 Welcome, everyone, to the third communications forum event of the fall and the final one of the fall. We're especially happy to be able to serve as the sort of introduction or inauguration to the Futures of Entertainment Conference, which officially takes place tomorrow. But all of the most important and intelligent things will be said today on this panel. I'm David Thorburn, the director of the MIT Communications Forum, and it's my happy task to introduce your moderator, who will take care of all of the other formalities. Mauricio Mota is the co-founder and chief storytelling officer of the Alchemist's Transmedia Storytelling Company, a global think tank that develops, produces, and manages stories across multiple media platforms for entertainment companies, corporate brands, and nonprofit institutions. The company has offices in Los Angeles and Rio de Janeiro. Mota has led the Alchemist's work for clients from Coca-Cola, TV Globo, and L. And it's, he's proud to note, and I'm happy to indicate to you that in 2010, his company was named by a global jury, one of the hundred companies that will shape the future of entertainment. Mauricio. Hello, can you hear me? OK, great. So let's start talking about the communication forum tonight, Cities in the Future of Entertainment. And it's an honor to be here, because for those of you who know the journey that started in 2007, there is a lot going on here now. I will try not to cry. So let's move on. So what to expect today? Those are the topics. I'm trying to share with you. So an overview about cities and the futures of entertainment, the concept of global creative mega cities. We're going to talk about the center for the futures of entertainment. And then we're going to have Ernie and then Sergio. And then we're going to have Pirmesh having to keep the ball. Hi. And then we're going to open for questions and answers that some of the questions I will make, but we're going to open to the audience too. And then we're going to close it, OK? So today, new entertainment production cultures are arising around key cities like Mumbai and Rio de Janeiro. What do these changes mean for the international flow of media content? So I'm going to share now with you some questions, some challenges, some issues that we're going to face here with the panelists. And how does the nature of these cities help shape the entertainment industry they are forcering? At the same time, new means of media production and circulation allow people to produce content from suburban or rural areas. That's something that's going to be, I think, that all the three panelists are going to be able to bring their experiences on how the fringe is shaping culture, not only the big center of the cities where wealthy people live, but what's the fringe teaching us about culture? How do these trends coexist? And what does it mean for the futures of entertainment? Yeah, so that's going to be the main question of everything we're going to phrase here. But last but not least, how can the creative cities develop tools and solutions that can not only generate wealth, but also make really deep and powerful social changes? Because we can only talk about wealth or developing industries or making innovative startups, but also how we can make social change, OK? So we're going to make a quick introduction. They have much bigger bios, but we made a smaller version. So on the right side of the ring, we have Ernie Wilson from USC, Dean of the Annenberg School for Communication, and Walter H. Annenberg Chair in Communications at USC, University of Southern California. For more than two decades, his research on innovation information and communication technologies has taken him across Asia, including China, India, Japan, and Vietnam. He's author of the Information Revolution in Developing Countries from MIT Press. He served on the board of the Corporation for Public Broadcasting from 2000 to 2010, the last year as chairman. So Ernie, thank you for being here. In the middle, we have Sergio Saletão from Rio Film and also representing the seat of Rio. The mayor, Eduardo Pais, was coming, but he had very important matters to manage in the city. So Sergio was already coming with him, but now he is Rio Film and the mayor on the same person. So Sergio Saletão is the president of Rio Film, Unacquity and Print and Advertising Investment Company. And the point is, here is important, it's distribution. So Rio Film is a public distribution company that is owned by the city of Rio, devoted to fostering the development of Rio de Janeiro's audiovisual industry. Previously, he was a director at Brazil's National Film Agency, Uncini, Secretary for Culture Policies at the Ministry of Culture and worked as a film director, journalist, and advisor to media and entertainment companies. Sergio, thank you for being here. So now talking about Parmesh Shahani, is that right? OK. He told me that Mota in India means fat. So I'm learning about the language, so I'm trying to avoid misunderstandings. So Parmesh works on innovation and culture at India-based Godraj Industries and also serves as the editor-at-large for Verve, India's leading fashion and luxury magazine. His author of the 2008 book, Gay Bombay, Globalization, Love and Belonging in Contemporary India, a book based on his thesis work at MIT, where he earned a master's degree in comparative media studies. Prior to joining MIT, Parmesh founded FreshLimeSoda.com, India's first online youth expression community. Thank you, Parmesh, for being here. Can we turn this on, please? Hello? OK. It's on? OK. So let's start talking about the global creative mega-city. So I got this quote from when cities ruled the world. In this century, it will be the city in other states that becomes this nexus of economic and political power. Already, the world's most important cities generate their own wealth and shape national politics as much as the reverse. So that's just a kickoff for what we're going to bring today, and the way we built this, when I was talking to share with David, with Harry and Sam Ford at FOE, we're bringing something that's going to be, that's the first time it's shown outside Brazil. So it's a huge product we are launching here that involves some of the panelists. So we're going to talk now about the Center for the Futures of Entertainment that will somehow be a threat of the conversation we're going to have after all the panelists start a conversation. So what's the idea of the Center? It's a global thing to think led by the city of Rio, where private sector, academia, and public sector, we work together to foster innovation and experimentation for development and social change through the creative economy and entertainment industries. So that's the challenge. Since we're talking about creative cities, how do we get the most important stakeholders, private sector, public sector, and academia to change countries and cities through creative economy and entertainment industries? And the honor of being here after starting at MIT in 2007 on FOE 2, those are the companies and institutions involved in this project. So it's good that we're having Sergio and Ernie here, because that's an effort that mixes three different cities. We're talking about the start that was here in Cambridge and Boston. We're talking about Rio, and we're talking about LA. So those are the institutions involved. So we're talking about the Annenberg Innovation Lab through University of Southern California, the Futures of Entertainment. We have Rio Film from Sergio representing the city of Rio who's going to be the lead in the city of Rio representing the states, which is really good that we are having not only the city, but the state too. We have the Creative Rio, which is a creative economy division led by the state of Rio. And we have the SPM through their Creative Economy Division. The SPM is the most important marketing university in Brazil. And last but not least, and that's also new for even for those who know about the Center for the Future of Entertainment, we brought actually the social parts that we'll glue all that, and we'll deliver what we believe creative cities can develop to the world, is that this is a Sonde Stadania, which is one of the most important social foundations in Brazil. They are 18 years old, and they have been fighting hunger for the last 18 years. And now they're going to be the social arm to implement all the innovations of the center throughout the country in Brazil. So a little bit about them. So they have 700 offices in 20 Brazilian states. They have a huge network assessing the fringe. They are in the fringe of the country. So it's important that we're going to bring that, and I think that Parmesh is going to bring a very important trend regarding that. OK, so a tail of three creative cities, getting a little bit of dickens, to quote here, this is light. So what we have, the idea is that we're going to make this triangle through three events. So we have FOE that starts today. And on the east coast, we have Transmedia Hollywood and the Annenberg Innovation Lab leading all the fronts on the west coast. And we're going to have these two connecting to Rio. So we're going to have FOE every August in Brazil, making FOE Latin America. And the idea, that's why the ball is bigger, is that we're going to have the center for the future of entertainment being the first hub of all those expertise and experiences. And the idea is that that's going to be a way to spread the world and studies and trends through the world. And of course, there is the way back too, that's something we discuss a lot there. What are the good practices regarding creative cities, creative economies, and entertainment industries for innovation into countries and cities? So before we go to Ernie, we try to make a very tangible image on how it would work, because it's really easy to talk about creative economy, creative cities on theory. How do you develop a model? And I think that's one of the questions that the panelists will answer, even better than me, is how do we really foster experimentation, innovation, to make change into those cities? So we developed, at the outcome, a model so we can try to explain to you how the center would work. So we have the center in the middle, and we have these four stakeholders, Academy and startups and producers. You're going to understand why they are yellow. And we have public sector and private sector. OK? It's not working? OK. I keep talking or just testing? It's working? No, mine is not working, just a project. One, two, it's working? OK. So what do they bring to the table? What's the idea of what they bring? So the blue color shows what they bring to the table, what they offer, and the center is going to be a hub of all that. So we have the Academy bringing studies and trends. We have both the private and public sector bringing resources, challenges, and information. That's something that many of the projects we see into creative cities, people ignore information. They just want resources and challenges. They don't think that cities, they have a lot of information to share. And we have startups and producers bringing formats, scripts, tools, and software. And what the center gives back to those stakeholders. So it gives to Academy the information, challenges, and the opportunity of experimentation. That's something we have been discussing a lot with Henry, with Jonathan Taplin at the Annenberg Innovation Lab, on how can we make academia more close to experimentation, how we can give the opportunity to academia to really go deeper into the issues they studied for many, many years. The private sector will get back innovative solutions based on value. And the public sector will have innovative tools, value for society, because they are the stakeholders that is more direct in touch with society. And the startups and producers, they're going to have resources, challenges, and innovative R&D capacity. That's something that's happening now. The creative cities, they have thousands of startups starting as we speak. But they never reach those stakeholders. They are never able to reach a possible client on the public sector, or even to bring a solution to the public sector, not even as a client. The private sector, the same. And sometimes they are startups, they come out of academia, but they lose touch with academia. And so that's the idea here about the R&D capacity. So we have society here. And that's why I said we would explain. So academia and startups, they are the input axis. So that's where we absorb the assets. And through the public sector and the private sector, we share knowledge. We share tools. We share innovations. We share new ways of using the creative economy to change society. So for society, on the public sector, we have direct value for society. And on the private sector, we have indirect value for society. And to end my introduction, I brought four images that are very powerful for what we believe should be our vision of how a creative city should think about fostering wealth, fostering innovation, but also social change. So in the left, we have a study that Henry developed with the MacArthur Foundation when he was here, MIT, confronting the challenges of participatory culture and media education for the 21st century. So how media entertainment and education can make huge changes. In the top, we have MarketWatch, a blog from The Wall Street Journal talking about the possible next Silicon Valley at USC Annenberg. So there we're talking about wealth. We're talking about innovation. We're talking about disruption. To the right, everybody recognizes this podium. So it's Henry on the first, I think, FOE and Puff Daddy. Everybody knows Puff Daddy. And so that is a place of conversation, a place of people just doing what we're doing now. Sharing knowledge, breaking bread around what can change the world through entertainment. In the middle, this guy, Brazilians know him really well. His name is Herbert Di Souza. He died, I think, eight years ago. He was the founder of Assam. And every year, this guy, he could get like 50 tons of food to fight hunger in Brazil. And now they are repositioning themselves through the creative economy. They're going to apply what the center develops into cities all over Brazil, into the fringe, into poor regions. So now, Ernie, I leave it to you. Thank you. Hey, good night. Ni hao. Volro. Como está? You have to help me. Namaste. Yes, OK, good. OK, so I think I've covered most of the world there. I really am delighted to be here. I think it's a very, very exciting project. I want to thank Mauricio for inviting me to participate. I also want to thank a former denizen of this neighborhood, Henry Jenkins, who has moved out to what we call the left hand coast. So it really is a pleasure to be here. I just want to sort of rattle off a couple of things that I hope will provoke some conversation. And then we can actually get engaged in that two-way conversation. First of all, is that cities have always been creative. They have been the nodes that have generated civilizations and advances and also backward steps. But they've always been important. If you have not read the wonderful book by Ian Morris on how the West, or why the West rules the world, dot, dot, dot, for now, it's a great thing to download. It's about 900 pages long, but you download it on an iPad. You don't know the difference, but it's that ridiculously large. But it does point to the history going back to the dawn of time of cities. But having said that, as a number of people have said, that the importance of cities is growing. And the World Bank has said this, OECD has said this. So one way to think about it is that if the 19th century was the century of empire, and the 20th century was the century of the nation state, then it is likely that the 21st century is going to be the century of cities. For the first time in human history, more human beings will live in large cities than at any time before on Earth. So I think that's something that's very useful to keep in mind, and underscore is the importance of what we're doing. Since I'm a professor, I have to take off my watch and do this, otherwise I will give a 90 minute lecture. Or before that, I know Mauricio will chop me also. I got three minutes left. I just got back from China. And while I was in China, they had the leading cadres of the 18th party Congress meet in Beijing. And they said that the issue for the next four to five years is going to be one thing. This is what the party's going to pay attention to, and it's what the government's going to pay attention to, culture. This is the Communist Party saying this. The last time they said what it was, the peaceful rise of China was another theme. They're now saying, we want to devote more attention to culture than in any other thing. And there are domestic reasons for that, and I'd be happy to talk about why that should be the case. Internationally, what they have said is that we want to engage in cultural diplomacy, in cultural diplomacy. And it was fascinating to be there when this was just about to be announced, because my Chinese friends were also saying, we wonder what that's going to mean. Is that going to be a chauvinist definition of culture or a sophisticated and cosmopolitan definition of culture? We don't know. But it points to the importance of cities talking to cities. Shanghai and Beijing, for example, talking to Bombay, otherwise known as Mumbai, but Bombay, or Los Angeles or other great cities. So I think that's a very important thing to keep in mind. At the Annenberg School for Communication and Journalism, we are going through what MIT is going through and what the folks at the Berkman Center at Harvard are going through, which is we study communications. We are in an environment where everything is upside down and inside out. And our task is to educate and train the next generation of people who are going to lead moving forward. And we are not sure how to do that. And so these kinds of experiments that we are doing are hugely important, the kind of alliances that my school has never had before. And I'll say a little bit more about that in closing. But our view at the Annenberg School or the Annenberg Innovation Laboratory, John Taplin is here and his colleagues, we either innovate or we die. Even universities, if we do not innovate, your university, whatever university you are at now or came from, will be irrelevant. So we have to take big risks, engage in different ways. And this creative mega cities project is one way to do that. Let me suggest some concrete ways we might think about a creative mega cities project. So I wanna go from sort of the blah, blah, blah up here to the concrete. Let's say that there are two dimensions that we could examine as we think about creative mega cities. One is, how does a creative mega city get to be a creative mega city? I mean, there are a lot of mega cities that aren't creative, right? So what is it, what's the combination of culture and history and warfare and peace and economy and what governments do and what universities do that leads to a creative mega city? So it's that kind of ontological, historical dimension that's important. It's important both for the cities themselves, because if they stop doing what they were doing to get to be creative mega cities, they will be uncreative mega cities. And some of us in LA have some concerns about that, actually, to be quite right. So it's the origin, sustainability, et cetera. And that is also important for cities that are not now creative mega cities but would like to be. So if this project moves forward, there will be two to 300 cities around the world who will wanna find out what's the secret sauce that they can borrow and use to become creative mega cities. So that's one dimension. The second dimension is that there are a huge number of transactions, global transactions, linking up the creative mega cities. If we could do one of those great cloud illustrations of transactions back and forth, that's something we should maybe think about, and look at the transactions, capital transactions, talent transactions, intellectual property transactions moving back and forth. So when you go to India right now, to Bombay, the question is, well, reliance just put $300 million into Steven Spielberg's film business. Disney has just put a big chunk of $3.4 billion into a theme park in Shanghai, from LA to Shanghai. Every day on the airplane, every day in LA, there's a conference on China and the movie industry. And the rooms are packed. So my point is that, yes, we wanna know the ontology of how a non-creative small city becomes a creative mega city. But we also wanna know the nature of those transactions that link them up. What is each partner trying to gain from that? Frankly, the LA people are a little nervous because they think that the other folks are gonna steal not so much their intellectual property rights in terms of the content of the story, hugely important, but Hollywood really knows how to put that stuff together in an industrial sense. But we also have to talk about museums, we have to talk about symphonies, we have to talk about poetry. The final point I wanna make, two more quick ones. One is that, as Mr. Motta just put up, is that the linkages are not just to creative communities. In order to understand these mega cities, their ontology, and their links to other, you do have to lay out the four points that Mauricio identified. I've been lucky enough to do a study for about the past 10 years looking at innovation and sustainable innovation and where it comes from. And it comes from one place. It's a diamond-shaped thing, which we might call a quad. Government, private sector, universities, and nonprofits, where those relationships are robust, built on trust, sustainability, and innovation happen. You think of LA, you think of Route 128, where we are here, their success. You think of Northern Europe. You think of other places like Houston, Texas. They don't have this thing. You think of Italy, or Greece, frankly, from my research, they don't have this quad. And so they cannot sustain their innovation and their culture. And so as we think about moving forward, that we have to draw people from those four sectors. So concretely on the table a proposal. Wouldn't it be interesting to have a project that brought together Los Angeles, Bombay, Shanghai, and Rio de Janeiro to engage in a conversation where representatives from each of those four sectors would come together over a period of years and learn from one another, create trust, exchange ideas, intellectual property rights and ideas. And one has to say that Rio is a great city to include in this, because we're having an argument last night, a debate about this issue. And if you have to think of a city in the world, or maybe three or four cities in the world, that as soon as you say the name, you get the culture. Maybe Paris, maybe Paris, maybe New York, but Rio de Janeiro, what's not to know and like? And so I think in terms of the identification, not only at the elite level, the fancy dancing museums, but also at the popular level, which is where all the vitality comes from, then if one links up those four cities, Bombay, LA, Shanghai, and Rio de Janeiro, then that could be pretty cool. So I think being cool should be one of our principal criteria. And so I think this, and sexy and fun. So on that note, I will stop. Okay. And pass it to my colleague. Thank you very much. Thank you. Can I put the video, Sergio? Yeah, so it's my time. It's my time. Okay. Well, so it's an honor to be here. I'd like to thank everybody, and especially Mauricio, Professor Herman Jenkins, and well, everybody who made the seminar possible. And first I'd like to show you two videos. The first one is a message from Mr. Eduardo Pais, the mayor of Rio. As Mauricio said, he wasn't able to come, but he was able to record a message for you. And then I'd like to show you a video about creativity in Rio. And then I will speak a few words to you. Thanks. Let's try to see if without light it works. No? Okay, let's keep the light up. Okay. Mayor of Rio de Janeiro, because of urgent matters related to the city, I could not be with you tonight. Thanks anyway for the invitation to participate in this conference. Since we live in a connected transmedia world, I decided to make this video to share with you some thoughts about creative cities, a real important theme to Rio. Even before the creative city concept was forte, Rio was, and has been at least since the 19th century, a city based on creativity. Let's think about Carnival, one of our trademarks. It's a massive popular celebration and a very relevant business that started as a religious ceremony 200 years ago and was subverted and transformed by people's creative through the years. Rio is nowadays the major city in Brazil when we talk about new and influential trades and creative industries. As we say here, Brazil's cultural capital. The main center for our growing individual industry for Brazilian music, for performing arts, for cultural institutions and so on. But the importance of creativity in Rio goes beyond that. It's a part of how we live, how we work, how we think, how we connect, how we feel and do things. The economic and social development of Rio are based on creativity. Since 2009, we decided to put the creative economy issue as a key element in Rio's agenda in order to increase Rio's role as Brazil's cultural and creative capital, to increase business and innovation, to generate more wealthy and jobs, to promote the positive clash of creativity and technology. The idea is to achieve the full potential of Rio in this field through some strategic public policies. So it was not a coincidence that almost one year ago we were elected to host a Creative World Forum 2012 and to become a creative district. As a response for the investments and discussions we have been having on design, fashion and cinema. This year, we had a great surprise when Professor Henry Jenkins presented to us the Center for the Futures of Entertainment, an innovative space where the public and the private sector would challenge thinkers from all over the world and startups from Rio to develop new solutions for the city, for entertainment and education. The City of Rio is supported in the center. That said, I hope you have an amazing time tonight. I will leave you with a video that tells a little bit why Rio is one of the creative magazines. Thank you very much. What better inspiration for the creative process than Rio de Janeiro? Rio is the one who makes Rio de Janeiro. The characters, the people who live in Rio de Janeiro are the ones who make Rio de Janeiro. Carioca is a very sociable guy. The sociability, the will to be on the street is something that generates a lot of creativity because creativity never happens alone. We are no more creative than the other cultures that the other countries, the other cities. But we are a new, different, fresh. The Carioca population is by nature heterogeneous. The formation of the old capital has added several profiles, whether it be racial, cultural, economic, social. All these profiles that were mixed in this city gave a strong basis and structure so that people could present typologies and ways of behaving differently. These connections with different people are what makes the inspiration really happen. This democratic issue of Rio that makes me even be able to work once with gold and then with PET and then mixing gold and PET what, for other places, is absurd to normal Rio. When you look at the sugar tone, which is a natural, beautiful, completely exquisite, organic monument, it is completely different from the sides, the sides and the front, so the perspectives are completely unpredictable. I think that this unpredictability of the Carioca perspective is always inspiring. I live in Vidigal. I open my window and Vidigal is amazing. You are there, you are on the sea, you have greenery. At the same time, you have this city that is expressed, nature expresses it there. So the great population, the poor and the middle class and the rich, the middle-aged, the common people, they circulate, they meet. There are places in this city where this is possible. In five minutes, we can leave a meeting, a office, a TV, communicating with the whole world, creating a technological software or a painting. In five minutes of walking, you are on the edge of the beach. And you are on the edge of a beach that is rich, beautiful, with diversity. In a few more minutes, we arrive in a forest, a forest of Atlantic forest, the largest urban forest in the world. If you have a shower bath, if you want, in two, three minutes, you are on a global network, the largest network of television in the world. The moment is the catalyst, the moment is the moment of transformation. So I think all the good solutions have today space to happen. I've never seen such a glorious future for Rio de Janeiro, with so many things happening at the same time. And it is very important that there are many things. The world is ready to watch us. We are now with events that open up for us outside. But it's no use just that, no. The world knows that we have something good to show. It wants to try it. Now it's time for us to put our hands together and show what we are and what we have. How good that I'm in Rio de Janeiro today in 2010. How good that I'm going to be here and be able to take advantage of this opportunity that the city will have to reinvent itself. If I were an inhabitant of the world and I had to choose a place to do something, or to live, I would certainly choose Rio de Janeiro. Okay. So thanks for your attention. I will do only some remarks here. I think the main challenge of our lives, of our existence as individuals and society is to escape from irrelevance. To be proactive in the building of the future and the building of the future, of course, starts now. We're doing it. We're shaping it. So that's what we are really trying to do in Rio right now. For many years, Rio under-estimated itself. Its potential. Its assets. Its character. Its flavors. And now the challenge that we are really facing is we finally realized that Rio can play a major role in the shape of the future, not only the future of entertainment, but thinking the future is an holistic thing. So we can be major players and that's what we have to do. That's something that nobody will do for ourselves, but the city and the people from Rio must think in this way and do it. So that's what we are really trying to do in Rio de Janeiro right now. So Rio really aims to have a major role in the future of entertainment, in the future of the knowledge, in the future of the world. As the mayor said, Rio has always been a creative city. It was improved in the 19th century when the Portuguese court arrived in Rio because the Rio were a colony from Portugal and the Portuguese court escaped from the Napoleon troops. And so they brought the whole court, artists, the National Library writers, creators and so on to Rio. This was a major event and since then, Rio is really a city based on cultural diversity. It's something that shape the city, the way the city is. But we cannot rely on what we have, we have to take advantage of that in order to, as I said, escape from irrelevance. Another interesting aspect is that creativity was a main way for the people, not only of Rio but in Brazil, to overcome adversity. It's amazing because we can find many, many examples of that, how people use its creativity to overcome the law, the establishment, social adversity and so on. Well, that's one of the assets of the city. I think Rio de Janeiro is a city based on cultural diversity and it's interesting because cultural diversity is one of the main elements to an environment where creativity can flourish. Freedom, cultural diversity, they are both key elements to an environment where creativity can flourish. So, as we saw in the video, we are in a very, very good moment in Rio de Janeiro, not only because of this huge events like the Olympics and the FIFA World Cup and so on but because we have now came to a moment in the city where we really have the private sector, the public sector, governments, universities, thinkers, artists, the common people. We are really focused on building a new future for our city. We are in the middle of a process, a huge, gigantic process of urban development, urban renovation. We have nowadays in Rio de Janeiro more than 1,000 points of public works in the city. We have lots of things going on at the same time. We are building huge cultural and arts institutions as the Museum of Tomorrow, as the MAR, the new Museum for Arts but at the same time, we have lots of what we call cultural points which are small cultural groups from communities, from the favela. The government gives them some money, some support, some training in order to then to flourish to improve their skills but the government doesn't touch what they do. They do the same thing as they did before but with more tools and better results. So lots of things are happening at the same time. So that's why I think the main point is the issue of creativity and the issue of creative industries are a part of Rio's agenda right now and it's not just talk. We're talking about the strategic development plan for Rio what we call Rio 2020. So it's a plan that the city hall of Rio put together working with lots of different institutions not only the local government and one of the six areas of the strategic plan is creative industries. So everything that the city government do under this plan. So everybody have the creative industries subject agenda in their minds. I work at Rio Filmi. Rio Filmi is a very interesting case I think of a public investment government investment in a creative industry. It's a company. It works mainly as a private company but we are owned by the city of Rio and we are a contract between the company we have a contract between the company and the city which is based on results so we have to achieve some goals we have to generate results if we generate those results the city was still giving us some money to invest in the development of Rio de Janeiro's out visual industry and we are doing this since 2009 and luckily we are achieving those goals so everything is going on. Our main goal is to promote the development of Rio de Janeiro's out visual industry the challenge is to build an out visual industry in a contemporary situation so we are not trying to emulate models we are not trying to do Hollywood in Rio we are trying to do contemporary out visual industry facing the challenges of these times and so we are trying to shape our own model what we do at Rio Filming we basically invest in projects by companies based in Rio those projects can be the production of films the distribution of films but not only films we are dealing with TV series we are dealing with video games we are dealing with transmedia projects we have two main criteria first one is the companies and the main creators involved must be from Rio de Janeiro they must live there and we aim to recoup the money that we put in projects and the idea of that is to have everybody has the same commitment to be sustainable and we as a company we are trying to be sustainable as well so the idea is that in like two years the company will not need anymore the money from the city because we will base it on our own revenues the revenues of the investments that we did at the end of this year for the first time we will be a profitable company and all the money will be reinvested in new projects and the idea is to create a circle so I would like to have later I will pass the work but I would like to have an opportunity to share with you some projects that we are doing there because I think we could have great results they are not only out-of-visual projects but they are social experiments as well for instance, we created a 3D digital theatre in a favela in Rio de Janeiro so it is a theatre with the same patterns of comfort and quality that the best theatres in the rich zones of Rio have and we are showing pretty much the same films there all the distribution companies are greeted to give us new releases, so we are showing and in nine months we sold almost 70,000 tickets which is the same population of the neighborhood the neighborhood has 70,000 people of course, not all of them and 85% of those 70 people went to the theatre for the first time in their lives and we are doing now a project with all the schools around and the students are coming to the theatre by morning and the teachers are taking the films to improve the education experience in the schools so we don't know what came out of this we hope, but I think we are really boosting the creativity of the people from that favela the name of the favela is well-known around the world it's complexo do alemão used to be one of the most violent places in Rio de Janeiro until December last year it was an area dominated by drug dealers and right now people there are totally free from that situation and they have a theatre like I said so the main idea that I would like to share with you is I think finally Rio de Janeiro is fulfilling its historic destiny for many many many years people in Brazil used to call itself Brazil it's the country of the future but that future never arrived and I think finally at least in Rio de Janeiro at least with all the things that are happening there we are making Rio the city of future but we are making it now and so it opens lots of opportunities lots of things are happening and that's what we think this centre for the futures of entertainment will deal with and will help us to shape thank you as the only corporate type of person someone had to use PowerPoint so think of it as retro you know I'm also fulfilling my destiny keynote is retro now I thought anyway I think my destiny has been to navigate multiple worlds and you know there better be cute people lining up outside because this is what I gave up to in Bombay to come here for that's me sitting in the front row of India Fashion Week which I do almost every season it's part of my job yes someone has to you know I serve as editor at large of this fashion magazine called Verve which if you don't read you can find in Dostana this big themed gay film from 2008 which also is one of the top grocers in Bollywood that year go figure speaking of stuff like that I also look at the city of Bombay through the kind of writing I do you know besides I mean fashion and cities and culture is the shallow side of me I have a deep meaningful side of me which comes out of places like MIT where I spent a couple of years and wrote a book like that and now I'm continuing to go through this crazy hyphenated experience of mine you know corporate, creative, academic, global, local with all these hyphens like Bhabha says you know some of us live in the hyphen and in that I'm realizing that what I'm actually doing is I'm really looking at what it means to be of course what it means to be urban but also what it means to be modern and Indian and I've actually decided to make this quest of mine into something that's a corporate job and I'm working out of a really progressive corporation called Godridge which is a 120-year-old company in India it's a big conglomerate and I'm setting up I think which for India are actually for other parts of the world as well as a unique kind of experimental space where we want to you know and it's great to hear say that USC is doing stuff like this it's involved in Rio because these are also the kind of experiments that are coming out of Bombay and India we're setting up this space called India Cultural Library where we want to cross-pollinate academics, business people and the creative class and hopefully some policy people from the government if they come but to play with these ideas of what does it mean to be modern in India and what does it mean to be urban what does it mean to be connected with technologies of change what does it mean to be young what does it mean to be a woman we want to answer these kind of questions through white papers through conversations through different kinds of interactions through creative and other kinds of projects so cities is you know the UrbanX means something that I'm very personally interested in and now it's what I do as well one of the things that we did last year and you know we haven't put these videos up online but I can send DVDs to those who are interested is we actually organize a big event on what it means how would we relook at a city as a space for magical possibilities as just a place for problems because you know in India cities are exciting but they're also huge huge huge problems we actually don't have like Rio or like Singapore or like the UK we don't have a creative industries program we don't have mayors or people who are actually thinking of shaping the cities and the country as a creative space everything that's being done is coming from within from below the ground so you know so we decided to do a huge event on what it means to be urban and it was it led to you know a series of ongoing conversations we're still having where we cross pollinated people like Homi Baba who flew in from Harvard next to like lesbian folk singers we cross pollinated academics with activists you know theorists with practitioners and it was great fun more than anything else because coolness is really important so clearly cities are important in India cities matter more than ever you know these are figures but and you know there's many ways you can slice what it means to be urban looking at it from an entertainment perspective I'm not really and you know you went here right for a party this is like the house of the richest man in the world apparently he doesn't live there anymore because it's got bad vibes but he just built it you know clearly there so I'm not interested in political economy I'm not interested in institutional or corporate links I'm not interested in how Bollywood and Hollywood can come together and do billion dollar deals all of that is happening there are other people working on it there's CMS alums as well who are actually working on this Bollywood Hollywood thing there's Aswin who's sitting in Michigan his next project is on you know LA Bombay Bollywood Hollywood links it's very very cool work but what I'm going to do under the surface as you're talking earlier most of what happens in the margins and it's not I think I'm interested in this well because I'm interested in it but also because we really don't have those kind of political economy things so I wish we had a China policy or actually maybe not because we'll come to that I want to counter a lot of what all of you have said early and maybe we can have good debate because I don't know if these things are necessary for places to be creative but aren't or not we don't have them so we don't have policies from our government we don't have creative city mandates what we do have are people doing crazy and cool things and that's what I want to show you over the next couple of minutes but I want to make a couple of points first relating to Bombay now first of all you know again like every big mega city Bombay has always I use Bombay not Mumbai because I'm kind of attached to Bombay you can call it whatever you want right rose by any other name as per said here I prefer it if you call it Bombay so Bombay has always seen a huge migration from all over the world it's just that it's always been a magnet for the rest of India right just New York everyone from all over wants to go to New York Bombay has been that kind of place but over the past the past two decades actually it's actually been a magnet for people from all over the world and these are both returning diasporic Indians as well as actually foreigners people who've never been to India who aren't just visiting India and who aren't just visiting Bombay but who are setting home they're who are making it their own and this mix of say locals diasporic returning Indians and foreigners are creating is creating a lot of new possibilities for entertainment and for city life in general as well the second is there's a huge shift towards participatory culture and the city is actually a great playground for this again you know we don't have these kind of we do have institutional spaces but all the exciting things that I'm seeing are collaborative are pop-up centers that come up in the middle of say you know unused land and suddenly someone comes from Berkeley with like high resistance really lightweight pod kind of structures and builds like a three three levels structure on it in which they have art shows and they have exhibitions and they have music and they have like I'm seeing for me that's the kind of exciting stuff that's happening right and it's participatory it involves the community it's playful it's exciting and it's I think it portends to what the future I mean I think a lot of that in of the innovation that we see from cities will come out of spaces like this I think that big organized government mandated spaces of course have their role but I don't think those can be the only one I mean at least I'm seeing a lot of magic coming out of these these these small unorganized places right the third link to that is that funding for these are also is also coming from really unexpected sources there's all kinds of alliances and you know these alliances are both regional local national and global so British Council will support you know something to do with like regional fashion for example and Bacardi will support something else completely my company will support something else completely and what we're seeing is actually we're seeing a whole range of subcultures that are coming up that are thriving both in conversation with each other and I think that's very important so whether it's music and arts whether it's arts and you know video or arts and animation with animation and other things and they're also thriving in conversation with the world and fourth in this imagination actually Bombay is taking is also talking to India it's not just talking to other urban centers and those links are important but there's also a great repurposing of the folk of regional of traditional it's a reshaping of it into this new idea what does it mean to be Indian it's these conversations about you know rural and regional are actually coming into the play and that's very very exciting so and it's very very strongly linked not just to the entertainment or the arts or to the creative or to the range of creative industries it's also these links are also strongly to innovation at large to venture capital there are places for example there's a place called the hub which is a free space for all kinds of ideas I mean you just have to take your idea and go then they'll give you a space and they'll give your community to connect with it could be across the arts it could be a business idea it could be it doesn't matter it's just a hub for all kinds of ideas so these are the kind of places that are coming from I completely agree with Parag's quote at the beginning that that we use that you know cities are going to be the new it is the it is the era of cities again but you know I want to show you some images of how all of this is happening on the ground in Bombay but but before that I want to actually tell you again as we've discussed earlier that none of this is new cities have always been creative at least Bombay has always been creative and Bombay's always had this kind of cross-pollination that I spoke about I said there's people coming and doing exciting things it's always been there for example a friend of mine Arish Fernandez has just completed an amazing book which will come out after a few months which I urge all of you to read it. And in that he talks about the influence of jazz more specifically about African-American jazz players who all came to India between the 1930s and 1960s and created and you know they the mix of their music with Goan Indian musicians and of course there's reasons for why people came there's reasons for why Goan musicians are receptive to these collaborations but it's they actually created a new sound which again based on because a lot of the Goan musicians who performed in say jazz clubs or whatever were also performing as background music recorders for Bollywood so you know jazz actually translated into Bollywood so if you look at Bollywood films between the 30s to the 60s if you look at the background score it's all jazz so it's very interesting right these links between say you know global flows between migration between travel between creative collaboration have always been there and I think it's important as while we say it's a great place for a creative tomorrow when we are connecting these cities we don't ignore we fold in these historical aspects maybe we see what we can learn from them it's it's it's yeah I think it's more than legacy I think it's their signpost towards what could happen because you know we have to it's it's always good to revisit the past so I want to actually now take quickly take you on a on a journey through bomb through why I think Bombay is going to be one of the entertainment capital of the world we don't have as clean beaches as Rio and we don't have well we have other kinds of carnival I'll show you a picture of one of that it's but we do have a whole bunch of exciting things just like other you know creative hotspots and I want to take you and you know let's again I'm going to rush through these but let's think of each of these are different lenses with which because I'm actually I'm disturbed when we talk about entertainment we tend to mostly talk about paid entertainment we mostly tend to talk entertainment industries whereas I think cities you know we have to take the holistic view of creativity of and of culture with with a small C yeah so as an intellectual city we have very very tremendously creative places again none of these are coming up because of either the government or the city or whatever they're all popping up either because of people wanting to do it because of corporations funding it they're just coming and the money is coming up from somewhere right there's all kinds of spaces to have discussions on art on culture on urbanization there are spaces in Dharavi this is something called herbs which is a collective in the slum of Dharavi where you know they it's both it's a center for media training so young people in Dharavi are taught how to use media and then it's a space where they can record the slum experience and then showcase it as well it's very exciting there's several efforts like this happening in Dharavi it's also a very interesting art city again both in the kind of physical spaces that you have I mean you can see Victor you can see influences from from England right and that used to be the V&A museum until now it's become the Bhau Dagilad Museum in Bombay it's the Bombay City Museum so certainly we have spaces like that but actually what excites me are the repurposed spaces so old warehouses that have become galleries old rice mills which are not being used old print this is actually project Atheid it's an old printing press which has now become a very interesting art space we have all kinds of interesting art that is talking both within gallery spaces that is talking to the Indian experience as well as to other trends in global art but we also have in terms of repurposing this is actually this is Anish Kapoor exhibit which was shown in Mayboop Studios so Mayboop Studios is this legendary studios in Bandra where a huge bunch of hit films from the 60's and 50's 60's and 70's were made how interesting that it's you know the space gets repurposed as as a space for this return I mean you know Anish when Anish came came to Bombay it was portrayed as you know the prodigal son returns home I don't know if you acknowledge India while for his whole career but it was quite exciting to see this at least for me more than the art it was how the space was used very to me very creatively and the art doesn't just you know stay in galleries it seeps out into all kinds of performance for example I love going for something called the Bombay Electric Project which is every Monday there's a huge bar which becomes a gigantic poetry slam and anyone who comes up and recites a poem gets a free shot so at the end of the night you have a whole bunch of drunk poets reciting really bad poetry and it's it's the kind of I mean to me this is the kind of culture that I like culture that comes from below culture that seeps up into the surface and we have so much of that there's something called Blind Voice Project which is a huge group of photographers said we want our photographs out of galleries and so they just put up hundreds and hundreds of the photographs all over the streets of Bombay and said anyone can come and see them anyone can come and take them and again you know so these experiments are happening we have very specific local both Bombay as well as urban cultures that are vibrant and thriving this is actually something called Dastan Goi which is like actually it's a few thousand year old storytelling tradition of tales of really really old tales from the Arabian nights are actually even before and people have reinvented it and have revitalized it and these are becoming very popular as well we have people who project films on walls of slums and have exciting experiences we have there's a huge culture of say Tamasha which is very local Maharashtrian dance but it's queer sometimes we're having something called Bin Baicha Tamasha which I love which is a bunch of guys dressed up as women doing that same traditional folk dance so there's also a whole and you can see someone getting ready for it over there there's a whole underground scene in terms of everything that's art, music, film video games living in Bombay feels like a festival all the time because it's just this huge explosion all the time but it's also in terms of other kinds of festivals there's always something on and to me actually because I've lived in other parts of the world and often for longer durations I don't really feel alive anywhere else as I feel I haven't been to Rio maybe that's why but when I'm in Bombay it's like every part of my skin is alive it's electrifying it's celebrating something and I think it's celebrating the fact that despite all these crazy things happening all around like bomb blast or people killing each other because the car nicked someone else's car there's still something very exciting about being alive and being human and in all of these as well in all these festivals whether it's films or etc. we see this we see old spaces being repurposed so that is actually one of my favorite single screen cinemas it's called Edward and it often gets repurposed into this very exciting they show like German films there for example during film festivals Edward has historically been something that say working class people went to to watch really cheap Bollywood films despite its name so it's quite interesting as to how these spaces as well go through these different life journeys as well and I'm very excited about these are images from the Kalahora festival which is this huge celebration for one week in the south of Bombay where the arts, where performance, where street everything comes together people don't take their clothes off but it's still great fun I think any yeah it's not sexy although keeping clothes on can be sexy too sometimes it's what you hide that matters I think for any city to be that's what she said at least for any I think for any city to be really creative and for the future of entertainment anywhere I think a city has to have cafes and has to have meeting spots and I think in that I'm going to nominate Bombay for having the best because the range of cafes is this cool hip barista kind of coffee places where you can find art on the wall like really expensive coffees there's these old irani chai spaces so irani chai there was a migration from Iran to India a couple of hundred years ago and a lot of the irani migrants started cafes and there's still there's relics of these and they're very very specific because they're normally run by really rude obnoxious sullen people mism eskiel to me is Mumbai's Bombay's poet actually wrote a great poem on what happens in these cafes essentially and these are actually some of the instructions that you go above every table essentially so we actually so there's you know and what I'm finding now is that you know these these hip contemporary 60 different type of coffee places are coexisting next to these irani places and there's this great magic happening some of them of course are shutting down and McDonald's are coming over but there's still a whole bunch of them left which is exciting it's also I think for any great city to be to be a truly global cultural city there has to be a fashion city and we have not just amazing not just fashion weeks and an amazing edgy fashion scene but we also have you know street fashion in conversation with high street and the cutting edge all of which get mixed up on fashion blogs both Indian and non Indian so I think it's very exciting I could go on and on you know I want to look at a walking city lens but ultimately I think what makes Bombay unique and I think it's slightly different from some of these other cities is that it's completely user generated people don't care when terrorists come in Bombay city the next morning we don't wait for like some government troops to come in we clean up our own streets because we have to go to work the next morning and we have to create and produce art and we have to enjoy our lives it's completely user generated more than any other place in the world I would content Bombay is the place where people come to change themselves to come to transform themselves global cities are all spaces for self making as well as for finding community and I see that so much in Bombay I certainly saw that while researching my book for three years it's a complete user generated city it's a city where you know people it's full of no nonsense people I think like any other big city so if there's something's not happening if there's no media for young people someone will create it themselves if there's no edgy art or music or other scene people will just you know create it themselves people also actually in Bombay what's happening is people are using technology in very very interesting ways these are just a couple of screen grabs from something called the blank noise project against well it's called Eve teasing in India but it's actually against harassment of women where they used it was a really sophisticated campaign of using twitter hashtags using facebook of saying you know everything it was the online of all these specific actions where they're changing your photo where they're tweeting about it were linked to very specific offline events where people went out on the streets looking at breasts as being rude to women you think you know and people had to actually stamp in all of these links to public performances all of these were then photographed and then showcased in art galleries several layered nuanced complicated project that took place which to me was very exciting so to me this is what's exciting about place like Bombay that you can have all these things happening people take part, people participate it's also a city where we have to and this has been a recurring theme again in my comments where we have to create our own heroes because we don't have we can't count on institutional forces so this is Doga actually and Gyan Prakash writes about him beautifully in his book Mumbai Fables again if I urge you to buy a second book I'd urge you to buy or to read Mumbai Fables by Gyan Prakash more than maximum city certainly more than Shantaram it is to me the defining book has been a very exciting it looks at history through pulp novels it looks at history through exciting murder record trials I mean Gyan is a historian at Princeton but he looks at history through comics and he actually talks about the rise of Doga and Doga is this person who comes again he's a person who he's Suraj in the day and he's Doga at night but he comes from the sewers of Bombay dogs are his best friends and his villains space people who are invading earth are bad guys his villains are like politicians and policemen and people who who make lives in Bombay quite difficult for its inhabitants so as a cultural city like every other cultural city we create our own heroes as well I'm just gonna put up this slide with some links all of you have iPads so just feel free to select any random one and browse through it it's gonna be great fun I'm really looking forward to the rest of the conversation I have lots to say and I have lots to argue actually with everyone so please let's start soon well I think well I think it's with both of you I'm quite skeptical about this thing that you can force fit either through which seems to be actually either through a well thought out process or whatever a template on creativity and that everything around the city will just automatically fit into the template and I was just wondering if of course you must have thought of that but I'm just wondering if you have actually both of you I think the best way to start is to have a government decree that everybody will be creative by Friday night and it'll happen that's being slightly sarcastic one of the things I missed in California is that no one is ironical or sarcastic that's one odd thing about our culture so it's great to come back east and be ironical inside that I can't wait to go to Bombay and be ironical so no I mean you know I think there are two pieces of this is that there's some for example you listen to what's happening in Rio and providing resources for local clubs or providing as one of my colleagues went down from USC and worked with kiosks that were set up to help local artists do their art and so I agree with you that sort of that's why I think the historical piece is important and you've really got to go back and see what made Mumbai or Bombay Bombay or LA LA and build on that and that's probably what 60%, 70%, 80% of what's doable but at the margin if you do want to do some things and I guess the question I was asking is what kind of leverage do you have at the margin to enhance that experience both internally and for other cities that want to learn stuff about how this works so you know I wouldn't take unfortunately for our argument I won't take this wrong version but I think the weak version of the argument is there are things that can be done at the margin to improve people's lives within their own local communities and to begin to exchange ideas across communities whether they're from Bombay to Hyderabad or from Bombay to Los Angeles so I mostly unfortunately agree with you well I think the whole of government in this area is just to try to foster to try to stimulate and to provide some tools that sometimes are difficult to companies or to groups or to artists to have just for themselves but that's the only role we not create anything we not do anything we just foster we just stimulate and money is one of the assets governments have money because they collect taxes and so one of the ways that governments can give the money back to society is creating ways to make the money available for companies, for social groups for artists to help them to shape their creativity into products or into experiences and that's one of the things that we are really doing but since we started this project at Rio Filme in 2009 there was before an art visual industry in Rio de Janeiro the only thing that we did is in 2008 the art visual industry of Rio de Janeiro had 80% of the market for Brazilian films nowadays it have 95% and the market increased 36% so that's something that we help it to do the potential was there the potential was totally there and it was built for many reasons the history of the city but we help somehow with the things that we do to help the society to realize the potential and also to maximize the potential and that's something that I really think governments can do that's why it's a good it's good news and a government is open to the agenda of creative industries or creative cities but we have also to impose limits because sometimes when governments do things they destroy it's like the vampire dilemma right but we have to have limits because this can be powerful but this can be dangerous as well and the limits can be must be established by society itself so governments should not do things alone by themselves but we did there was we had lots of meetings with all the audio visual industry with all the associations all the stakeholders to define this this politics this policy and we are always meeting with Dan and trying to see if what we are doing is really what the industry needs if we are doing really what the people need in this this agenda so we are always trying to criticize ourselves to put ourselves on the window well we shape things if something that we are doing or not doing well but I think it's good news when governments are open to the agenda you think about what happened when government does that I was in New Orleans recently after the flood and the government did things to promote arts in the high schools and so each of the local high schools had their own musical beat and musical style flood comes along government doesn't have any more money they cut arts in the schools and one of the great catastrophes you see around the United States is that local governments are slashing the budgets for culture maybe that will be picked up by private sector maybe at once so I think at the extreme I think Shahana you can see that too much government bad thing not enough government bad thing so where in the middle does each culture I'll take something about that because as a Brazilian I think the framework is really important because it's a lens you put and gives you a perspective of building things the model we developed for the center is based on Ernie's book and the point is that what happens in Brazil and that relies on what you said about being the country of the future is and having a company that has an office here and in Brazil we are very creative we are good on improvisation but we are terrible on method and process that's a fact we don't have methodologies we don't have processes we have a shortcut culture in Brazil you have ten steps one to ten in Brazil if you can jump the three seven and skip four, five, six you're going to do that because it's cool to improvise but now we're in a moment that we have so many homeworks to develop and to deliver that we can only rely on people just being creative and making grassroots movements so that's why I think that frameworks or models or processes or methodologies they allow us to bring the best of each stakeholder because what I think you showed all the different cities that you showed and that's amazing, those are frameworks using a generated city is a framework the fashion city is a framework that works really well as a system and I understand your point that let's avoid formulas but I think that a framework is not a formula I don't want to avoid it, I was just questioning and again very broadly because I look at say places like Singapore which are also trying very hard to be creative which also have a mandate from above and yet I don't know if it's a flop but I think it's I just wonder if it's not something in the DNA is it something to do with maybe desperation as you said you said creativity is often used often comes out of just wanting to overcome adversity maybe if you maybe in Singapore if you've built nice centers and say everyone who wants to be an artist will get $50,000 maybe that's not the best way to encourage creativity I'm not saying create adversity for people to be more creative again I wasn't actually I wasn't contradicting I was just questioning the narrative again as I said maybe I'm just jealous because we don't have all this in Bombay I think we really have different realities and the challenges are of course different ours I really think it's Rio has a lot of potential in terms of creativity we have a stock of creativity which is very very high so what we lack what we lack was the capability of really transform the stock of creativity into development into wealthy into jobs industries and nowadays we face another challenger which is not realize and maximize this potential in an analogic world but in a digital one so if we're building right now creative industries from we build it from the stock of potential of creative potential that we have but we must do in the 21st century in a new totally new new way and I'd like to add one thing to that which is if we think about the future of entertainment and not only the future of entertainment but the future of knowledge the future of information as well we must build companies we must build works we must build projects we must build expressions exactly considering the idea of the merging the convergence of the physical world in which we live and breathe in and the digital world in which we interact and exchange information knowledge and entertainment those dimensions will be just one thing soon so we must work with this perspective so a new kind of a creative industry as a creative industry who can flourish in this new environment in which the digital and the physical world collide and converge because exactly because there will be one thing soon I'd like to start asking for the audience to start making questions and then I'll bring mine Jonathan? You need to go to the microphone with your beautiful voice with the world So I'm John Taplan director of the Annenberg Innovation Lab I was struck by the wonderful picture that Parmesh put up of the American jazz players and the Indian musicians playing together and I think That was Dave Brubeck I thought Chet Baker was in the back too or something but I was struck by is that not the perfect synthesis of what we're talking about because needless to say those same musicians went to Rio too on their own and Gilles Gilles gave them something they learned something from there and one could imagine that A.R. Raman learned a lot from listening to those musicians and somehow they came back to LA and they made the jazz they were playing in LA because those were West Coast jazz guys and I think what we're all trying to do is this combination of bottom up and top down and all what's happening in Rio to me what excites us about being involved with Rio is the government can be just a little bit of a catalyst just add that little extra piece because the most of the money and most of the energy is going to come from people that have nothing to do with government and really quite frankly don't want anything to do with government but if the government can just stick a little extra in there and as Ernie said bring those four elements of the quad together then perhaps you have some success Yeah and I think that to that point that Jonathan just brought and getting what Ernie said in the beginning that's really important about the spice the magical spice that we make and I think what I would say is that now are not creative is that in the end what I believe is that the government will have its role public sector and not only the government but NGOs and all that is that everybody wants to get a share of culture that's the point so if everybody wants to have a share of culture we're going to have more we're going to have different funding because we're going to have private companies like Bacardi and what were the other companies you mentioned the two brands Bacardi is finding this great music festival so the government is not involved but it could be the government we have many festivals in Brazil that are sponsored by the government what we have now is that the roles are changing we have brands that's why the framework thinks that here's the framework so what you can bring to the table that helps we have Coca-Cola is talking to Sundance Film on developing content that would never be imagined 20 years ago I think the corollary to this discussion of cities being the empire and then cities corollary to that would be of say corporations being the next countries so you have cities being the future and so there's a conversation between cities who are hotspots and corporations who are more powerful than countries and exciting things happen at those intersections actually well I'm that was an aside what I'm interested in and what I'm actually excited about is that you know multiple conversations are being had with different stakeholders like with the poor like with slum dwellers like with people who are on the margins while doing this in Rio because the fear and it's not the fear it's the reality of what's happening in India because India as that as you saw in that Mackenzie slide is going to have all those those many more people those many more cities there's actually 200 new cities being created in India from the ground up a lot of these are private a lot of these are you know these will not come up so there's one in Lavasa for example which is particularly horrible to me it's a private it's a company it's a builder which just excavated a whole bit of you know mountain and then created the city put in an artificial lake of course with all kinds of new cities questions of equality the questions of locals who own the land whether they're tribal or whether they're you know farmers questions of compensation but also questions of imagination within the national consciousness because when I went to Lavasa I went there for a conference everyone you know who was out on the streets was you know upper middle class relatively rich and you know everyone who was like in the service business whether it was a doorman who opened the door whether it was the waiter in the restaurant seemed to belong from that region and it seemed that from owning land and from becoming you know and from having control of their lives now they were serving different people so I just fear and I think this is happening in China as well because you have all these new cities coming up so I'm actually quite it's hard to find to see that you know at least in some parts of the world there are conversations being had with multiple stakeholders because these conversations are not being had but there are lots of the words so no Hello I'm Ian Condry here at MIT in comparative media studies thank you very much for the panel the question I want to ask has to do with the relationship between creativity and jobs and I'm wondering in part because this word creativity it's a great word everybody loves creativity it's like innovation right I mean everybody's for it and there's nothing bad about it but it's also hard to know sort of how to get our heads around it and what is actually being created because I think when we talk about this kind of creative industries it's often making a film or a radio show or a CD or some kind of music and that's fine but we've also seen how financial services is tremendously creative or in how they're good on making plans how it defines things right and so it makes me wonder you know if creativity so one of the reasons I ask so I study Japan and Tokyo thinks of itself as one of these creative mega cities and it's been very excited about Anime going global and winning an academy award and things like that and the government got behind it and yet in terms of jobs it's a complete disaster although Anime makes jobs it makes jobs in the Philippines and South Korea and China and Taiwan but not really in Japan and so although it's a creativity of sorts it's not one that's linked to local development which sort of I think it brings me back to think about Parmesh and how this idea of well where do you, how do you create creativity when we're talking about that aren't we talking not about creating creativity but sort of new kinds of value and that jobs can emerge around and I guess my question then is are there ways in which whatever this creative possibilities are that they are creating new kinds of jobs and if so where are they and it seems to me that the way to think about it might be in terms of platforms where people can participate and then new kinds of value emerges and then the jobs come that rather than and it is a kind of top down bottom up picture but in terms of whether you design sort of new creative industries or whether you design platforms out of which industries and ideas that we even imagine can emerge seem to me to very different kinds of projects and I'm curious if you have ideas of what has or might be successful I in principle yes I think that's it, I think cities do say when they're trying to promote themselves or promote particular projects we're going to build an X and it will create Y number of jobs I think that's putting the cart before the horse I mean it's you know I have two sons and they are trying to be writers regardless of the government, regardless of employment possibilities you know one is a waiter and I think that creative people do what they have to do not because of government edict but because if they don't do that thing they shrivel up and die and I think that's ultimately we do this because we're human beings now having said that you know the sports industry in the United States just to pick that one country is now larger than the automobile industry in the United States so I'm not sure what that means if it's good or bad but so there's something there but I guess I would be skeptical in this argument about assuming that we're going to do these really cool art things that we saw in Rio and in Bombay and they're going to create a lot of jobs I think they create a lot of human spirit and they enhance our lives and they provide moments where we can express ourselves and if they create jobs too that's pretty cool but with the one exception being probably some of the entertainment industries like in Black Bollywood but I don't know what percentage of the national job picture but it's probably a big chunk of exports where it was historically so I think and this is one of the things that we move forward with a project like this we've got to do that at least in the UK since they had this big creative industries they measure it very very and they need to justify it to spend on it so what I read recently about the UK they said about 9% of their economy is based on the creative industry and they actually broke it up into so many jobs but it was a very wide everything from of course animation all the entertainment arts but touching about everything else museums etc etc so some places have a fix on and I think perhaps a fix to go saying from 8% we want to move to 12% without having all the other things in place we have some factual data about it in Brazil in average cultural projects raise or create 123 jobs per each one million heis invested which is the double figure of the construction industry which is based on lots of people working but I think the issue is not only create jobs but to have better jobs for the people jobs where people can really fulfill their capabilities where they can be better better better where they can be creative where they can be happy when they can realize their potential and I'd like to share with you one example Rio de Janeiro is nowadays one of the few cities in the world where we have what's the word in English but it's a full job situation in economic terms full employment it's an economic concept when the unemployment rate is lower than 5% you have a full employment situation doesn't mean that everybody has a job but everybody who can have a job have a job so that's the situation in Rio right now the unemployment rate is around 4% 4% we realize it in 2009 that we had lots of films being made in favelas by filmmakers from favelas small films micro length of films they did it with cell phones they did it with small photographic cameras but realize there was lots of people in favelas and they get together in groups like noz de moho noz de favela and one of the films that took advantage of this situation was City of God lots of people who worked on City of God came from favelas so there was this well-known Brazilian filmmaker called Carlos de Agues he was pretty much into this phenomenon of people in favelas doing films so he came to us with an idea to make a feature film made only by filmmakers from favelas his role was the curator the curator but he did something directly so we did this project we back it this project called 5 times favela and it was totally developed in a collaborative way first we had the script labs in different favelas in order to pick up stories everyone could participate bring their own arguments and they chose in the end of this project process it was a one year process of choosing arguments five arguments the best ones to be transformed in scripts then those who wanted to be script writers participating workshops with the best script writers in Brazil Montovani and others and they were trained and they developed together the scripts for those five short films and then we did in a six month process workshops for everything for camera photography sound everything we can think more than 1,000 people participate in this whole process so at the end we reached 1,000 people and we generate 350 full jobs during one year and the result was this film called 5 times favela was the first film in many years selected to the official programming of the Cannes film festival in 2010 and when it opened in Brazilian theaters it made 165,000 tickets and it was in the Brazilian top 15 films so people in the beginning nobody will want to see this film because it depicts the reality from the favelas and they will make this film for themselves and so on and in the end 165,000 tickets were sold to this film and it had a huge critical reception and so on I think it's a good example of what we can do and you know the most interesting thing is of these 1,000 people who participate most of them young people from 18 to 25 more than 80% of them they had jobs but they didn't want to keep working on the jobs that they had more creative jobs so that's why they joined the project and most of those 350 who at the end became directly involved in the production of the film most of them are working in the industry right now in different projects and the 7 directors of the 5 films they became full filmmakers all the 7 are directing new films right now so it was a very interesting and winner project very interesting it illustrates the idea of people who want to have better jobs and not only more jobs so questions hi I was wondering can you guys elaborate a little bit about how you guys think that creativity can be an agent of social change other than creating jobs because I was interested in the project with Averture de Sousa I was just wondering how you guys see creativity in this being an agent of social change before I share that it's very simple because getting what Ernie said and what Hermes said creativity relies on making human behavior lighter and better so the what's happening right now in a country like Brazil we have this huge opportunity and I think it will rely on what we are discussing when Ian brought the question is that we need to reinvent the models it's not about be creative create jobs or create jobs to be creative later that was the example that Saichu gave the opposite of your question and that's a great example of how to change can change but what's happening right now in Rio is that for example we can develop through the center of entertainment the future of entertainment new tools for example for the health department in the city using entertainment education to change behaviors of millions of people because the city is seeing that the way they are doing so how can I say they are productive that's an example how to develop new contents new apps new tools that will make people change their health habits how are you going to know about how can I say public services that's a simple example that's why the city of Rio embraced the center because they saw that okay I can develop new formats to reach people in favelas to go more to healthcare centers in the city of Rio that was an example that the mayor brought let's develop games let's develop new formats that people in favelas will watch or they will access and that will make them use more of the public services and give us feedback on how to make a better delivery does that answer your question okay to answer I think about creativity social change depends on what you do with it of course there are so many great case studies of violence against women whatever cause you want to take so many interesting projects on them equally sophisticated examples of people using the same tools to actually put forward agendas that to you and me might not be good examples of social change for example with the LBGT movement in India right now there's online petitions there's campaigns there's art projects, there's old history projects all of that is happening at the same time you have those same tools being used by and this is very interesting with LBGT India suddenly all the religious parties normally they want to kill each other but suddenly because two years ago the Delhi High Court finally decriminalized homosexuality for the past two years it's legal to be again India but all the religious parties have come together on a common platform Hindus, Muslims, Christians they've all come together and they've all filed a petition in Supreme Court and they're using the same tools to spread their agenda so one of the Hindu right wing god men or whatever you know it's called a Baba he has a TV show that goes on at 8.30 every evening which half the country watches which he combines yoga exercises with light spirituality and it's what half the country watches so he's using television, he's using social media, he's using all of it and one of his favorite he has a few pet themes one of his favorite pet themes is that I can cure being gay with yoga the second pet theme is that AIDS does not exist so he has a few pet themes which he's using very creatively these tools very creatively to to spread so is he bringing about social change certainly I don't know if it's a good kind of social change anyway last question because we have two minutes two questions two questions you can't say no to Sam so two more questions and whatever you want I'm Alexandra from the alchemist and I have a question for Ernie Wilson thinking about your model we were thinking that putting government aside for a moment and all discussion we just had how the other stakeholders the other corners of the squad could help to turn creative people into a creative economy how could for instance universities or non-profit organizations could help people to become more organized and turn into something financially more important for the city let me try to answer it briefly the sort of academic answer to that is to sort of flip it around and say that if you look at the places which today are the most innovative they have that quad thing so I want to start with that and that's I think we can show that using real data and so forth so but I think that's half the battle because if one knows that Mumbai or Los Angeles or Silicon Valley or this area here this is the classic case if people around here are really really creative because they do this thing and they have these conversations it seems to me that's 50% of solving the problem because it means that universities like MIT and non-profit and local government and national government and the private sector if that's true we need to figure out a way to talk to those people who we used to think were jerks pointy headed intellectuals fuzzy headed professors rapacious mean spirited capitalists you know irrelevant NGOs so I think what happens is that people say well you know I don't talk to these other folks a lot but I guess if I don't talk to them my city is going to go down the toilet so I think that is where and then there's some specific things that you can imagine as well as I do as to how to get people to talk to each other I think the first part and that's what people in this room because if you're at this particular place you're probably like ideas blah blah blah I think that's sort of our job is to get that understanding out to the other folks the pressure of being the closer a little on Twitter we were batting this around a little bit so I thought I'd ask you all your take you all have been kind of historicizing the history of the city as a cultural innovator and of course the not city also has a history of creating deep and rich culture my hometown which is the Twin Cities of Beaverdam and Hartford, Kentucky Hartford is the home of 2,000 happy people and a few sore heads according to the town signs but where I'm from they don't identify by name of city because the cities aren't large to speak of we are all county so I'm from Ohio County, Kentucky and it's the birthplace of bluegrass music which of course has had pretty profound international reach and implications in this digital age where perhaps more than ever content culture that's made in places that are off the off the airport code map has the ability both to be circulated like it never has before but also collaboration can happen now that defies geography so that people are working together that aren't located in these particular cities so I just wondered your all's opinion we've talked a lot about toward cities being where most people live in the next 100 years and cities being the new hub but we also have new technology of course broadband is a real problem we've talked about that some on Twitter as well access to broadband in some of these places is still pretty sketchy but if that infrastructure continues to improve how does the city, how do people then start to defy geographical location or does this content spread in new ways okay so I like each one of the panelists to go through that to make your conclusion I don't have words through that I don't have too much all I will say is that great question long way down the road in the sense that I have not been involved I've been involved in very few serious things that I've put in my heart and soul then where I didn't first meet the person to have a face to face human conversation I can think of very few folks I meet online that I understand there's a whole business that does that aside from that creativity I think that it's dual I don't have a lot of wisdom on that except to add sort of reinsert the human element to it and I think to be sustainable that's critically important I hope my colleagues disagree with me in some way well I have this crazy theory about how the internet the digital world and social networks are transforming the world in a huge Brazil of course of course it takes about one hour to explain that but that's really what I'm thinking it's really happening because all we have in Brazil is based in a social process in which many people from different parts of the world were able to get together in one place really exchanging their values their cultural references their repertoires in an environment of tolerance and mutual understanding which is very rare because most of the history of the world is in another direction for instance I always heard about New York as a melting pot city and every time I went to New York New York seemed to me like a place where you have lots of pots that never melt and I really really think somehow we were able in Brazil of course it's not a fairy tale we have problems we have but in general we manage somehow to have a really melting pot there and that's the strength that's the richness and that's the power of Brazilian culture it's interesting that he mentioned Gilberto Gil he's my personal guru master and movement that Gilberto Gil is the poster boy for it it totally represents how the cultural process in Brazil were made during the centuries it's what one Brazilian called the anthropophagic cultural anthropophagic way so we somehow are able to eat everything we are kind of cultural cannibalism yeah cultural cannibalism we are intense we kept lots of things from the world and somehow we are able to make it our own things and so give back our totally new and different things so that's the cultural and the social process in Brazil and I really think through internet through social network through the world digital environment we are making this a global thing because finally we you not depend on immigration waves to have access to other cultures to other values all you have to do is to be open to be couriers you can have access to everything humanity done in the whole history of humanity right now through those gadgets and through networks so it's up to you to take advantage of that you have to be open minded you have to be curious you have to go after and then you can absorb things from around the world values, signs and products, experiences and then make it your own and create things and exchange things with lots of other people creating new cycle, a vital cycle and so on so I'm sorry for to care time but that's why I'm calling this a huge Brazil but I really think through those new technologies and the new behaviors related to it we can really create a melting pot world that's what we are doing so to answer the world has always had curators and the world has always had influencers and I think more often than not these people have lived in cities so talent has always come from everywhere but it has to be mediated to pass through the funnel of either cities or curation in today's world where things can rise to the top or influence so something can come through a fashion blog and 100,000 people can like it it can be noticed or Anna Wintour can like it and feature it in Vogue but it has to come to the attention of something called the general public but I think while we are studying these we are not really looking at ecosystems and this is something I've become more interested in looking at so maybe I am moving towards a particular economy kind of thinking I hope not let me so I'll just give you a story right so I have this friend called Jenjum Gandhi he grew up in a little village called Tirbin in Arunachal Pradesh which is a state in the northeast of India full of violence all the time and he grew up not knowing English or Hindi he knew his local language but one day when he was like 14 or 15 he happened to read an eighth month old a feminine feminine is like this middle class women's magazine it's not up there with Bazaar it's this middle class what would be equivalent good housekeeping I suppose and in the pages of that he discovered that he liked clothes but now how did this person get from that village not speaking anything his village didn't even have electricity or water I mean just think of all those journeys that he made from non-language from non what the world thinks of as language to learning a language that he can communicate in from Tirbin to Delhi from lying to his parents that he needs to go to a not just to a state capital to be the capital of India because he wants to be an engineer to then lying and then enrolling in fashion school but also these other journeys none of this would have happened if there wasn't if there weren't fashion schools all over the country his work wouldn't have been noticed first he had to be really good so he topped his class so he had spaces to show his work and so there were fashion shows happening then this his work had to be written about so there are magazines right there's a fashion magazine explosion in India and finally there has to be a market for him to like earn money so that he doesn't have to go back to his village or become an engineer or whatever there have to be consumers right so we have to look at this within I think by looking at the entire ecosystem and within all of this where do small towns, villages that we don't conceive of as cities play I think it's the same as anyone it's not easy for someone living in a city to record a great piece of music and be noticed I think you have to go through the lens of curation and taste making maybe even harder because you're competing with other really talented people in the city something that I wanted to put to that point that Sam Rod is there and that's what I'm loving this conversation about now in the world we have this opportunity of having what we call the grassroots block busing that's the moment we're in our world how we can have the grassroots examples that Parmesh brought that Sergio brought and mix it with all the block busing success that LA who represented here by earning how we can manage to balance grassroots with block busing so those cities they need to go through their journey it's it's like that it's like Soja Boy, remember F.O.E. when Harry brought it from the first sign we have 2,000 Soja Boys there about to be discovered but the cycle is the same but now how can we manage grassroots culture and block busing methodologies to make new revenue models and even how to get 3,000 people city in Brazil to come alive I think that when Ana Dom developed the Technobregar study and then we brought like we compared Tom Yark to Shin Binha like the opposite grassroots against block busing how Radiohead is not so good as a guy carny music from the north of Brazil so that's the moment we're now I think how to manage to make grassroots block busing one more question