İstanbul doksan beş adına verdiğimiz ve uzun bir soluklu bir projenin ilk konuşması bugün. Eee bu proje Bernard Fanler'e vakıbıyla beraber yürütülüyor. Eee vakıbın eee özellikle çalıştığı konu erken çocuk dönemi. Eee ve şehirlerin doksan beş santimden eğer bakabilseydik neyi değiştirirdik? Eee neyle? Eee neyi ön plana alırdık? Neye önceliğimiz olurdu? Eee bunu eee soruyor. Hem belediye başkanlarına hem tasarımcılara eee aktivistlere. Sabahleyin belediye başkanlığıyla bir toplantımız vardı. Eee şimdi buradayız. Eee uzun soluklu içerisinde bir yarışmanın da olacağı bir süreç tasarlamaya çalışıyoruz. Eee İstanbul'daki parklar nasıl değişebilir diye. Eee özellikle kamusal alan üzerinde konuşacağız. Biz de önümüzdeki eee on iki aylık süreçte eee takip ederseniz gene git bu kalabalık, bu güzel kalabalıkla takrabizin olur son çok seviniriz. Eee eee teşekkürler for being with us tonight. Eee just gave a brief introduction on the Istanbul 95 project. Eee eee I hope you will tell us a little bit more about the foundation. Eee as well. Eee Daral is one of the persons with the biggest heart I have seen eee met in the recent years. Eee it's a pleasure to have you here. Eee I think the story is gonna tell us is of building eee about 17,000 parks in in the U.S. But at the same time eee building that with the community. Eee and I think it takes a big heart to to do the type of work Daral is doing. Eee I thank you for that. I thank you for sharing that with us today. Eee stages yours. Great. Thank you and good evening. Eee Can everybody hear me? Eee I'm also excited about being here and I must admit I didn't think that I'd see so many faces out there so I know that the one of the choices that you have is how you spend to choose your time choose to spend your time and for you to come here tonight really honors the work that we're trying to do. Eee I'm with the Bernard Van Leer Foundation, particularly your program called Urban 95 and the foundation has been around for about 60 years. Eee eee really was started by an industrialist and the industrialist was really interested in particularly right after world war two. How to make the world better after he se ét eee and knew so much decimation that had happened. Eee How can humanity heal itself? And the foundation was started after that experience and the success of his business and particularly the urban 95 program is a new program that the foundation is trying to do 생각, çok yaşayışlarla, aquariumlarla working and early childhood development and having a lot of success. We didn't see that success actually pilling to making kids a priority. If we make kids a priority, how then might we redefine resources and redistribute resources for them in a different way. Urban 95 is literally looking at the world from 95 cm. Ve ne yapabilirsiniz farklı bir şekilde, dünyaya baktığınız için? İlginç, sadece bir şey herhangi bir şey var, 1 noktada 95 cm var. Dünyada farklı bir yerlerden, ama 1 noktada 95 cm var. Ve bu noktada, birçok şey ve birçok çoğu yaptıklarımızı yaptıklarında, nasıl ve hayatımızı seçtiklerinde, nerede ve hayatımızı seçtiklerinde, ve en iyi bir utfalar nasıl yükselmiştir. Keşke biz de çok güzel bir isteğin, bunun ve herhangi bir tatlı ve halde yıldızlığını ne tissue de büyük bir anda etkili ise bir hayal olursa gelmez. Ve bu hayal nece de en çok yüklendir Agency'ya bizde birível bir bir şey var. Ehmonda da, sen, diğer bir hayal. Çünkü, bir hayal, ve dünyanın dolayı da çok sert olmalı, senlerinde orada olmalı, ve questi şeyleri sérenlikle yönetmek istiyordu. Vurmalı ve sebebimiz bu, en iyi bir de olmadığımız için bir parayla massacre y Tábâs hayvanının kidan..?  Bu cezalandığından gecelerce bundan sonra 18 yaşında annesi, birbin bir kocam 7 yaşında 8 yaşında birktiriyordu, evin zehirleri ve sizin için birhewni yapabilecen bir şey. Ve托rişimde mee de en iyi bir yolda hızlı yukarılaştığında staredakı gerislerine bir öpmeye çıkıyor.ashes. Onları Miami'e alışveriş ettilight zaman bir durum bulundu. Ve bu yaptığım bir müzik haritaktir. Kendiığım için bu, mikrofesiyle bir öpme yapmaya knowledi. Bence, bu, çok yoruldu. meydanlardakiidisiniz vekelilerim. Ama aslında bir vücuduyum. Bu ateistin Carl'a'yı daha da mükemmel bir ödela benim için bir mükemmel bir ödela ve benim için bir günümü backmak için varmıştım. Yani benim için bir başka çocuk aynı bir virültü varmışım. Aydığımde, Berniyeyi, kapıyanını niżt، kesmiştim ve şerefini geçmiştim daha sonra da bir mükemmel bir ödela. Ama, ben de Çakago'da gittim. Ben 19 yaşında da, Çakago'da bir sürü ilerlediğim için, farklı bir mizdana sahip, bir sürü ilerlediğim için, insanlar, bir mizdana sahip, bir mizdana sahip, bir mizdana sahip, bir mizdana sahip, bir mizdana sahip, İki de ayrıca, birbirine çok iyi bir tanesiyle alıp, özel bir şehrin ne hası var? Yani, belki insanlar onunla bilmesini bilmesini bilmiyor. Ve yüzeyde, onlara hala bir sürü ilgiden izin vermeye başlayanlar, bu bir sorunta, hala bir şey daha farklı bir şey discovery edilecek. Bir sürü ilgiden bir şey yapmak, bir sürü ilgiden bir şey yapmak. Ve o yüzden de bu konuda, bir yemeğinde birçok kutlu yemeği geçiriyoruz. Ve insanlar, o zaman da izleyip, birçok bir birini görüyoruz. Veya birçok bir birini görüyoruz ve birçok bir birini görüyoruz. Ve o zaman bu konuda, birçok bir birini görüyoruz. ...bizeve allegations ediklerinin imkanı ile yüzeylerdi. Çocuklarla almanızı yaklaşkówlarımızla Smaller'e konuyordular.嘉çların, çoğu ve Piyano herkeseyle ikisiyle tanımlanma yapardı. Ve bayağı duyduğu şeydemelerine,... ...buna bir yürümsel Joshua'a ve küçük bir skinsiz bir yarışervation Couldn'ta ayaklaştılar. Kimseye soğutmasını biliyorduk. Yoksa her gün onları bir yolunu varmıyor. Onlar her gün yerine, bedelini kalktılar. ama kendilerini görüyordu, değişti.  Sadece bir araya gitmeden önce, yeni genelde, ilgili dinlemeye, bir şey yapacağız. Bu yüzden, ülke başkasınıorganizmadan şu an, Çikago'da bir yöndeki bir propon bir hızla bayoğar, bir kimin hızı, bir şey korumayız. Çünkü, ve bu sorumlulukları askerlerden, ve belki de master planları gelip, ve biraz aksiyonu takip ediyorlar. Ve aksiyonla ilgili daha çok, ve daha çok, nasıl we could get the community to continue to fight for something than fighting against something. So lo and behold, we started, it wasn't me who came up with the idea that regular community members with no technical skills with enough of them type of coaching, mentoring and support could actually build a playground together. And over 20 years we literally perfected that process to over 17,000 playgrounds that our organization was honored to be a part of all across North America. And the recipe was really simple to be quite honest. It's meeting people where they're at. Don't making assumptions about what they know or they don't know. It's about giving them a common cause. The well-being of kids. Everybody can take a ground and say, I want for the kids to have better than what I have. So that common cause. Achievable wins. A lot of times, including myself at 20 years old, 21 years old didn't have the skills necessary and I had to ask other people for help. And asking for help was okay. It wasn't an admission. It was more of a vulnerability. And if you allow yourself to be vulnerable, the help comes to you. But a lot of times when it's the type of people that we're trying to organize that vulnerability is really painful because everybody has imposed things about them on them and they've never really owned it. So asking for help was really challenging. So giving them achievable wins that really makes sense for them that build confidence. And the achievable wins could be things like I've never been on a food committee before. But if you want somebody to volunteer, the best way to get them to show up is to tell them that breakfast, lunch and dinner will be provided. And if you don't provide food it won't be as good of an experience. If you provide food, people will show up and they'll stay. And so you have to have a committee of people who are either going to make the food or get food donated from local restaurants. And for somebody who's never asked for a donation before even if it's a monetary or an in-kind contribution or asked somebody to volunteer that could be a really intimidating thing. But doing it in such small steps where you set it up where they have success or if they don't have success it's such a small failure that they're willing to do it again versus the overall project and be in a failure. And so those achievable wins build on to this thing of the final step was this cascading steps of confidence and courage. And when you have confidence and courage no matter where you're from, what you're doing if you're a university student to a university professor to a CEO the things that you do and how you do that and how you walk around, carry yourself and what you do is absolutely transformational. And that's what we wanted to do in these communities. That's what we wanted to see kids to see in their parents for kids to see in their neighbors in their grandparents that confidence. So much so that one of the first projects that I worked on was in San Antonio, Texas and a woman was 72 years old way hood when I met her and she talked about literally a train track that divided her mainly African American community with the other side of the train track being the highest income in San Antonio. And for safety reasons they built a fence but on the other side of the fence and this train track happened to be the nicest playground in town. So her kids could no longer cross the train tracks and play at the playground anymore. And she asked him to take down the fence and they said no for safety reasons. And so as 72 years old as an elder in the church she went to look for another solution and before finding us she said the need in the community is a playground we're going to get a playground is equally as good as the playground on the other side of the track. And for two years Ray Hood and the elders of the Baptist church in San Antonio raised money worked hard and on a weekend constructed a playground and the success was interestingly and ironically the fence came down because the kids on that side of the tracks wanted to play on the cool playground on this side of the tracks and Ray Hood's reaction to that was we won't we're not going to stop this kids don't know the difference and us adults should know the difference that just because you did it to us doesn't mean we're going to end up doing it to you. I started out to build an organizing organization and the playground was a byproduct of getting people to come together around the common cause the well-being of kids and after doing that we ended up being the largest purchaser of playgrounds in the United States we were second for a long time to McDonald's and we actually surpassed McDonald's in purchasing a playground equipment and it really led to this awakening as a non-profit organization to say how do you become a market maker in the market maker beam is there more need for just playgrounds or should the playgrounds that we build be actually better playgrounds because if we're really honest with ourselves and as many playgrounds as we've built not all of them got maximized and used as often or as much as we would have liked them to be because kids' play patterns were changing childhood was changing and playgrounds were not actually they were changing for the worse because the safety standards was making it even harder to innovate, be creator and the industry didn't want to take any risk didn't want to take any liability at the same time the organization didn't want to lose our focus on community building that's what brought us to where we were at and we just needed to figure out how not to lose that but at the same time build better playgrounds and in building better playgrounds we went to the industry we asked them to do design competitions and frankly we got more of the same nothing new and we finally found an architect in New York City who had just given birth to their second child and he would take both of the children to the playground is almost a relaxation for herself because he knew why they were at the playground they'd be occupied and being occupied he could do something else and so he'd go to the playground almost as often as frequently as he could because he'd get a moment of rest and when he saw over a couple of year period was the playground got boring for the kids and they wouldn't play as long as they had played before and he wasn't getting the rest and he actually needed and deserved and desired to be able to get that and so being a designer and being an architect he said there's gotta be a better playground there's gotta be a better playground and he took pen to paper and he designed all these sketches yet he'd go home and he'd find his two kids who were increasingly almost every day taking every box that they had in their New York apartment and turning it into a tunnel a cave, a castle and these cardboard boxes kept them interested, engaged it flared their imagination it made them cooperate and collaborate and he said the playground of the future is cardboard boxes and from cardboard boxes became a product known as imagination playground the architect David Rockwell and we went through a process of iterating on the cardboard box to creating the set of instruments foam instruments that didn't snap together because we didn't want it to limit how people were going to be able to use it we wanted it to be anything a kid could make it to be we wanted it to be or specifically he wanted it to be something that his kids would play with they played with it for a long time and by playing with it for a long time and very often they were also building their brain they were figuring out problems they were communicating and collaborating with each other sometimes verbally and many times not they were building pride in their own work and so Kaboom as an organization actually brought that product into the marketplace and built a for profit business out of that and at that time the playground industry was thinking that they may lose us as a customer and said we better get serious about actually thinking about what is the public playground and public space playground of the future and work differently but that's the power of a non-profit organization that doesn't lose where it's come from yet at the same time recognizes where it's at and then tries to use its influence in a different way and in that different way we probably weren't as successful as we had wanted or hoped to be quite honest the product is a great product it sells very well it's all over the world but it's not scaled enough that's changing the way kids play and so what we came up with on the next point was we have good community building we need not just more playgrounds we need better playgrounds we decided to go to the actual experts kids themselves because who we would talk to about playgrounds before them was the people who were buying them parks and recs department school maintenance, staff facilities department a general developer or contractor and they were guessing what kids may want they actually didn't know what kids wanted and the difference was you had a customer who was paying and a user and you had a broken link that the customer who was paying didn't actually know what the feature or benefit was going to be for the user and the user was voting with their feet by not staying at the playground very long and not coming back as frequently as they would to the cardboard boxes and so we started to again have this inquiry about if we talk to kids and ask kids what would they tell us and what they told us was really interesting it came down to they see the whole playground the whole city is their playground not just the park or playground that they may be go to and I'm going to show a couple of slides especially this is the decision tree that talks about if we need kids to be active minds, active bodies and socially active together they need to play play is a great antidote and I could go into all of these statistics about why play matters but I'll let you this is not a speech on play but the decision tree per play has all of these yes or no prompts and in a lot of times once you get to know play doesn't happen for kids so you have to decide to play you have to get ready to go play weather becomes a factor the distance becomes a factor all of these things become factors that kids don't make the adults are making it for the kids and so this hassle factor ironically stops and what we found a majority of the instances where the parent knows it's good for the child to go play and that they should go play the hassle factors gets in the way of them actually going to play because it's a burden on them and so out of that came some inquiry around this notion of walk ability bike ability what is play ability and if the kids see anything that they do along the way like going to the grocery store standing at the bus stop going to a laundry mat as play why aren't we thinking about those places for kids to play as well and the three factors that you can see there is that we found that parents told us that play gets lost in daily schedules which is that time crunch we all do this ourselves and as our schedules start to overwhelm us the choices that we made is about what's easiest and play was not the easiest choice to make it's hard to know if you're playing enough and a lot of times particularly when we're thinking about childhood one of the things that's happening is that everybody wants an immediate benefit if I read a book what do I learn if I play what benefit do I get out of it right now it's like grading a test what's my grade play a lot of times doesn't have that immediate benefit it's the long term cumulative benefit that's happening both to their minds their bodies and their socialization that adds up and again the hassle factors get in the way so we started to think about play everywhere and three things became true we needed to foster play everywhere make cities family friendly and create this corner store of play and this is and took an interesting inquiry into where kids actually what do they do dream the day particularly low income kids or informal settlement kids who are they with where do they go what does that look like and we went and followed a whole bunch of kids and how long were they here and we followed them over and over day after day a week after week after month because we wanted to not make a snap judgment but we wanted to recognize patterns and recognizing patterns what we generally found was the greatest moments of frustration for their parent also became a frustration for their kid that if you turn those into moments of joy standing in line waiting for a boss waiting for your clothes to dry it could be a positive experience both for the child waiting for the parent and so we were putting play everywhere instead of making them go to the playground to get play and interestingly when we started to do that they exercised this play muscle where their benefits were much more obvious they were happier the parents were less stressed because they were happier and they weren't required to do as much caregiving for the parent and I say this because I know many of you are interested in design architecture we came up with the six different things that we didn't see was being for child friendly cities as kind of principles and the principles are actually quite easy convenient is it easy to get to because if it's hard you've created a hassle and a burden is it inviting kids are welcome here or does it say play safe don't run don't jump no kids allowed no skateboarding if we put out those messages sometimes kids are actually going to believe us and not do those things so you literally have to provide an invitation for them to do that this next one is around wonderous this is the most surprising actually to me that kids seek mastery and mastery means increasing levels of challenge and playgrounds have become somewhat so safe that there's no longer mastery when I was a young child I loved slides because it wasn't just about going down the slide it was simply going down the slide so that you could walk back up it now and it's hard to walk back up the slide because you've got to put a safety hood on there which requires you to sit down when you slide makes it harder for you to walk back up kids know what's happening it's so safe that they ought not to do it anymore and it's no longer wonderous and you don't seek mastery in it which is why video games is such an interesting thing I often get asked the question what's the best type of play for kids it's actually a rather simple question the best type of play for kids is all types of play for kids not simple one type of play and the problem that our world is moving towards is that we're giving all of one type of play we're giving all of sports or we're giving all of electronics electronics are actually good for kids as long as it's in moderation sports is good for kids even though they may not like sports as long as it's in moderation variety and I'll get to that and then it's gotta be challenging because kids know the difference if it's not challenging it's also equal to wonders share social if it's not social including for the parent or the caregiver we're creating silos in isolation and what kids crave is other kids and when kids have other kids generally happy it can make something to do so how in public space how in playground design are we either encouraging socialization or discouraging socialization and frankly we do a lot in public space design that discourages socialization if we don't want people to sleep in benches we put bars so that only one person can sit and go to any airport in the world where there used to be long benches but now they're individual seats the reason they're individual sleeping seats is we don't want people sleeping on and if they're playing as the late they have to sleep overnight we do a lot as designers and architects to prevent socialization how can we do as much thinking about positive interactions of socialization after the riots in LA in 1996 there was this movement that literally went through all the vacant lots and lost the community where the riots actually took place and paved them over and fenced them and the reason they paved them over and fenced them they didn't want people to congregate they didn't want people to socialize they were trying to drive people away from public space instead of making the public space invite them because what happened when people came together in public space they weren't happy with what was happening and started to demonstrate the final point is it unifying doesn't bring the whole community together you really want the whole community to be involved urban 95 is specifically bringing to the conversation and to the table of very young kids who aren't often at the table I'm currently working with somebody who went to professional schools Harvard being one another school in the Netherlands he has four years of undergraduate two years of masters and three years of his doctoral thesis around planning cities cities of the future he's never once had a class that had kids as part of the discussion or conversation how can we think that he's going to be able to make good informed decisions about child friendly cities in the future if he's not talking about kids he's admittedly said they've had a lot of conversation about disability wheelchairs and certainly that's important and a stroller is acting much like a wheelchair and elderly how do elderly get around the city what we need to in our opinion in urban 95 is that not just that a city or an 80-year-old but literally an eight day old one of the things that I've certainly learned haven't been involved in this for 20 years that I recognize that I've been part of the problem for this, not part of the solution because 20 years ago I should have been thinking about what's the best play experience along with 5-year-olds and 8-year-olds and caregivers where babies going to be incorporated in a thousand spaces without the intentionality kids aren't pieces they're whole yet a lot of times in society we treat them as pieces programs you get this program or you get that program you get this activity they're whole kids and our solution needs to be whole communities for whole kids which means the youngest amongst us and the oldest and how do we design that so that literally an 80-year-old and an 8-day-old could sit together or sit apart but have an enjoyable experience in those so Urban 95 is this inquiry about more and more kids are living in cities than ever before many cities are not experiencing actual blight that used to happen where young people, professionals would move into the city and when they started to have kids they'd move out that's not happening and more and more people are moving to cities the statistic is that by 2050 80-some odd percent of the world's population are going to live in cities and when you think about cities of this size 15 million and when you think about the city of the size of Delhi, 50 million and you start to project that into the future we certainly have to do things differently we have to do things differently going forward and we have to do things differently to what we've already got and I would say that it's probably not going to be people like me who are going to come up with those ideas it's going to be the young idealist in the room it's going to be you it's going to be somebody sitting next to you in one of your contemporaries in another university that's going to have three things that in retrospect I look back that I've been able to build at Kaboom I think play the experience of play helps you find passions what you're passionate about maybe not what you're good at or what other people think you're good at but what are you passionate about what do you want to spend your time on and then how does that passion drive into a sense of purpose and that purpose starts to become what drives you I've been driven by a sense of giving back to a community because a community has given so much to me and if every young person has that same obligation that same sense of both gratitude but purpose in life that says if not for my parents my siblings, my community I wouldn't have what I have and it's my obligation to make sure the future generations get it as well there's a great burden because the problems are immense but there's a great opportunity to find and chart a path for yourself that could be incredibly rewarding personally, for your family for your community and financially it's not a tradeoff it's not mutually exclusive and it's the idealist of the world that's going to look at the world's challenges that we haven't been able to solve to this day that we just make worse climate change shifting population and we've got to make them better faster including for kids I just saw yesterday that UNICEF put out a global report that 7,000 babies die in the world every day 7,000 babies die because of malnutrition we could produce anything almost anywhere but we let 7,000 kids die are we putting our purpose in prioritizing kids if that was the case when we put our will towards things we find levers large enough to change the trajectory and to look any way that's possible if we find the will to do it I'm joyous that I certainly found my path a long way and in finding my path I've been able to make a small dent in the world and if the dent that I made here tonight is simply by one of you or two of you say kids the elderly, community, homelessness whatever it might be is something you want to commit your life to I feel like I've done my duty and secondly if you commit to looking at Istanbul and wherever you live and what street do you cross what do strollers experience look like and how can I make that better how can I make a young father who's carrying a newborn and the newborn may be crying to not shush it that sometimes we do in public space how do we make sure with our own eyes we make kids visible in communities and highlight the caregivers who are caring for them because again we've come from the only thing in common is that we were all kids once we may not all be parents in the future but we were all kids once and I could go on forever but I want to hear what you have to say I want to answer questions debate, discuss what do you have to say somebody's going to have some question my question is do you have a delicate balance of working with both policy makers and also communities and I think I would like to hear a little bit more when did you decide to put your effort into actually the policy makers because you started from the community side but then where did this shit happen so good and fair question I think two things one is that what's true for one audience doesn't necessarily mean it's true for another audience and you have to figure out the audience that you're dealing with how to authentically engage them so we perfected I think at Kaboom how to engage an audience at the community level how to really co-create things that in the co-creation we're not just making them unwilling participants in the change that we want to see we're making them co-creators to see and then prioritize the things that they need and then over time though what became increasingly more frustrating at Kaboom was the more playgrounds that we built the more requests that we got and so as a non-profit organization we had to literally continue to stop and ask ourself what problem are we trying to solve but more importantly what scale are we trying to solve it at and in the latter point if we're simply boutique bourgeois and build nice playgrounds that was good but the frustration of having more demand than what we could meet and not figuring out how the demand could be met other places shame on us and the other place for us was policy making and if we had good policy making met problems from happening in the future in terms of for instance two examples when neighborhoods are being planned we generally don't plan where the nursery schools are going to be but we should understand who's living there, who do we think is going to live there and where's their nursery school going to be at before we even break ground on anything else so policy making sets barriers to master planning and building communities the second one is if we have an elementary school and many communities costs and space are constricted we don't have as much space and we don't have as much money to do everything so if we build a school and in many cases we don't build playgrounds with that school but in the cases where we do how do we make sure that playground is used when the kids can benefit from it most which is after school and on weekends in the summer breaks and holidays it's more frustrating than not to see a very nice playground in a school behind a fence and the community arguing that they have no place to play they have a place to play but we haven't figured out what's the best means and way to open up that school yard to make it a community playground so that when kids are in school it's used by the school but when the kids aren't in school it's used by the community and the kids are in the community we can figure that out that's a policy level decision around maintenance, liability design, co-designing the function you would design the playground differently maybe instead of putting it in the back of the school you would put it in the front of the school maybe you would separate it further away interestingly enough we did do one experiment on this in Jackson, Mississippi we built a playground it was open to the community and the playground was like 100 meters from the school and initially the teachers hated the idea I gotta send my kids out of school and they're gonna go there and I'm gonna tell them to come back and they're gonna get here and they're gonna do it in 20 minutes the unintended consequence which nobody knew before we did this was we went back a year later and we asked the teachers what do you think of it now and they said brilliant you knew about this all along we knew about what well the kids come back from that run back tired they sit in their chair their vigils are worked out and we can get back to education so the unintended consequence of placing further away actually gave this transition zone that was better than having it right next to the school which was where it was before they get done playing the whistle blows, they gotta go inside and they're not done yet now they've got this transition process back into the classroom and they were more able and capable to learn quicker and it was a teacher who said that wasn't a research project and it wasn't even intentional that we did it that way to be quite honest so from a policymaking also gets the resource allocation and I think it's fair to say this I saw on the Istanbul 95 website that you look at the concentration of where young kids live you look at the concentration of income it's no coincidence that there are more and better playgrounds where fewer kids live but higher income kids live versus versus where the really dense communities are but they're low income I see the guy who did the map Shaykin has had very vigorously but visually representing that was so powerful to show the injustice and to try to change that injustice to say we as a society could and should do better and now we've got a tool here in Istanbul and I want to see that tool repeated elsewhere in the world that helps people come to those conclusions not anecdotically, but factually because we have data to prove it factually other questions? about kids about we are running a project about making this family factor group not much as we do but we are trying to we are making keeping the community and you the community happy you say the best thing is making small steps for family help community are there any tools you want to share with us about making community together energy can happy? so in our experience what we found is that the first thing we would suggest communities ironically to do is a spaghetti hitter because spaghetti is really cheap almost anybody can make it you can make a lot of it really easy and generally people like it and so if you're living in a housing flat and you want to think about bringing people together we suggest it to do a spaghetti dinner but only in our pocket dollar make the barrier so low that everybody wants to be there everybody wants to participate and when they're there use that as your enrolling chance because generally what happens is that we go one by one will you support this project will you support this project and not to say that's not a bad thing but if you two work together you kind of know each other you see each other in the hallway you assume the other person supports the project and when you see 20 people in a spaghetti dinner and people start to talk about where you have that spaghetti dinner and they're like what's spaghetti dinner I forgot about it who else was there and before you know it people want to convince themselves that they were at that first spaghetti dinner and we have to find means to get people around this common cause and keep getting it back to the common cause and easy for them to participate the next spaghetti dinner should have 30 people at it and then 50 people at it and the more that we can do things where it's not an outside in it's the residents really seeing that it's only going to be successful if it's foreign by then and that you as the NGO become a tool an instrument and it becomes your highest and best use then you've got that magic to spread but it's magic and it's not easy but making the barrier to entering like food and so it's inexpensive where it draws the largest number of people and then from the largest number of people set the date and time for the next one so that they know when it's going to happen again and then make it repeatable repeatable after that and the other thing I would say is from a public space perspective as I said earlier kids love kids so what we find when we have these get outside campaigns we have adults but get kids outside get a couple of kids make them visible so that other people see it and it becomes an invitation and that invitation becomes I want to be there my siblings down there my siblings friends down there and that's what we want to snowball as we create this through here any other questions? yeah when you start to get the feedback and see the impact that you have made on the society and the kids so when was the time that you realize that you are doing something that's actually helping the people and helping the kids the impact that you have made? yeah so I mean I think really early on I remember I remember in nice town Philadelphia I mean nice town New Jersey is an example and we had a construction fence put up around the project and a young child 5 or 6 years old of some range was behind the fence because it was still a construction site and saw their mother on the other side finishing up a chore and the child yelled to the mother mother you really built this? and to see the mother's pride to see the joy and the interaction that just took place for the child a little bit disbelieving we knew we were making a difference now in the world of data there's outputs and outcomes and the outputs are you built 17,000 playgrounds are the outcomes are the kids smarter are they healthier are they more social we have longitudinal studies on some of the benefits of both of our playgrounds but play in general we absolutely say that the money that you invest in playgrounds improves the public health improves the property values improves socialization in terms of the social contract and vandalism goes down prime goes down and the number of eyes on the street goes up so all of that data for beyond the data existing we really want to make it about the common cause of is it big enough that the tent welcomes everybody in it and if everybody is in the tent can we move this needle far enough where we bridge some of the divides that so many people in our world including kids face every single day going back to the brain science there's this harvard professor jack shonkoff who runs the center for the developing child and because we know more about the brain now than we've ever known before he scared the hell out of a lot of us when he basically said there's this notion called toxic stress and when kids are under this constant bereavement of pain suffering poverty malnutrition pollution their brain physically changes and the first things that change in their brain constitution is their ability to empathize and their degree of resistance two things you actually need most to survive in a deprived situation and the antidote to correcting toxic stress ironically is carrying adults and play therapy so the question becomes do we want to support carrying adults up front or do we want to screw up kids and have to fix them with other carrying adults who are not their parents who are not their caregivers or grandparents do we want them to have choices to play up front or do we have to give them play therapy after we've already messed them up i would argue that we've got to do the up front work better and for every kid and not leave a single kid behind thank you for this inspiring talk we look at the cities now more or less from 95 centimeters from say 50 to 95 but how about 150 to 200 so how about their parents because especially for the very young children we cannot disregard their parents because that's the only way they are mobile in the city what are their needs in european when they go out to the public states great question because part of it is by focusing on such a small audience 05 0-3 the first 1000 days it almost makes it sound agnostic to kids being 0-12 kids being 0-18 the needs of caregivers and all those things ironically what's also true besides all of us being kids their parents were kids once too and it's hard to imagine to have happy joy as kids if you don't have happy joy as adults the kids admit it what's happening in school what's happening in a church what's happening in school, i mean at home and they know and they feel the stress they know if their parents aren't finding joy and happiness and that creates some of the toxic stress so everybody does better when they play particularly for caregivers with young kids we have to do things like in the environment making sure that if you have a toddler 0-18 that you either still have to carry or in a stroller that are beginning to crawl places to sit shaded places to sit restaurants and some place to get a coffee if you've got those four things it's kind of the baseline you've met a lot of demands that will get caretakers to socialize and play groups in public space but if you don't have a bathroom you've created that hassle factor right because they're only going to be able to go there for a certain number of time they generally don't invite other people where there's not bathrooms because everybody's schedule is not the same and then it becomes about scheduling so you've got to look at those four ingredients first and take care of or what's in it for them and when you take care of what's in it for the caregivers it trickles down to what's in it for the kids to and then there's a whole other layer of compounding things that go on it caregivers like to be inspired so saturate the place that they live with positive messages about what they can do with their child and the benefit of doing laundry together asking the child to fold or roll up socks so providing the parents with tools and prompts where they live that's contextually relevant and then to see everybody in the community reinforcing that so that it becomes the norm, not the exception so a lot of it's about how do you nurture supporting environments then how do you get the crowd large enough and if the crowd's large enough social and acceptable behavior versus you're the one standing out and doing things possibly different I'm going to go through two more slides and take a couple more questions how do you put this into practice, it takes work and what we've found is a couple of key ingredients always start with the community no matter what the problem is seems obviously but when you start with the community don't go in there and study them study with them study with them many times what we find I live in Tehran, Albania now and I work for the mayor there when we go out and do a survey most people tell us this is the 10th time we've been surveyed by the world bank by UNDP by UNICEF please don't survey us anymore don't ask us what we think right? that's not starting with the community I met this guy Copenhagen earlier this year and he said when I start with the community I go down to the space that I want to impact because he's a community organizer and he says I sit there for a month and I let people ask me what I'm doing here I don't tell people what I'm doing here I let people ask me they start to see me come back every day they see me sitting here for 3 hours they become curious what am I doing and when I'm not going tomorrow and when I'm not going next week they know that I'm here to work with them not for them and they open up in a different way a lot of times we become transactional not transformational a lot of times we're about Facebook not FaceTime and sometimes we just need to see real faces over and over and over again because that's what the social contract is all about so start with the community in a different way don't go in there once don't go in there twice look at how you're going to go in there over a long period of time so that you really understand what you're talking about and understand there focus on the strengths not on the weaknesses we've all got weaknesses we've got to suck at this or suck at that but it goes back to the example if I play music and I want to learn to cook there's somebody in my community who can teach me music or I can share my cooking with that's a great thing you're building off what already exists instead of breaking down the things that don't exist possibly that people can't fix find early champions seems obvious but a lot of times the champions are the usual suspects not the unusual suspects when you map the community when you really understand the community you're going to find out who are the ones that always raise their hands who are the ones that are always going to be on the board who are the ones who are always going to be in leadership positions and it's like musical chairs they just move around find the early champions that are different one of the projects we were involved with in Columbus Ohio the community association was never really in favor of the project and nobody actually understood why we had worked on it for three months had raised those for $150,000 on Thursday night the Thursday morning the community association basically was saying that they were going to Thursday go to the building commission to tell them that they had not approved the project and that the building permit should be made and all and void and we were supposed to start construction on Monday we were up against the community association my buddy John Sarvey and I went to all the people who had attended the meetings with us for three and a half months all the people who had given to the spaghetti dinners and we said this is about to happen and not only did we get a couple hundred signatures from people who wanted to stop it on Monday morning while the construction was supposed to start we had 50 people show up at the building department to say we don't know who those people are just because they're on a board they don't represent us and if you stop us, we'll stop them and vote them out the construction went forward and several months later that community board was voted out don't go to the usual suspects find new suspects in different ways co-creator I don't think I have to say as much about that but the one thing I do want to say about this particularly as design professionals is that sometimes we know what works and what doesn't work and it's how you share that information that allows people to make the best choice for themselves if you're building out of an equipment catalog there's a whole bunch of fancy things that are in there that are expensive that might cost more money it's a trick it's where the manufacturer makes their margin and so the more times they show it in the catalog the more obvious it becomes that's what they want you to buy but it's somebody who's built an awful lot of playgrounds and then after building the playgrounds day after day month after month year after year visiting the playgrounds and watching who's using it and how it's being used I know what equipment generally works or who in which equipment doesn't work and why and just because it costs a lot of money doesn't mean it's the best thing but it's how you co-create that process with people that doesn't throw anybody under the bus decision for themselves and the money that they have by framing their choices they still may choose the shiny nickel and that's okay but it's somebody who's built a lot of playgrounds in the co-creation process I'm gonna try to steer you towards what my experience without you even know you're being guided final things embrace change and flexibility the world is changing faster than it's ever changed before and we have to deal with it what works today is it gonna be the same thing that works tomorrow what works in Istanbul may not be the thing that works in Tehran the thing that works in Tehran may certainly not be the thing that works in Copenhagen we have to be flexible but it doesn't mean we change our principles our principles remain solid how we do it may change think long term we had this we were in a meeting this morning and the first question they ask is about maintenance and if you're a park and wrecks person the first question you should ask about is maintenance because you're responsible for it you're not just responsible for one park you're probably responsible for hundreds of parks and do you want to spend all your time fixing problems? no so as advocates we have to help them solve their problem by talking about and not hiding maintenance costs money maintenance takes time but what are the best decisions that we can make in terms of maintenance up front? then dealing with what we know may be problems down the road but we're happy that we built this thing that can go in another catalog and again if you're just doing research or if you just want a project for your portfolio you're going to think short term but you're short terming the community and that's not what they need they need long term engagement oner is built community and I would say this final one measure individual and collective impact a lot of us are in a dual part purpose we're trying to change hearts and minds and it goes back to the first question that was answered what are policy makers going to want to know the data that they may need the cost factors versus a community member on the ground and what they may need to be inspired to be lifted up to have a light shine on them to told them somebody to tell them that they value what they did to say please and to say thank you that's something totally different frankly in terms of being flexible and nimble we as people gotta do both the age of specialization is almost over and as young people going out to take your mark to start your careers to reinvigorate your careers find the places that you can have individual and ample ripples of collective impact and let that measure up over time I think with that I'll say thank you and good night and really thank Studio X Super Pool and all the good people I'm not lying when I say I've literally been all over the world it's not a joke that I've built over 17,000 playdones I read the briefing materials before I showed up here yesterday afternoon and it's all true but it's even better than I do there are more things happening here in Istanbul there are more people who are starting to line up around putting kids first and not just putting them first but giving them what's best that maybe any other place that I've been to certainly in the last year that's an exciting thing to be a part of it surprised me but it also delighted me because I think I now have an obligation responsibility to track your progress and then not only track your progress make sure other people and other parts of the world know about the good people and frankly the great work that's happening now and the great work that's going to continue to happen because of people who are gathered around rooms like this on Thursday nights so humbly thank you very very much


If you're here to go watch me work, and even if you're not here to watch me work, Carol has told us that today is National Cookie Day, so she wanted some cookies. So we're going to pass it to the crowd. Don't feel obligated to not work. This is from Nash. Don't feel obligated out of cookies, but if you want a cookie, I know Jerry's here to watch you. We're going to start here. Are you here to watch me? Can you see why I started here with Jerry today? So we just passed him around, and you know, there are a lot of things that help you get your work done. Sugar is one of the great, you know, not so great secrets. Caffeine, every five, ten, probably should be caffeine, so caffeine is one of them. Oh, that's so much better. Chris Barlow's here. You still work at the back door, you know, uptown, on the west side? I keep saying I'm coming. I'm never going to go, but I just like to know that you're there. It makes me feel like someone else who's like, yeah. What if the geniuses know what they're doing? You're not a genius though, you're just a cool dude who walks the floor and goes, hi, can I help you with your... I don't know. Did it pay you? Did it pay you? I don't know. Probably got us a new timer, so we'll be like... We'll be like, what time? So does anybody not know... Anybody not know how Watch Me Work works is so... Is anybody, is anybody like, confused? Like, what is this?   You know who? What's your name? Elliot. Elliot, hey Elliot, welcome to Watch Me Work. So for the people who are like, Elliot or whoever, you want a refresher because it's really hard what we do here. No, I'm kidding. I'm totally kidding. So Watch Me Work, I know, you know it's easy. It's the easiest hour of your day, and hopefully the most pleasant. What we do is Watch Me Work is the title of the show. It's a show, it's a play, as evidenced by the bells of the snake. And it's also... This is good, this is better. This is pastoral. I know that Carol had a castle. They went all the way up to me. Oh, give them back to Chris Barlow. Chris, are you eating another cookie? No? Hey, Chris does. I know, I know that. There you go. It's national after all. So what we do, what we do is, it's called Watch Me Work, right? It's a play, it's also a creativity workshop. And it's free. It's like Shakespeare's apart. Except it's not Shakespeare and it's not apart, but that's okay. So what we do is Watch Me Work is about you. So the me and the title is you, right? So what we do is we spend 20 minutes working on our own individual work, right? Our own thing. And then we talk about our creative process for the remainder of the time. So that's when you, if you'd like, would ask me questions about your creative process, okay? And I would do my best to do some of the plausible answers. Okay? So basically if you have... These people, they're very good to work with. We have questions about like, how do I start something? How do I go when I'm finished? How do I keep going? Et cetera, et cetera, right? What do I do with a certain chapter? It can be anything you're working on. It doesn't have to be a play. It doesn't have to be a novel. It doesn't have to be a piece of writing. It can be anything you're working on. It can be speech or dissertation or whatever, okay? And so that's the first clue. Everybody, like... And I'm just going to tell us when... So some people are watching on HowlRound and I'm just going to tell us how them how to tweet in as they sometimes do. If you are watching at home and you have questions, you can tweet at us at adswatchfeworksle and be sure to hashtag HowlRound which is H-O-W-L-R-O-U-N-D. That's it. We'll answer questions in real time. Anything else that I'm remembering to forget? They're having like a party now. But it's really good. Oftentimes when there's like a lot of distraction... Okay, here we go. Let's try this again. Downstairs who are doing their work encouraged you. Forward. Does anybody have any questions and questions? Any answers? Any problems? This is the part where you... in case you're wondering, Elliot. The dialogue part of the book. This is the dialogue part. We did the action and now we're doing the dialogue. I know it works out very nicely. I like my cuticle. I wrote some real good stuff. Dynamite stuff. But I see now it doesn't work. I'm just having a hard time just tearing it up. Sorry, fill up with some dynamite stuff. Some really great stuff. But it doesn't work in the play. And you're going to tear it up? Well, I can't use it. In this play? In this play. Oh, but it could be it for something. So you don't have to tear it up? No, I'm not going to tear it up. I might have to put it to the side. I believe it doesn't work. But the rest of the idea is being involved. For the first time I sat down with it. Sure, sure, sure, sure. But I'm just having a hard time doing it. Putting it to the side. Right, right, right. So you've written some... People have been working on One Piece. And recently you've written some awesome stuff. You feel that it doesn't fit in the thing you're writing. And now you're having a hard time putting it off to the side.  It could work somewhere else. But I just realized it doesn't work here. And I'm kind of stuck because I put a lot of energy into it. So now it's like I have to reboot the whole thing running again. Right, right, right. It's just that one part. And I'm trying to keep it. I'm trying to work around it. And I'm trying to fix this part. And make that part work to death. But it's just not working. It's just hard. It's very hard. So what is so... It's like you're in a like a thicket. I mean people... We're talking, people are laughing. I think because we've all been there. So you've written something really amazing.  And now it's almost like more painful than pleasurable interaction. So now what do you do? What do you do? And it's kind of... You're feeling kind of... It's gnarly. Or you're feeling like it's...  That's what I'm doing this. Because that's what I feel like. I'm like... Like that, right? And it's kind of physically uncomfortable. And what do you... What do you do? What do you... What helps? What we're trying to make it work. But it's not working. So what I'm going to do... Right. Is to take it out. Take it out. Right. And where are you going to put it, actually? Well, I could hold it for something else. You could. You could. But I know it doesn't work with what I have. Right. I was just saying it's just hard, you know, taking it out. Right. Right, right, right, right, right, right. So I'm trying to think of an analogy. Because a lot of times, you know, it's like... It's like... Well, I don't see a person... Have you ever been in a relationship that doesn't work? Yeah, maybe. We've been like... I don't care if we've been married for 5-9 years or something. You're amazing. But the rest of us. I mean, you know, you get in a relationship and it doesn't work. You know, it's good and it's lovely, but it doesn't work out. And you think, darn it, I put all that energy into this relationship. Right. And then turn out what I wanted. And now I do. And you feel like you've got me maybe ready. You can think like this... These pages that you wrote. Maybe not you to a level where you could see the next thing you're supposed to write. Do you see what I mean? So it's not wasted. So when I'm asking where you're going to put it, I think you might get a nice folder. Not expensive, but just a nice color that you like, you know? And like, if you like red, you look good in green, you can get green folder, you know what I mean? And write in nice letters the title of what this thing is. Right.  And so this is going to be for that. And put it in a place of honor. Because it's a great thing that you wrote. It just doesn't fit in what you're working on. You know what I mean? So I think the way you feel about this piece that you've written is very, very important. If you see it as, you know what? You know what? You had to write that to be ready to write the next thing that's going to fit. You say, oh, because we've got to think of it that way. You know what I mean? And it's just like training. Like, you know, you've got to, I don't know, you've got to run that race to be able to run the next one. You know what I mean? You've got to do the prep work to be able to do that. And that's all that it is. So it's not all in vain, you know? It's just that kind of, the thing that you had to write in order to see, to get to the top of the mountain to see. It's like Moses or something like that. I'm just trying to think. I don't want to be wrong on Moses. But didn't Moses, like, he went to a certain level and they had to, he didn't make it all the way? Anyway, I don't want to get it wrong. But you know what I'm talking about, right? But what's really great is that a couple of weeks ago, if I remember correctly, you were like, do I wait until I have inspiration? Or to, you know, write? And I was like, just go for it. Lead into it, and you lead into it. And that's what you get, right? You're going something great. That's like, good for you. I'm patting myself. I'm patting you on the back by patents.  And I'm very proud of you. So that's a really great thing that you did. So just put it in a place of honor, you know? And say, yeah. Because that's what, right? That's what creative people do.  And now, like, now you can look around and say, okay, okay, you can call the piece by its name. Okay, work that I'm working on. As you can see, I'm ready to work. It's hard. I'm here. I'm here. You look handsome. You look very handsome the day that you came. You're going to tie it on. You're happy. So there you go. That's important, though, too, you know? Right? There you go. Yeah, thank you. Thanks for coming back. It was good to see you. Chris Barlow. You doing okay? Just saying hi. Yeah, so I do a lot of brain drain. Right. So just pre-writing. Pre-writing, right? I've been told at one point, like, you don't want to go back and read over your writing. Like, if it's just brain drain. Okay. So at what point do you maybe go back over it and say, I want to develop this or without judgment, I guess? Or, I mean, what's that fine line to go back over something that you maybe don't expect to go back over? Because you say, oh, it's just free flow. Right, right, right, right. That's a really good question. What's your name? Kizmet. Kizmet? Yes. K-I-S? Yes. That's a great question. Oh, that's such a pretty question. Thank you. That's my real name, too. What was your name? Even if it was. This is a Judy Garland call. Judy Garland is Judy Garland. She is not Francisco. Who does not exist. She's Judy Garland. So whatever you say you are, we take you. Awesome. Okay. So Kizmet, she says, so she does pre-writing. And like, we all do, right?  I mean. But if you're writing in order to find something, right? So it's a tricky thing because you have to pre-write as if you're not going to look back at it. So you can be truly free. And then at some point, because you want to look at what you've been mining, you have to look back. So I would say set yourself a time or a space. So I would say if you have like a notebook, I'm going to fill this notebook with pre-writing and then when I'm done, I'm going to look back. Like that. Or I'm going to pre-write for two weeks and then I'm going to look back. Like that. And when you want to pre-write for two weeks you want to do it every day for a certain amount of time, you know, okay? So have it be a practice. And then after two weeks I will look back. After I finish this notebook, I will look back on it. Okay? So it's part of your plan so that your subconscious knows two things. One, it knows, I'm going to just pre-write. Just go, go, go, go, go, go, go. And way, way back your organizational mind is going in two weeks we're going to look at this. But not yet. In two weeks we're going to look at this. So your mind can help you, right? Yeah. You need to be writing well right now. That person, that voice is not in the front of your mind. She's in the way of that kind of mind. Right? Yes. Yeah. And when you go through you can take a different color of pen or I don't know if you're actually writing or typing or whatever. You can start circling stuff. You can pre-write on a computer, right? You can print it out and then just circle passages that are of interest. You can just sing to adhere to a common thing. You know? You know? And that's also a good thing. Then you can pre-write at any time. You can pre-write here in the beginning of a project or like Phillip, maybe you can pre-write, you know? Just like set a timer and just, I'm going to just write. I'm just, I don't know if you can write with a computer or my hand. I'm just going to write for 20 minutes. Just pre-write. Just whatever comes out of my head on this topic. I'm just seeing if there's anything there like that. You can do it in the middle of a project. You're awesome. Something I've found is, because I write linearly, in terms, like I don't jump around scenes, the ends of my plans are always better than the beginnings because I will have finally figured out the logic and what's happening by the time it's over. And I get really big block on then going back and transferring the project at the end to the beginning part and like sort of taking the strongest part and then making the rest of the play cohere to that. Right. I always get stuck on that process. Yeah. Wow. What is it? Did everybody hear Phillip? So he writes, he writes, he says he writes literally. So he writes, he starts at the beginning. He doesn't jump around in the scene. So he's writing a play right now. So he starts at the beginning. He writes through and what he discovers is by the time he gets to the end of his play, congratulations, it's a lot better than when he started because he's figured out the logic of the play. The story, the logic, what is of it, right? Okay. But which is great.  So he feels a block. What actually does it feel like? I'm curious. Can you like... It's just overwhelming. I don't know what to do. Like, oh, you're in the water. Like that? Yeah, yeah. Like, yes. And then I always, I feel like I end up with this feeling of like, oh, by the end of the play, people will like the feel of it. Right, right, right. So I don't have to rewrite. Right. But I know that I do. But I know that I do. Or I should. So does it feel like you're like drowning?  Does it feel like, what does it feel like? Like, scale the mountain, maybe. Like, scale it up so you're climbing. Like a sheer cliff face. Like rock climbing. And it's like, oh, like, I don't know how to get my pick in for the first, like, step up. You're right. Oh, your pick. I don't have any more. I know. But I've seen pictures on the Patability website. They're all like, ah! I'm like, yeah! That's me in my other life. So they have, it's the answer. You could fall. Because it's a long way down. Right. So there's a little bit of panic. I might ruin the whole thing. You might ruin the whole thing. Aha. Aha. Okay. So maybe what's good are a couple of affirmations. One, I got this. Right? If you've written all the way to the end and you say by the time we get to the end that the logic of the play has revealed itself to you then you could say with all certainty, I got this. Okay? So you could say, I got this. And of all you have to do, I got this. My play is about, you could say, just take yourself out of the swirl of the play because that is a liquid. It's like undertoe or the, ah! You know, it's all very, your heart, right? So take yourself out of that and just look at it as if somebody else moved it. I got this. My play, this is the story of my play. It's revealed itself to you by the end. My story is about whatever, this character and this character and blah blah blah blah and this happens and this happens and in the end this happens. So I know that you can take a step out of it. Do you understand what I'm saying? So you're not in the water trying to swim you're outside of the water looking into the body of water. Okay? That's the rewriting process. You take yourself out of it and look at it objectively as if somebody else voted and then you give that some notes. Okay? Also for us. This is what we're going to do. You just extract, take a step back. Look at it. Your main mantra is, I got this. Okay? And all you do is do a little synopsis of your last say to remind yourself of the story. If you feel like you're lost, repeat the story. This is the story about this. And I got this. I know I got this. And you feel overwhelmed, take a step back from it. If you're typing and writing and you feel overwhelmed, go for a walk and just picture yourself. I got this. I got this. I know this story. You see what I'm saying? So you don't have that feeling like I can't breathe and I want to quit and I don't want to do this because it's going to put me in physical danger. Right? Because that's what it feels like. It feels like there's physical danger. Right? Is that helpful? Is that helpful? And they make a chart. See my scene. Today I'll do the first page. Today I'll just write up the synopsis. And then I'll walk around with it in my hand. I got this. I got this. It's a play about this and this and this and this and this. I got this. You see what I mean? It might be helpful to give it a try. Is that okay? Can you hear that? Can anybody repeat a kind of paraphrase? It's not like what you said. A paraphrase and correct me if I'm wrong. So Anila says that she's writing a play and she has a hard time writing the play if she doesn't see it in her mind's eye first. And so do we work on hearing the play or seeing the play or... So you're sure it's a play? Okay. So what... Have you seen any of the play? Right. See him or her? See them? Can you see them? Walk it around? Great. So you have a little window, right? It's like you're on a construction site. You can look in the home. You can see a little tiny bit. Cool. Okay, great.  Can you expand a whole more of it? Is it like great? And it might look like a film but since you know it's a play, it's a play. Right? Okay. So now you can run it. So now it's expanded. You can see more of the world. You can run it forwards. Can you see more of it? But keep going. Just pretend. Pretend you know something that happens next. Right? Okay. And then you can run it kind of backwards. What happened before that moment? Oh, I don't know. You see, you can kind of pretend, right? So we're pretending. That's what we're doing. Right? You can take that focus on the one moment that you can see and then try to see a little more each time. And then... Great. Can you hear her say anything? Is that her name? Is her name nameless? Great. It could be. Look. Ask her. She can have a conversation with you. She's doing two things. You're far away, right? Looking and expanding and trying to see more of the scenes. You're doing that. And then you get close to her like this. If she were a real person. You go, what's your name? I need to know who you are. And you need to know why you're here. And what's the story? And then you write down what she said. Like, hey, what's your story? And she'll say, I don't want to talk to you. You'll say, yes, you do. But you're here. Right? Sounds weird. Don't worry. You're not crazy. People who hear voices, that's a different thing. That's like people who have a mental problem. But we're artists. I mean, this is different. I'm not a health professional, but kind of. You know what I'm saying? So you can talk to her. What she says is dialogue. It might not all fit in your play. You can say, hey, what's your story? Hey, I see you in a scene doing, where were you before that scene? Where are you going? What do you want? What do you want more than anything?  What does he want? You know, and you can practice on characters that somebody else has already written. Like Hamlet. Hamlet, what do you want?  My dad's a multiple man. I got to deal with him. Okay, Hamlet. You see what I'm saying? And the dialogue starts. And that dialogue is at least part of what your character's going to say. You see, so talk to her as if she were a real person. And you can do this also, if we're totally like, confused. If we're halfway there, like you, right? If we're doing free writing, you might find a character. Oh wow, I really like that character. Talk to her. Talk to Hamlet. Talk to that person. What's your name? Tell me more about you. You see their name on the page. I want to know more about you. And they'll start, a conversation will start in your head.  It's how artists work. Somebody? We've lost it. We found it. Oh, there it is. This person says, this year I practiced a 365 line poem. She learned of your 365 book today, about a third of the year. She wants to dramatize it. What does she do with the four days she missed the line? Oh, what does she do with the four days she missed the line? So someone wrote a 365 line play. Poem. Poem, sorry. Poem. And she wants to dramatize it. Yay! Because she's out there. Yes. Actually, Alyssa. Alyssa, and you want to dramatize it. Congratulations, first of all, for writing the long poem. You want to dramatize it. So I would say, start reading it aloud if you haven't started already, right? So we want to dramatize something we want to hear what it sounds like in the live space. So you can start reading it out loud. Maybe identify some characters if they're a character. Maybe it's a solo show. You never know. But you're going to get a feel of it by reading it out loud. And maybe even going to open mics. They still open mics.  You can go or you can read new works and start reading it out loud and see if drama appears or originate. I don't know what it is that you've written about, but you can see if something kind of bubbles up in that. But definitely start reading it out loud. What do you do with the four days you missed? End. Who cares?  I mean, you can say, I missed the day. That's dramatic in itself. You can go, shit, these are the four days I missed. What was happening on those four days? I can't even talk to them soon. But even the language was, hey, it was rough. It must have been, you must have been busy. So there you go. I was really busy today. That's okay.  You know, I have to, you know, it's great that you did what you did. But definitely start reading it out loud. Go to some poetry, jams, slams. You know, identify characters. If you have some friends or actors, get some of them to read it with you. I think that could be fun. It's not that fun. Come to watch your work if you can. If you live nearby. Oh, congratulations. Give yourself a pat on the back. Yeah. Do a dance.  Anybody else? I'd like to see Jesus have the ancient. Oh, yeah. Which was wonderful. Right. And it made me come. But when I got home, like, oh my God, my play in comparison is so much dramatic. Oh, right. When you compare your work to somebody else and somebody else is busy. Right? Right.  Right. Sometimes it's a little resistance. Right, right, right. Yeah, Carol says, it's hard sometimes when you go to see somebody else's work.   You get back to your own work. And you go, my work is as good as this. Or it's not here as good as this yet. Or darn darn. Damn. What do I do? It's hard. And no matter what you do, just that you can walk outside thinking, I'm trying. I'm looking good. And then you see somebody home. You know, so there's a little bit of this sort of like open to the world and you have a blinder's eye. And you have your mantra to say, like, I'm doing my work. You know what I mean? Otherwise, no, we never get anything done. I know that probably, I don't know, thinking, like, if we look, because she's from, oh, it's even not that good. You know? Or I'm not as good as someone else. You know? It's tricky. It's very tricky because you want to support other people's work. You want to have their work inspire you.  And I had a friend once who said she was writing something she wants to use, but not Tolstoy. And I was like, yeah. Wow, that's heavy. You know what I mean? I'm not Tolstoy. I'm like, yeah. Yeah, well, that's a big, you know? So you just have to... I guess it's dramatic because you have to play or play. Well, sure. How dramatic does a play have to be? Yeah. Well, listen. No, no. I mean, there are plenty of... There are plenty of... You know theater well enough to go. There are still many different styles of plays. Lots of plays are like, everything is in Lidia. You know what I'm saying? Oh, I used to play there. I mean, every place sure is in Lidia. I used to be there once. I used to be like this. But actually, no. It can be very beautiful. I mean, I'm a fan of... Let's talk Richard Nelson. Can anybody know Richard Nelson's work? It's very like, you know, it's very kind of low-key and intense but on a very different level. A very different intensity. It's a very different kind of intensity. So, all drama doesn't have to be, you know, agonist on something, right? Yeah, there's... There's range. You don't have to worry about that.  Sometimes it's hard. Youngers grow. How's your writing going? It's okay. Okay? How was the year? The year? Yeah. Like, did you get some writing done that you wanted to get re... Good. I was just checking it, you know. It wasn't? No. It's hard to, like, focus on anything good and bad time, you know. It's hard to focus on anything good and bad time. Right. So, how do you do it? Not well sometimes. Right. Right. Exactly. It's not well sometimes. But you might know that that's what's going to pull you here. You know? Yeah. And knowing that there are places where you can go and be like, hey, I gotta... I gotta shake the world that's happening.  Yeah. And I have to continue. You know? It's very difficult. There's a lot of times when I think there what's good about this is that it really tests our mental. You know, our... our resolve. To be the kind of person that we know that we need to be.  Wondering. Wondering. I'll take, I'll take, like, acceptable. Okay. There's a lot to talk about in the end. You get it in the end of your day, too.  You know? It's like a record.   And you really have to remember how hard you get from the dead. And that's what's going to set your lead. We have to share, we share. And the way to share, we promise.   Because there's been bombs dropping for years. We've got to kind of get to it. But at the same time, our feelings are valid, and it's hard. And things we've worked for, and our parents have worked for, you know, seem to be tossed to the wayside. So we do have to develop other skills that we didn't think we had. Thinking of it as a, really, thinking of it as like, you know, you're on the hero's journey. You know, or the hero's journey, right? Hey, this is it, right? This is it. This is like, you know, think of it as a movie, it's an action adventure movie, and they're like, what? And they're like, who could be here? You know? Right? Shit! I don't want to, I'm gonna drink! You're not drinking like that. What are you saying?   That's the harder part, actually. To still be loving and kind. But it doesn't seem to matter anymore. And when people seem to be getting a lot and being asked holes about it, you're like, well, why do I have to do that? What do I do mean to be an evil person? Because they seem to be doing well. And that's the moment when you go wake up, you know? Right? And you do things like, you come here, and you hang out, and you go, yeah, let's all take another step together in the right direction. You know? Let's eat a cookie. Let's have a cookie. Let's just continue, you know? Let's be discerning, you know? Let's not, you know, I know. You turn to me and you're like, here's a key card. You can keep the cookie. Okay. But anyway, so yeah, you gotta continue to do your work, right? You gotta continue to do your work. Because it matters. I wrote what I did earlier this year. I'm gonna talk about my work, and last, watch me look at it later. So what I did earlier this year is there was the inauguration.  You know, I'm gonna slap somebody. No, I don't think I'll slap somebody. I think I'll write a play a day. This is my obsessive thing. I write a play a day for the first 100 days. Because I didn't know what else to do.  It was really hard. And at the end, which was really cool, the 30th of April, and then fortunately, the 102nd day, I think it was the 100th day, it was the 29th day, but anyway, the 102nd day was the 1st of May. So I got to write a play called May Day, which was really cool. And that was the last play I wrote in a cycle. And I realized that stars, what we do now, could like to make other people in the future. Right? The stars are what lights up the darkness, right? So what we do now, what you do now, is probably because I've known this for a long time. Can light the way for people to know the future. Or not. Anybody have a question? Do you have a question? Do you know? Yeah. How do you, or what advice do you have on getting past the block of sharing your work? Right. Because I complete things and I do it for my own enjoyment. I'll do it because I just want to do it. And then I never share it. Wow. Great. That's a great question, Kismet. So Kismet says, what do you do if you want to get beyond the block of sharing your work? So Kismet writes a lot, she finishes her work, and then you know you're slow to share it. Start small. So share it with a few people. Maybe share it with one person. Choose that these people are mindful, okay? You want people who love you and who love you more than they want to see their notes in your work. Yeah. Right? So they want to see you succeed. They don't want to see you adopt their ideas. Kismet. So they'll go, yeah, go, girl, go. You want cheerleaders. You're running the marathon. You want cheerleaders.  Okay? Start small. Start with a couple of people. If it's a play, you can get a couple of friends around. Or get one friend. Right? To read it with you, baby. Or you can sit in your apartment and read it to one person. Maybe one scene. You see what I'm saying? You can branch out that way. Take small steps. Baby steps. Baby steps, right? That's how we all work. I mean, I don't know. I don't know, but I think we all start walking with baby steps. I mean, by your skin. Like five seconds. Six o'clock? Two minutes to watch the movie. January 29th. It seems like a long way away. But they're going to have under the radar that's going to be in the building until then. So we're going to have the fabulous under the radar. First one here. And we'll be back on January 29th. Check the website. Yes, check the website and we'll send out the email. If you want to add your name to the email, add your name to the email list. This is great. It's been a difficult year, but we're we're making it. We're making it. Ha ha. Thanks for coming even behind the camera. I'm going to appear again. You guys are great.


Patriot Prime Reviews is a channel for adult collectors and may not be suitable for children under 13 years of age. Viewer discretion is advised. This is my channel out tremendously and help me reach my goal of 10,000 subscribers by TFCon in October. Now, on to the decals. And the set we're looking at in this video is for the Amazon Exclusive Paradon Medics Ratchet and Lifeline. This decal set includes three decal sheets on foil backing and one on vinyl. I'm going to break this video up into two parts. Part one will be for Ratchet and part two for Lifeline. So now, without further ado, let's take a look at Lifeline both before and after Toy Hacks decals. And welcome to Patriot Prime Reviews. In Robot Mode, straight out of the packaging, Lifeline looks great. Much better than RC. I wish Hasbro spent the time painting RC, a mainline character, as they did Lifeline here. Now taking a closer look at Lifeline, absolutely love the paint job on the face. She looks great. Blue eyes, pink lipstick, very feminine, opposed to RC's alien zombie look. She's got a red Autobot logo right there on the chest. And really, that's about it for paint applications. But still, a very good looking figure in Robot Mode. And there's one final look at Lifeline in Robot Mode before and after. Toy Hacks gives Lifeline quite a few decals to help enhance her Robot Mode. Taking a closer look at the figure, you'll see she gets new decals right here on her helmet. With these stripes, a new green triangle right there in the middle of her forehead. She gets a new Autobot logo that really stands out from her old one. New blue decals right there and there. A little bit of white stripes right there that actually is from Vehicle Mode. A new decal right there on her stomach. New decals right there that cover over the pins in her shoulders. A new decal right there on her waist. New green decals on her thighs. And down here above her boots, if you will. And new decals right there on her feet. Her arms also get decals. You've got a blue decal there on her elbow. And blue and yellow decals on her forearms. So there you go, guys. Lifeline in Robot Mode after. In Vehicle Mode, straight out of the packaging, Lifeline doesn't look too bad. She's got minimal paint applications, but what she has does work. You've got white here on the front, there on the back. You've got a red Autobot logo right there. Translucent windshield, gray seats, gray right there on the sides. And that is about it. So very plain looking Vehicle Mode, so I really can't wait to see what Toy Hacks can do for. So there you have one final look at Lifeline in Vehicle Mode before. And after. Lifeline's Vehicle Mode gets a little shot in the arm thanks to Toy Hacks. See what I did there? The first decals you're probably noticing are these new vent decals on the hood. I absolutely love those. I like the 3D effect it gives the vehicle. That looks really cool. She also gets new decals here on the front for headlights, new accents right there along the entire bottom of both sides of the vehicle. She gets new white pinstriping from the front all the way to the back on both sides along with these new blue highlights above the wheels. She also gets a new windshield decal right there and lots of decals here for the cockpit. She gets gold right there, blue decals right above the seats, and a blue decal right there.   Now, keep in mind these decals are not shown at all on the sticker map on toyhacks.com. So if you want to know where they go, right there. So there you have one final look at Lifeline in Vehicle Mode after. I really like what Toy Hacks was able to do for Lifeline. All the little accents in Robot Mode really make her stand out a lot more, especially with all those green highlights. And I love what they did for her Vehicle Mode. Vehicle Mode really pops, especially those hood vents. Now Lifeline here is part two of my Toy Hacks Paradon Medic decal set. If you missed my ratchet review, please check that out in the link above. Now, if you enjoyed the video, don't forget to like it. Don't forget to subscribe and don't forget to click that bell icon to get notified when I upload new reviews. Once again, this is Patriot Prime signing out. Hoorah!