact with each other. The kinds of symbology, I'm sure, also indicates some kind of secret space or some kind of hunting space or some kind of directions on how you can approach if you were to engage with any of these tribes at any given point. So in 1725 it was really important to know who you could trade with, who you could trust, who you could go through, where that alliances might be. So this map has nothing to do with where things are. It has nothing to do with the scale and the distance between things. It's all about the relationship between people. And you're right, it was, I think you said, somebody said it's a deer skin, so it rolled up. That's where you see the pieces. You kind of draped on the back of your horse maybe or carried into your arm. When you get somewhere, you kind of, boom, unfurl that thing and try to figure out who you can speak to. This is the earliest social network right there. This is a map from the similar collection from the National Archives in the UK. This is a map, a new map of North Carolina, in this case, along the Cooper River, the Ashley River, which is just above the Wilmington River. What's interesting about this map to me is that in this case there is a location. There is some sense of physical and geographical representation. But what's really important about this map are the names of the families who own the land. So if your name was put there, you're at the top of the bracket. But if someone chose to leave your name off, or if someone chose to erase it the next time they made it, then you're not part of that system anymore. And in fact, many of the streets and the towns in this area still have these family names. In other words, it's a map that legitimizes or a map that documents the importance of land ownership and the families and the relationships between them. Sure, it shows you where things are. This is about who people are. This is about who the Kohl families are, who the important and sort of class-based families are. So one of the things that seems important to me to do with maps and geospatial thinking is to recognize that they're not facsimiles in most cases. They're interpretations of the world we live in. They're the things we find important. They're the ways we want to tell those stories to other people so that they can then acknowledge that or play by those rules or somehow contribute to it. So geospatial thinking to me is not a dot on a map, although certainly putting things by location is important. Seeing change over time in place is important. Seeing relationships between places are important. But it is more than a dot. Here's an example. You guys know where that is? Where do you think that place is? Underneath that yellow dot, where is that? You can even start by just looking at that. Where is that? Is it here? Close, but not. I'm sorry? It is DC. So that's Washington DC, says the person who's from DC. So how did you know it's from DC without having been from DC? Are there things on there that you recognize? Who ever said DC? What do you see, AJ? So what do you see that you recognize that to be DC? It's the mall. So you see the mall and you see the... Smarty cat AJ, where's that? Where's that then? Since you live there. It's up there. Close. Keep going. Close. That's Washington, mind you. So there is a very specific, very concrete location, an absolute location of that place. We can put our finger on a map and say, that's where the Washington Monument is. We can take a picture from above. We can walk and stand right there at those coordinates. We can use those phones that are giving us cancer in our pockets right now to mark that and say this is exactly where we are. So there is a location to geography. But that dot also has other qualities. And this is the story that I think is more important and more interesting. And this is where communities and neighborhoods and place really start to converge. That dot has characteristics like context. Why was it put there? Why was the Washington Monument constructed in this place, in this manner, with this neighborhood, with this urban planning? The dot becomes a place with connections with other places, illusions, similar constructions and intent. It becomes a place that has a history. There's a whole history of the construction of that spot, of that location. As many of you know, when you go to the Washington Monument, you can see it change color. About a little over half way up. Do you guys know where that is? Who don't live in D.C.? Do you know why? Please, give me the answer. I've been waiting for you to come up with an answer. Because I saw you. I haven't seen you turn. Because during the Civil War and after the Civil War, did you change the color of the line? That's exactly right. And they changed it to a different color of marble. So you can go and actually see the line. Right where the Civil War started and ended. It's a great answer. Thank you. A place like this has memories and experiences. People who go there and experience things and document them in a variety of ways. Places, a very particular location, often changes because of physical events like the earthquake in 2011 with the epicenter in Louisa, Virginia, still created cracks. It's a place of celebration and commemoration. It's a place of national narrative and story. But it's also a place of individual story. And it's a place of destination and marginalization. So all of these layers are happening because one single bout on a map. And that's the story that we're actually trying to capture. And that's where the tools that you've been shared with, in my view, can really kind of capture that story and bring that forward. It's telling the story of the place and its location and its relationship to other places. It's pinpointing exactly why that place matters and the alchemy that happens when certain events occur. It's a way to see its connection and its relationship to humans and community and conversation and successes and failures. It really does become more than a dot. And so when you think about working with maps and geography, it's not about maps in your textbook that you just kind of look at and find the answer. It's a place of interrogation and inquiry. It's a place where questions really drive that use. So here's my last point. How do you get those stories? So you've got these big fabrics of communities, all these things happening over time and place, and you're trying to capture that and kind of mapping visualization. What are good ways to do that? One way is we do it at the National Humanities Centers through a project we have called the Humanities Moments Project. So this project was started three years ago, and it was inspired by our current president, Robert Newman, when he gave his inauguration speech. He used this phrase, and I think he did it sort of offhandedly, Humanities Movement, lowercase h, lowercase n. And he described three times in his life in which something in the humanities helped him clarify his purpose and bring value to his identity and help him sort of get something. It was like, it was a pang. It was a moment where he really sort of understood something. And so he decided to ask other people if they've had similar moments. And of course, most if not everybody has. As you move through your life, regardless of your age, you can look back and say, you know what, that book gave me a vocabulary for an experience I never would have had otherwise. With that painting, with that piece of music, with that Metallica song, or, I see it with you, sure not, or these things that sort of inform who you are, and they give you just a special lens and we ask people to give those to us into a crowdsourced archive. So you can go to the site, humanitiesmoments.org, and you can see individual moments from a variety of people, both well-known and famous and celebrity, as well as just everyday people who are thinking this. All of the moments are geotagged so we can see where they occurred. But even that's not accurate because that's interpretation. You put the geotag where you had the moment or where the moment you had the moment about occurred, and there's an interpretation, right? It's all sort of you telling a story. But we put it into a map, we start to see connections, we keyword it so that we can see the trends and the connections, we have audio, video, and text-based moments, and then we can start making collections. And it's really pretty powerful to see that a certain place, like the Washington Monument, or the Infine View in Pittsburgh, or a particular piece of art or literature has encouraged this kind of moment. For those who struggle to put words on this, and I find that particularly really younger people do, because they haven't had enough life experience to really be reflective like this, I think it's also helpful to give them moments as third-person examples. Here's what someone else fought and felt when they heard this speech or they read this passage that really did this piece of poetry. And so I do think it's got value instructionally in both a production way and it's also a review way. So we invite you, and we're going to be working, I think, in the community of Pittsburgh to harvest people's moments as a way to show commonality in communities, a way of showing connections of what people have gone through, particularly if this is their home place. And we do want to put those into a map to visualize that and start to share the connections and the impact of these moments on the broader community. I'm going to leave you with just a couple of resources, particularly if you're an educator that we do have in terms of geospatial thinking and geography. That includes a whole variety of online resources free and open that have both media and curricular basis. We do offer online courses in ArcGIS and StoryMap. These are five-week courses in which you can actually learn the nitty-gritty of the buttonology of StoryMap but doing so in the narratives of the humanities. And this coming week actually, it's likely far too soon and far too far away for folks in this room, but we do onsite trainings in GIS as well and we'll be doing one this coming week with scholars and teachers in North Carolina. So all that's to say that geography, in my view, is a super important vocabulary of the humanities. And if you're interested, I'd be loved to follow up with you when the time comes. Thank you for having me. There are a few words from Samana Chan about make learning and then we'll be able to take a break and then go to the fair. Cool. So for those of you who, I'm assuming many of you may know Samana, who's the director of make learning who also has a background in teaching and education. I'm going to take a lot of it. Cool. Thank you. What time, Lisa? So maybe like five minutes or so? Oh, that is perfect. I've got some questions. The time for questions is 12. That's at one p.m. Okay. And that's going to be across the hall. Yes. Five minutes. I know so many of you already. I looked at the attendee list for today before I got here and I was like, I'm not going to do you the what is your make learning. So instead I like, I drop the slides and I thought for five minutes let me think about how I think of your make learning as a map because you've been thinking a lot about maps today and how, you know, we at the Remake Learning Court and District Committee really think about a network as a map of social relationships and then also what's missing from the Remake Learning Network and what's missing and who's missing from that map both historically and currently. And so I'm actually going to thank you Dan, where did Dan go for helping set this up because I did not have any slides and so they were kind of throw on this whole contraption, let me borrow a computer so I appreciate that. So what I'm going to do actually is I'm going to start by showing you some maps that you might not know that we have. One that I often show people which is at Remake Learning Network slash Maker Spaces. And it's way at the bottom of the website so I feel like people don't always know that it's here. But this is a map of a bunch of Pittsburgh makerspaces that we've compiled over time. Makerspaces at museums, libraries, out of school programs we know from the network that there are over 200 educational makerspaces in the Pittsburgh region and if you zoom out you can really see where a lot of those are in Pittsburgh. And you can see here that we categorize them by higher ed, museum, intermediate unit PD space and on one of these you can see exactly where it is. Depending on the information you can also see contact information and on the point you can also see the type of tools and materials that are available in this space. It's a really local resource. This map makes me think of two things. One, it makes me think of the fact that it's not updated as much as we like it to be. I think part of the challenge of mapping is that it takes a lot to update it, it takes new information and sources of data and it takes new capital to really dig into being able to update it and make it frequent. So we know for instance that there are new makerspaces that have popped up in districts that are not located on this map and that's something that we have to continuously work on trying to figure out how to update. And I know also that there are a lot of makerspaces on this map that are no longer there or no longer active. So how do we continue to make that relevant? Another thing that I know about this map is that not as many people access it as we'd like, so we have data on how many people access it. So we're always thinking about, we're collecting all this information from a whole community perspective and trying to figure out how to communicate that map in a way that makes sense for educators in a way that folks can actually use is something that we always have a struggle with. Sometimes we're more successful than others. I think about another map when I think about mapping and remake learning. I think about a map that LaTrenda helped create for computer science and, you know, maps come in all kinds of different forms. So that was more the geographic map that we used to do. LaTrenda helped create a map of computer science programs in the region, which we kind of write in this publication called the Quickstart Guide. If you scroll through this guide, you'll see a bunch of kind of one page case studies about the ways in which computational thinking has been, has kind of popped up in the remake learning network. At museums, at schools, at libraries, you'll be able to see the cost, the time, the people, kind of the step-by-step instruction. And what I love about this is it's a different kind of map. There are about 25 case studies here. It's not a geographic map, but it's certainly a map of different types of resources and stories in the remake learning network over time. And what I love about this too is it's also you can actually connect to the person in Pittsburgh who's doing this work and get advice on how to do it yourself. And so another thing that I personally love about remake learning about doing this work is that something a network can do is say, what are all different types of organizations doing across Pittsburgh? And how do we bring that together and showcase and celebrate and be a service to all the amazing educators who are doing work in this region? And so a different kind of map. And also with a lot of the same challenges as the other map I just showed you, the makerspace map, right? How does this get updated? How do we make sure that the content continues to be refreshed and relevant? How do we make sure that the contact information for the people here continues to be refreshed and relevant? That's something that we're trying to think about right now. It just came out a year ago and already there are things that we need to update, right? So another map, another way that maps can be useful is that in Pittsburgh they can connect to otherwise weren't connected. So another map that you might not know about that's on our rural page. And this is a space entirely devoted to the rural parts of the network outside of Allegheny County that my colleague, Ali, manages. And Ali has a map down here of all the rural parts of the network. So everyone that she's contacted in the Pittsburgh region that is kind of part of our network that she's been able to get in contact with. And you can kind of see it's not all rural, but it's mostly folks who are outside of Allegheny County in some of these rural areas. And what's awesome about this map is, you know, it's not just schools, museums, libraries, but it's also food banks and community centers and places that are kind of outside of the traditional quote-unquote learning space that she's been able to really bring into the network in beautiful ways. And similarly, if you click on any of these, you can see a little bit more information about them and obviously contacting Ali will help understand these places. So again, how do we figure out, you know, both once you get it on a map, how to figure out how to get it to more network members and make sure more of those connections are being made and make sure as we do the updated is a challenge that we often have. One other type of map I want to show you before, well two more maps I want to show you before we go from the learning standpoint. Raise your hand if you are a member of the learning network, like on the table, yeah, cool. So a few of us are in the room. So what I love about this particular map is that if you're a teacher in a classroom who's doing a PBL workshop or who's doing a, you know, content on a specific thing and you want to know who are the other people, you know, I really want an industry partner to help with this. You can actually look at the member category, select a private company and suddenly you have a filter of a bunch of people who are working at companies if you wanted to connect to an industry partner, right, who are at least on the website as part of the network. Let's say you wanted to find somebody who had a specific interest area in your voice, let's just say. You can connect to people who have selected that as their interest area too. And there are four numbers of email addresses and it's not perhaps a social network analysis kind of like what Andy was showing earlier in terms of bubbles and how people are connected, but at least there's an entire map of the community and kind of what people are interested in. Of course it's not an entire map of the community and there are a lot of people that are missing from this directory that are just not included in this ability to search and find people on the website. So we think about the learning network and really deepening and making those connections more inclusive and more intentional. A lot of what we think about on an infrastructure team is moving from the network to saying like how do we be intentional about bringing people into the network who have been historically and currently marginalized and oppressed. How can we be more supportive and more inclusive and more in service of educators in the network who don't appear in this directory for various reasons. And so while this is an incredible resource, an incredible map, we're constantly thinking about what is missing from all of these maps that we have and how do we create more intentionally in service of our community. And so I don't have an answer for that right now and I throw it out to you as people who have been parts of the network for a really long time to also help us think about all of these maps and all this information we're collecting on the entire learning ecosystem and learning community and how we can do that better. So part of this is like me telling you what's going on but I'm sure you already know a lot of this and most of it is actually just saying can you actually help us think about these as well. The last map that I thought about when I was preparing for this was a map of stories. So another kind of map that we have is the blog and this blog has been kind of in creation since I don't know, Greg's year 2011 or something. We've been having stories for a really long time. And I thought a lot about like how are stories maps and how can we look through the entire kind of, you know, history of the stories that we've told and see how language has changed, see how thoughts have changed, see how topics have changed as a way to map the history of the network and the map, the history of what our network members have been doing and to map the history of who network members are. And so you know my colleague Arnie talks a lot about how she really wants a re-learning librarian or a re-learning archivist to be able to go back and see all of this historical data and information from the last, you know, 12 years of re-learning has been around and to really take a look at both how, you know, the stories have changed and how things have been different but also kind of how how we talk about things differently and how that's also kind of a map. And, you know, again, you know, I don't think this is I only have 5 minutes so I know it's not the time right now to kind of ask for your input but I hope that folks in the room would think about that and give us your input. Like, what are the things that you still don't see in our storytelling, what are the things that we need to have more of a perspective on as we map stories, as we map places, as we map the people in this region who are doing amazing learning work and so I would invite that for you to come on to me after this talk and we can talk a little bit more about it. But when I was thinking about NASA preparing for this, I was like, wow, we really have a lot of stories that we haven't, that we have a record of but maybe not exactly a map of and how do we think more intentionally about that. And so the website is full of maps, it's full of information, it's full of data points and we're constantly figuring out you know, from a network perspective as folks who don't do any youth work but who are working and supporting so many educators who are doing beautiful and credible work like all of you in the region, how do we do that better, how do we continue to map better, how can we really pull that out as something that the network is both able to do and also could do a little bit better as we move forward. So mostly because we are kind of advanced learners that know a lot about what the network already is I just kind of want to come up here and say these materials from the website if you don't already know about them and these materials also need a lot of work to be more intentionally inclusive, more environmentally broad and diverse and helpful to people and so also seeking for all of your help in that process. So I think that's it. I'd be really interested to hear A, if you have any questions about any of this but B, you know, if you could come to me and tell me what this brings up for you or how we can do any of these things better, I appreciate it. But I really, I've been really thinking a lot since Lisa asked me to do this because we have a network to produce maps and how we can continue to do that better. So that's all I wanted to say. I hope you enjoy the fair. I hope you enjoy the day. It seems like it's been a really beautiful one. So thank you for having me. There is a burning question that she might have to find please feel free to ask it and we'll be here for the next 15 minutes and then we'll be moving into the other spaces. Any past questions? Question on one of my notes for Andy. I just would like to know because how is this a funded and how are people being made in this and so how do we come to her day? So it's funded and we have a slide up on that by the Gravel Foundation and the New America funded by several funders as well and we're all working together to try to make sure where there's not a payment for that. The figures are being made. So no money is exchanging together. We can talk after. We can provide that to her. Let's see because that's the one thing I'm struggling with is a lot of more education being outside of the school is I just would like to see more transparency in the funding and the relationships and that would be a really interesting app that I know you have some of it. Right. I just want to stick with this. There's great mapping that the Allegheny partnership for out of school time is done about out of school organizations mapping government contracts mapping corporate support that's all available online about how, I thought I heard you say the out of school time space. Well both. Neither just in general the transparency Yeah. All of our funders are on the website too speaking of mapping. You know what I'm saying? Is this selling or is this teaching is what my question is. You know what I'm saying? We'll move on to the next a couple of hours. I think these are great things to put down on our common board that we've left on and provide that feedback and we can keep adding that into the conversation as well. Because I do think that some of it is about helping people find each other and connect and the more that we can make the payment where we're connected and we're on our own we need to do that. That's the main role here. It's also something that was put out as a community and this time a lot of those leaders did say the whole time it was to speak and not to be part of a community. That's the feedback for us actually. I appreciate that. And we do have the next couple of hours to be able to pull more of that and to have a sense of the community to human members to come up and be very much well on that. So I'm going to say thank you again to everyone who's been here for the lunch. I just want to join me in a round of applause for one of these things. I'm sorry. Have you guys ever put the website in multiple languages? That's not a really good thought. The Remain Learning Days website was in about seven languages this year and we have it. It's on that for the Remain Learning website. I'm actually going to put that in a note right now for us to meet on Monday. I won't talk about it. Thank you. Cool. Thank you. We'll be back here in a couple hours or so.


Good morning everyone. We are slightly delayed and you know Milan speaks after me so he's requested me to wrap through my session so I'm going to try and make this as fast as possible right. So only for you Milan. Alright my topic is mistake that marketers you know should avoid while doing content marketing and I'll quickly jump to the first mistake. The problem is that marketers know their brands really really well. They live, breathe their brands, their brand promise, their brand positioning day in and day out and what that ends up doing is they end up translating a lot of that into content. Now that may make sense for marketers in trying to create awareness but users out there are looking for content that can affect them emotionally entertain them you know make them share it and not really looking to your information or a brochure or a PR article about your brand until unless they are searching for your brand and looking out for it. Today content is discovered on the go while they are browsing through frieze and that's when they stop it's called thumb stopping creative thumb stopping content and they only stop when they see something that interests them or that catches their eye or something that's going to entertain, excite or make them emote. So making an ad and expecting results like it's great content is the first mistake and a lot of marketers while trying to create content for their brands. The second is focusing on features or the brand promise and forgetting to tell a story. So while you can highlight the features and the brand promise that can't be the core of your story that you're telling. The story has to be a human story. We connect with human stories. We don't connect with you know this product being great or that brand being great and so on and so forth. Classic example is the Google story that they told about the Indian and Pakistani friend and which we all you know have seen online. That was a story. Google was interwoven into it. Every product in fact was interwoven into it but it was so subtle you focused on the larger story about the friendship between two friends across borders. Paying for a celebrity instead of paying for a great script right. Celebrities are important. Don't get me wrong. Having a celebrity definitely gets people to notice your content but only a celebrity and not great content around it does not cut any ice in digital media. You have to have a script a story that goes with the celebrity. So first work on the script and then think about what celebrity is going to come. Right. Being topical without being thoughtful. A lot of brands do this you know there is Onam that just went as a festival there's Ganesh Chaturthi. They want to be topical current for the sake of being topical and current and you are among 100 other brands on digital when you do that. How are you being thoughtful? How are you being relevant to the audience? Just saying happy Ganesh Chaturthi is not going to cut it. Every brand does that. So if you are not thinking through your content and just being topical for the sake of it you will be another me too another herd. So that's a mistake you should avoid. Right. More content does not mean more eyeballs. You know I run a digital agency and one of the things that you know most brand marketers ask me is how many posts will you do? They are trying to get maximum out of their digital agency in terms of content. Nobody asks me how good will those posts be? Can you guarantee us that? Can you make one amazing piece of content every month and we'll pay you for that? That doesn't happen. So the point is it's not how much content you are creating. It's how good the content is that matters. Right. Creating great content and this is you know half the battle one actually. If you've created a really nice piece of content it could be just a Facebook post. It may not be a complete film of three minutes but then not distributing it enough. This is a mistake a lot of good marketers make because they don't plan their budgets. They don't see opportunities where there are. Good content and sometimes great content comes very rarely. When it comes you should throw the kitchen sink at it because you know now you've got not only the brand promise right but the storytelling right this works with the audience but then you just post it on your social platforms and you don't put monies behind it so that more people see it and what you're really doing is you're you know you you know there's gold somewhere under this ground but you're not digging hard enough to make sure that you you know take it out and distribute it to everyone right that's the challenge. You have to make sure that the moment you know that you've got good content on your hands make sure you have at least six times what you spent on creating that content promoting that content. One is to six ratio is what I recommend. Paying for influencers but not having a strategy. A lot of brands actually get influencers on board and then either depend on their creation capability to create content or just create one creative one content all the influencers are posting the same content there's no strategy right clearly that's that's the biggest mistake you can make. So when you are getting influencers on board make sure that you have a strategy as to how each of these influencers are going to create content that looks it's coming from them as well as it's also having the right tonality the right content the right social references so that it spreads through them and they are just not posting it because you paid them some money right so that's another mistake that you should avoid. Spending on content time tie-ups but not spending enough on crafting the message so you you know you go to a scoop poop you go to a other content platforms like that maybe a bus feed but you've not crafted the message you know with them and worked with them to see how this will be intelligent either you're going purely for those clickbait articles or you are trying to put your brand and integrate in it very strongly so that you get maximum coverage within that article but you've not thought through okay how is the reader going to react to it what is he going to feel when he reads it and that's very important focusing more on what to say than how to say it I can't stress this enough treatment is very very very important how you treat a particular content how you package it how you showcase it makes a lot of difference and very little time goes into that right after you figured out what the message is finally focusing more on the content calendar you know we want next three months we've decided this but what is your approach to the content strategy how your tone is going to be how how you are going to engage what is the audience going to feel and I'll just come to that feeling now the according to me content needs to make these feelings come out and that's great content if the consumer is seeing your content and if he feels amazed example is Jean-Claude Van Damme with the split on those two Volvo trucks whoever saw that globally we were in awe right the way he did it it's amazing right that's why people shared it that's why it was a globally famous video or coin piece of content right are you entertained right is it making the consumer feel interested interested to know more interested to you know talk about it right optimistic if it feels optimistic it's a feel good factor when you somebody sees the video it puts a smile on his face and understood so it makes him identify with himself that yes I know this this relationship between a mother daughter shown in this piece of content is very similar to my relationship with my mother that's an example of being understood right so these things allow people to connect with content and share it further I had a few videos to show you but in the interest of time I'm just going to show you a few last couple of videos so this is some work that we did for Mother Dairy and very recently Social Samosa posted Mother Dairy Ice Creams the new Amul of Social Media go check this out on the site Social Samosa it has all the content that we've created it's worth looking at it it has a lot of influence from Game of Thrones so all of you Game of Thrones fans out there you must check this out I'm going to show you something else can we play this video please this is the work that we did for Bajaj Alliance for their various insurance products and can we play the video please oh my god it's not traffic why are you so luxurious hey shut up you have to off-road then you won't get that traffic hey what a fool boss excuse me which car as you said is a fool I hope it's not the silver lux hatchback who convertible I don't want to my god a big parking insurance hey insurance Bajaj Alliance car insurance hmmmmmm....traffic to run from insurance not. why sir? I told you. So this was a series of video and content we created where inanimate objects came to live. It was the art direction that actually worked for this. It also got covered by ads of the world globally. That's it for me. Thank you so much for having me for this. Thank you. Thank you. Thank you very much indeed Rajeev. Wow.