 It was Zelda's back in the day We're on Zelda's couch, and we are streaming And what that actually means to you in a little bit of the context of where you're coming from Sure. You know, I started Jumper after I moved to the Netherlands about six years, six months ago And the name came, I mean, I guess, you know, one way of taking it is that I sort of jumped on at this point And I'm looking back in some ways at the American scene But actually it came from having moved around through the arts in a lot of different roles You know, I was an actor, a little bit director, a little bit producer I ran a music festival, I was managing director of a contemporary performing arts organization I worked at, had little stints at a couple of film festivals And eventually became a funder And in some ways I, you know, it was the jumping around into those different roles And different disciplines and different types of organizations, big and small And wearing those many hats that I was always sort of an outsider looking in And I think it's that perspective that I'm trying to bring into the vlog Of having seen the arts scene from many different points of view And really having, I think, both compassion and sympathy for the various, you know, sort of points of entry there And the types of people and places that are part of this system But also I think in some ways being just enough on the outside of each of them That I can look at it maybe and ask, you know, why do we do it this way? Does this really work? Great, great I guess I can go to this then Underblog, you describe what jumper is And you say, this may take a while Jumper seeks to delve into the values, ideologies, politics and principles That underpin current practices and purposes in the arts And to bring forward, for consideration, alternative, at times, perhaps, irrational perspectives From history we've forgotten or never learned From other fields and industries and from having been an outsider looking in for much of my career I was wondering if you could talk about moving forward into the future How technology now comes into play with new theater in America And whether or not that we should be embracing the technology like we are now Is convenient or is this something that people feel is a hindrance that we find? No, I think, well, I was at an organization called On the Boards Before I came to the Mellon Foundation And the artistic director there, Lange Polinsky, somebody who I have the deepest respect for Once handed me a book called Live-ness And basically said, you know, this is a book where they ask the question What is Live-ness? And challenged me as the managing director of that organization To think differently about it, which he was doing in his work They just started something called OTB-TV They're capturing a lot of their performances And you can download them, you can stream them And they're doing it, as I understand it, it's sort of an experiment To ask, you know, we don't know what will happen We don't know if people will watch this performance on film And have a deeper connection with the live performance Not want to go to the live performance, want to go to the live performance Enjoy the experience or not But somebody's got to go out there and try this, you know When I was at Mellon, we supported the Metropolitan Opera broadcast early on And, you know, I saw many of those And I was struck by the fact that somebody who's not an opera person Which I would not characterize myself as Would go to the, would watch those films And feel deeply compelled by what I was seeing In part because it was more theatrical, it was more intimate I could make a connection with the piece And it actually made the live performance More meaningful to me, right? So what, I think what we can say is that It's worth, I think, experimenting with this technology One, I don't think we should be afraid of it I'm not a believer that by recording performance We're going to ruin the potential and possibility Of live performance to work I think the two can work together So from that standpoint, I think technology As it's used to record performances Perhaps substituting for live performance I think is great And then on the flip side, you know, you bring up Blogging and tweeting and Facebook and all these I think that, I think, you know The arts are inherently social And we've never had more tools at our disposal To connect people to people and people to artists And there's a lot of potential there I think to create connections That can then lead to deeper participation Deeper meaning, you know There's such a mentality in general Right? And so And that's in part because You know, there are these In any given community, there are these You know who the key funders are You know who the wealthiest individuals are You know that there's this demographic That we, you know, subscribe or don't even type You know, and everyone, to some degree Feels as though they're competing To get the attention of, you know Those groups of people And I think that then begins to translate Other areas of the organizations And I think you see a sort of rival-risk stance That I would really say that That's not helpful and not necessary But you know, I think there's more to be accomplished And done if we work together To better allocate resources And you're sort of humbling Sort of saying, you know What can my organization do On what means can you do it And what should, what part of this Can I get to your organization to do it And you know, and how much do you need To do what you want to do And I think that we have so much talent In the system that there's no reason Not to think that all of these really talented people Who want to be here, making clear Shouldn't be able to kind of Create something great, you know Yes, absolutely It was so very nice of you Yeah, thanks so much If I went over time, I'm sorry Oh, it's fine, you did Okay, thanks