WEBVTT

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>> Good evening.  

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My name is Don Seitz from the 

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Princeton Entrepreneurship Council, to 

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folks here in New York City and her 

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friends running remotely, welcome to 

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this edition of Tiger talks, a 

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phenomenal topic that I'm excited about 

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.  

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Part of a series of Tiger talks, 

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exploring through different lenses and 

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perspective gives, social impact issues 

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of importance.  

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Before I invite others to say hello, I 

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want to invite our hosts, the venue 

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hosts, Tom Meyer, and managing partner 

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with alumni who has been so generous, 

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once again, to offer this wonderful 

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space in Midtown, Manhattan.  

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Tom, come on up and say hello.  

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[ Applause ] >> Thank you, I am Tom 

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Meyer and thank you for coming tonight.

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 I'm the managing partner of alumni 

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ventures Princeton focus funds.  

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This is a big capitol funds for funds 

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for lot of the top schools, the best 

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one being Princeton.  

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We are now a big firm with over 1 

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billion in assets in our management, we 

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were ranked just the most active 

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venture capitol firm and we do one or 

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two deals a day.  

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I ask you to have a good time tonight.  

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If you have interesting companies to 

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invest in, let me know, if you want to 

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invest with us let me know.

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 Anyone can come in.  

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We are glad to have you here, thank you 

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for joining us.  

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>> Thank you, Tom.

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I should probably say if you want to 

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invest in the arts, talk to Tom as well.

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Speaking of the arts, Princeton 

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entrepreneurship Council often 

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collaborates with many campus partners, 

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including many important ways with the 

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center of the art.  

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The inspiration for tonight's panel is 

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my colleague at Lewis Center for the 

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arts, Angel Gardner.  

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Come on up.  

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>> Thank you.  

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>> Thank you for being here everybody.  

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Been really fortunate, I've cohosted 

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many events over the years and were 

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were able to include the arts in this 

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vision.  

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I am especially thrilled to have this 

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panel of friends and colleagues, here 

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to talk about accessibility in the arts.

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I was inspired in particular, and it 

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sort of blossomed from there.

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 I'm going to let the moderator 

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introduce the panelists and they will 

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give you the directions but I want to 

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start by introducing the moderator.  

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My former colleague from a previous 

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life, I have the privilege of working 

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with her for almost nine years.

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 She's a teaching artist and currently 

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the artistic director or and currently 

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serves 6500 in New York City in the 

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advanced space curriculum, and many 

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thousand more through national programs 

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and teacher training initiatives .

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 In 2014 she cofounded the dream 

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project, which pairs disabled children 

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with peers to be able to create these, 

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so it was sort of it was wonderful to 

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talk about the subject.  

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And now, from the great class of 1986, 

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Katie Baker .

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 >> Thank you, Angel.  

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>> I am a white woman in my 50s, I have 

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gray hair cut close and short.  

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I consider it sassy.

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 I'm wearing a black V-neck shirt and 

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dark green pants and on my head are a 

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pair of glasses that I will be using 

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throughout the evening.  

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If it's all right with you I would like 

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to call out our panelists introduce 

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themselves if that's okay.

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>>.  

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[ INAUDIBLE ] visual description, I am 

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visually impaired and I am.  

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[ INAUDIBLE ] and 6 feet tall, I am 

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wearing a mask.  

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A sweater, black pants, shoes, and I 

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have.  

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[ INAUDIBLE ] on my feet that we will 

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talk about in a minute.

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 Thank you .

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 >> I am an Asian American with short 

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black hair,, I'm wearing a light gray 

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jacket and beige pants.

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 I'm a graduate student and I am.  

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[ INAUDIBLE ] started at Princeton, 

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which aims me together.  

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[ INAUDIBLE ] solutions, for ways for 

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communication and I will speak more 

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about that.

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Over the course of this conference .

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 >> Hello everybody.  

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I am.

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[ INAUDIBLE ] and I look like the last 

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Kardashian.  

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I have long brown hair and cinnamon 

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skin.  

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I am a comedian and an advocate, a 

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writer a commentator because being 

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disabled in America is extremely 

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expensive.

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 I have to juggle seven jobs but my 

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favorite job is being a teacher at 

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Prince 10.

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This is my last season as a Princeton 

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fellow.

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But, during my stint at Princeton which 

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we will talk more about, I got to 

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design an original arts course and all 

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semester for original courses.

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I failed all of my students.  

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[ LAUGHTER ] >> So, my first question, 

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I've been readying all of your work and 

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I just want to thank all of you, each 

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of you for what you've been doing to 

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create innovative accessibility.  

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All will hear so will try to understand 

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what is the experience of what Jesus is 

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true in their daily lives know being in 

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these incredible institutional basal 

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recognize everywhere the plot and a lot 

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of people regional Tiger and so we 

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decided to take a pause care of 

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ourselves so clear community there for 

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each other Elisha understand each other 

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is essential to work in the classroom 

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and) and sorry I think radical access 

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is also capitalism at its finest one in 

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three households has a disabled member 

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and were a quarter of the population 

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and growing as that the COVID pandemic 

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continues to create newly disabled 

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people every day I always say where the 

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community that you can join at any time 

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whether you what you are not because 

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disability doesn't describe .

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 >> I demanded that my spaces be 

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wheelchair accessible but that I always 

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had interpreters in my captioning.

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 My first question will anyone deaf be 

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there, I said we don't know, will I 

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give them the opportunity to show up 

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last minute like the rest of us do.

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For me, radical access is not signing 

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up two weeks before, begging people to 

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make space for you.  

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Is not creating a space where the 

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wheelchair is on display, because they 

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can only be in one part of the room.  

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It's creating a space where anyone can 

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show up at him an event at any time, 

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regardless of their ability or 

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disability, and be able to enjoy it I 

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think it was really amazing, being 

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given the opportunity to do this in the 

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Princeton space, where we are blessed 

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with the resources is to bring in 

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interpreters and live captioning, to 

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introduce audio description and see 

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fully, fully integrated performances 

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that absolutely everyone can enjoy and 

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prove that accessibility doesn't 

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compromise art, it accentuates it .

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 >> Amazing, both of you.  

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>> Go.

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>> So, my the colleagues and I started 

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this project called museum verse about 

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a year ago.  

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The idea was that we wanted to connect 

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museums and arts and cultural 

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institutions with people, using new 

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technologies and new innovations, 

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especially in the realm of VR.

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Virtual-reality and augmented reality.  

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We think that the technology has a lot 

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of potential to bring people together 

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in different ways.

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Using a space that's not bound by a 

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loss of figure, there's no physical 

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constraints.  

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We've been able to put together 

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different museums and audiences than 

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the virtual space, and collaborate on 

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projects.

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I think, also, we are really privileged 

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, the human experience, the qualitative 

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experience of using VR.  

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One of the things you been noticing is 

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everyone is talking about VR, but it's 

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really talking about we are in terms of 

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technology for quantitative metrics or 

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data points.

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 We want to cover the user experience 

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and help receive it and to understand 

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how people engage with it, the 

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potentials and also the limitations of 

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technology.  

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By listening to people stories is how 

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we can create a new space or 

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infrastructure within this new, 

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innovative emerging technology.  

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It's about human connection.  

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>> Dutiful, Thank you all.  

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. >> What was the title of your course?

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>> The title of my curse -- course, 

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radical injustice, disability and the 

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arts .

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 >> I was reading the audio description 

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is courtier choreography process.

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 The distinction between the way audio 

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description shows up for disabled 

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people, versus the way you use it and 

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develop the approach and description 

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for the process.  

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>> Absolutely.  

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Think it's important to make the 

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distinction right now.  

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Between compliance and disability 

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justice and disability artistry.  

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Talking about compliance in terms of 

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physical space, space is physically 

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accessible, ASL interpretation, 

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services that usually a consultant, and 

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access consultant and someone that 

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specialize is in the building making 

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sure that everything is assessed and 

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everything is accessible under the law, 

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by the law and with the lot.  

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More focused on let's just celebrate 

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disabled art .

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 Let's just take a moment to listen to 

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disabled artists histories .

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 Let's take a moment to understand how 

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complaints can be a perfect tool for 

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creativity and how disabled artists 

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take interpretation and mentally, all 

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the culture around the access work, but 

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it's also problematic in a way, because 

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if we think about American Sign 

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language, what we usually see is the 

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mainstream, white American sign 

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language.

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 We never get to see black sign 

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language.

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 Whenever get to see indigenous the 

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sign language.  

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I wanted to make a space in my class, 

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for students to appreciate what 

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indigenous black disabled people, or 

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queer and trans people of color are 

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doing .

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 With that introduction, I will say 

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that my crack this is based upon who I 

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am as a immigrant.

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 I am gay, I have an accent, I want 

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people to hear the description with an 

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accent that is intentional.

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 I think it's representation that 

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matters, in every single field.

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I didn't feel represented when I went 

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to shows at the theater, you name it, 

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Lincoln Center, I didn't hear anyone 

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with an accent.  

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So, my collaborators, they are all 

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disabled as well, I wanted to center 

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disabled people because that was also 

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part of the problem with access work.

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 Disabled people were not allowed to be 

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access workers.  

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I wanted my ASL interpreters to be 

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disabled.  

00:18:09.000 --> 00:18:10.000
I wanted to have my community and my 

00:18:10.000 --> 00:18:11.000
work.

00:18:11.000 --> 00:18:14.000
  

00:18:14.000 --> 00:18:20.000
Ultimately, it's about having fun.  

00:18:20.000 --> 00:18:24.000
I am an artist, I am disabled, we have 

00:18:24.000 --> 00:18:25.000
and we still go through many obstacles 

00:18:25.000 --> 00:18:26.000
today, so I want to have fun and I want 

00:18:26.000 --> 00:18:30.000
to do whatever I want.  

00:18:30.000 --> 00:18:31.000
I think artists, disabled or not should 

00:18:31.000 --> 00:18:32.000
be able to do whatever they want.

00:18:32.000 --> 00:18:33.000
  

00:18:33.000 --> 00:18:34.000
>> Thank you.

00:18:34.000 --> 00:18:37.000
  

00:18:37.000 --> 00:18:40.000
>> I heard you say before that creating 

00:18:40.000 --> 00:18:43.000
areas for rest slowing down, 

00:18:43.000 --> 00:18:44.000
integrating that is a part of practice 

00:18:44.000 --> 00:18:48.000
as an artist.  

00:18:48.000 --> 00:18:54.000
This is creating access, but we could 

00:18:54.000 --> 00:18:57.000
all use it, that is part of our culture 

00:18:57.000 --> 00:19:00.000
of white privilege, it can be go go go .

00:19:00.000 --> 00:19:06.000
 >> That's why I love working with 

00:19:06.000 --> 00:19:07.000
Christopher, you meet one disabled 

00:19:07.000 --> 00:19:08.000
person and you've met one disabled 

00:19:08.000 --> 00:19:12.000
person because he and I have completely 

00:19:12.000 --> 00:19:13.000
disabled approaches -- different 

00:19:13.000 --> 00:19:16.000
approaches.

00:19:16.000 --> 00:19:19.000
 I don't let my students rest because 

00:19:19.000 --> 00:19:20.000
Holly would never let me rest .

00:19:20.000 --> 00:19:21.000
 Of my classes are cutthroat, you have 

00:19:21.000 --> 00:19:22.000
to do everything right now.

00:19:22.000 --> 00:19:24.000
  

00:19:24.000 --> 00:19:28.000
Of course, I worked very hard on 

00:19:28.000 --> 00:19:29.000
Disability Integration and also, 

00:19:29.000 --> 00:19:33.000
matching voices and racists.  

00:19:33.000 --> 00:19:35.000
If I create Stefan if I have a black 

00:19:35.000 --> 00:19:38.000
deaf woman, I want a black woman 

00:19:38.000 --> 00:19:40.000
voicing her instead of the default, 

00:19:40.000 --> 00:19:41.000
which is always a white man.  

00:19:41.000 --> 00:19:43.000
Can I talk about my classes?  

00:19:43.000 --> 00:19:46.000
>>.  

00:19:46.000 --> 00:19:50.000
>> Very cutthroat.

00:19:50.000 --> 00:19:53.000
 I came into the fellowship because I 

00:19:53.000 --> 00:19:56.000
got a phone call from my agent, telling 

00:19:56.000 --> 00:19:57.000
me that all of my life performances for 

00:19:57.000 --> 00:19:58.000
the foreseeable future had been 

00:19:58.000 --> 00:20:00.000
canceled.  

00:20:00.000 --> 00:20:01.000
I tour about 200 days per year.

00:20:01.000 --> 00:20:06.000
  

00:20:06.000 --> 00:20:07.000
That's my bread and butter, eyes of the 

00:20:07.000 --> 00:20:08.000
fellowship and I didn't realize it 

00:20:08.000 --> 00:20:12.000
started a year later.  

00:20:12.000 --> 00:20:13.000
I was like I will apply for this.

00:20:13.000 --> 00:20:16.000
 I got it, so my first class I taught 

00:20:16.000 --> 00:20:17.000
standup comedy, which Princeton 

00:20:17.000 --> 00:20:18.000
definitely needs.

00:20:18.000 --> 00:20:24.000
  

00:20:24.000 --> 00:20:25.000
[ LAUGHTER ] so each of my students, by 

00:20:25.000 --> 00:20:28.000
the midterm was doing an open mic, the 

00:20:28.000 --> 00:20:29.000
final was on performing an original 

00:20:29.000 --> 00:20:33.000
standup comedy routine.  

00:20:33.000 --> 00:20:36.000
Second class I created a Hollywood 

00:20:36.000 --> 00:20:37.000
writers room with three disc set 

00:20:37.000 --> 00:20:41.000
writers rooms.  

00:20:41.000 --> 00:20:42.000
First half of the semester they had to 

00:20:42.000 --> 00:20:43.000
write a script in the second half they 

00:20:43.000 --> 00:20:50.000
had to create an original pilot.  

00:20:50.000 --> 00:20:51.000
The writers rooms were mixed up as soon 

00:20:51.000 --> 00:20:52.000
as they got comfortable, I would yank 

00:20:52.000 --> 00:20:53.000
someone out and put them in a different 

00:20:53.000 --> 00:20:54.000
room so they could experience what it 

00:20:54.000 --> 00:20:59.000
was like being Hollywood.  

00:20:59.000 --> 00:21:00.000
Because of what Christopher said, I 

00:21:00.000 --> 00:21:01.000
realize my students were too stressed 

00:21:01.000 --> 00:21:02.000
out, two years behind because of 

00:21:02.000 --> 00:21:03.000
virtual learning.

00:21:03.000 --> 00:21:04.000
  

00:21:04.000 --> 00:21:09.000
My class, you have to do every aspect 

00:21:09.000 --> 00:21:10.000
of work in last .

00:21:10.000 --> 00:21:12.000
 You don't do anything at home.

00:21:12.000 --> 00:21:13.000
 Is so it reduces the stress levels 

00:21:13.000 --> 00:21:18.000
that they have doing stuff at home.  

00:21:18.000 --> 00:21:22.000
Third, the third class was a messaging 

00:21:22.000 --> 00:21:23.000
class where I taught be how to do it 

00:21:23.000 --> 00:21:25.000
and talk and how to write a blog and 

00:21:25.000 --> 00:21:26.000
answer questions on the panel ensure 

00:21:26.000 --> 00:21:29.000
time.  

00:21:29.000 --> 00:21:32.000
Especially, we now have a generation 

00:21:32.000 --> 00:21:33.000
that grew up was social media and has 

00:21:33.000 --> 00:21:35.000
already destroyed their lives.  

00:21:35.000 --> 00:21:38.000
I taught them how to take 

00:21:38.000 --> 00:21:39.000
responsibility for missed actions, 

00:21:39.000 --> 00:21:40.000
instead of waiting for it to come haunt 

00:21:40.000 --> 00:21:44.000
them.  

00:21:44.000 --> 00:21:46.000
This is my last semester of my biggest 

00:21:46.000 --> 00:21:49.000
and most important class, page this 

00:21:49.000 --> 00:21:50.000
stage, came in at the beginning of the 

00:21:50.000 --> 00:21:58.000
semester and to write an original one 

00:21:58.000 --> 00:21:59.000
act play in act without life as their 

00:21:59.000 --> 00:22:00.000
final.

00:22:00.000 --> 00:22:02.000
 The final thing I did at Princeton, 

00:22:02.000 --> 00:22:03.000
which I have much more to do and I 

00:22:03.000 --> 00:22:04.000
think a venture capitalist should 

00:22:04.000 --> 00:22:07.000
invest in me for this, was welcomed to 

00:22:07.000 --> 00:22:08.000
the disco what Princeton.

00:22:08.000 --> 00:22:10.000
  

00:22:10.000 --> 00:22:13.000
Disco stands for disability community.  

00:22:13.000 --> 00:22:18.000
A lot of people are uncomfortable with 

00:22:18.000 --> 00:22:19.000
the language surrounding disability but 

00:22:19.000 --> 00:22:20.000
most disabled adults are using disabled 

00:22:20.000 --> 00:22:26.000
now.  

00:22:26.000 --> 00:22:31.000
So what I did was I held several 

00:22:31.000 --> 00:22:32.000
communities on Princeton's campus to 

00:22:32.000 --> 00:22:33.000
talk about what was working and what 

00:22:33.000 --> 00:22:35.000
was not working.  

00:22:35.000 --> 00:22:36.000
I come from a state school and from the 

00:22:36.000 --> 00:22:37.000
state school background.

00:22:37.000 --> 00:22:40.000
  

00:22:40.000 --> 00:22:41.000
The state schools are working hard on 

00:22:41.000 --> 00:22:43.000
accessibility.  

00:22:43.000 --> 00:22:46.000
I think the Ivy leagues who are 

00:22:46.000 --> 00:22:52.000
innovative, they need to maybe every 

00:22:52.000 --> 00:22:54.000
once in a while, let go of the gravel, 

00:22:54.000 --> 00:22:57.000
the gravel path that they had their 

00:22:57.000 --> 00:23:03.000
first kiss on and maybe let the Ivy 

00:23:03.000 --> 00:23:04.000
League be more 21st-century, we are not 

00:23:04.000 --> 00:23:05.000
where we need to be.

00:23:05.000 --> 00:23:06.000
  

00:23:06.000 --> 00:23:10.000
I want to see that happen.  

00:23:10.000 --> 00:23:15.000
That was a big focus of my work and 

00:23:15.000 --> 00:23:16.000
making sure that disabled students, who 

00:23:16.000 --> 00:23:19.000
against all odds, made it to the Ivy 

00:23:19.000 --> 00:23:20.000
leagues, could stay and succeed in 

00:23:20.000 --> 00:23:22.000
graduate.  

00:23:22.000 --> 00:23:23.000
>> Thank you.

00:23:23.000 --> 00:23:24.000
  

00:23:24.000 --> 00:23:29.000
Michael?  

00:23:29.000 --> 00:23:34.000
I was wondering, and develop the 

00:23:34.000 --> 00:23:35.000
virtual reality and the experience, 

00:23:35.000 --> 00:23:36.000
creating more access to the audiences 

00:23:36.000 --> 00:23:37.000
in the museum, could you tell us a 

00:23:37.000 --> 00:23:38.000
little bit about the development 

00:23:38.000 --> 00:23:41.000
process and what were some things that 

00:23:41.000 --> 00:23:43.000
are working in some challenges that 

00:23:43.000 --> 00:23:46.000
you've run into .

00:23:46.000 --> 00:23:48.000
's back I think this speech is emerging 

00:23:48.000 --> 00:23:52.000
and there's a lot of potential.  

00:23:52.000 --> 00:23:53.000
I think it allows us to do things we 

00:23:53.000 --> 00:23:54.000
can do in the real world.

00:23:54.000 --> 00:23:59.000
  

00:23:59.000 --> 00:24:01.000
The museum context, letting people pick 

00:24:01.000 --> 00:24:03.000
up objects and the virtual space and 

00:24:03.000 --> 00:24:04.000
they can make rings bigger.

00:24:04.000 --> 00:24:07.000
  

00:24:07.000 --> 00:24:11.000
They can also do things we can do in 

00:24:11.000 --> 00:24:12.000
the real world and interact in 

00:24:12.000 --> 00:24:15.000
different ways.  

00:24:15.000 --> 00:24:18.000
I think that unlock the engagement 

00:24:18.000 --> 00:24:24.000
between the audience and the object .

00:24:24.000 --> 00:24:25.000
 That also contributes to new ways of 

00:24:25.000 --> 00:24:30.000
storytelling.  

00:24:30.000 --> 00:24:31.000
I think the potential is definitely 

00:24:31.000 --> 00:24:40.000
there.  

00:24:40.000 --> 00:24:41.000
We have been getting a lot of feedback 

00:24:41.000 --> 00:24:42.000
from our audience.

00:24:42.000 --> 00:24:49.000
  

00:24:49.000 --> 00:24:50.000
We have been having live public demos 

00:24:50.000 --> 00:24:51.000
to showcase some of our projects.

00:24:51.000 --> 00:24:55.000
  

00:24:55.000 --> 00:25:00.000
I think, there are some challenges, 

00:25:00.000 --> 00:25:01.000
firstly, the technology is still 

00:25:01.000 --> 00:25:06.000
developing, there are still glitches.  

00:25:06.000 --> 00:25:07.000
VR headsets are not super comfortable, 

00:25:07.000 --> 00:25:18.000
especially if you wear glasses.  

00:25:18.000 --> 00:25:23.000
And I think, I think some of the 

00:25:23.000 --> 00:25:24.000
features in VR is quite destabilizing 

00:25:24.000 --> 00:25:31.000
psychologic way.  

00:25:31.000 --> 00:25:35.000
We have a project and the response that 

00:25:35.000 --> 00:25:36.000
we got is that was disorienting and it 

00:25:36.000 --> 00:25:37.000
was a shock.

00:25:37.000 --> 00:25:38.000
  

00:25:38.000 --> 00:25:43.000
Mentally.  

00:25:43.000 --> 00:25:50.000
So, I think there are technological 

00:25:50.000 --> 00:25:51.000
issues and also psychological things 

00:25:51.000 --> 00:25:52.000
that we need to work out.

00:25:52.000 --> 00:25:55.000
  

00:25:55.000 --> 00:26:00.000
And we need to listen to people .

00:26:00.000 --> 00:26:03.000
 The other aspect is the question of 

00:26:03.000 --> 00:26:05.000
accessibility versus building a truly 

00:26:05.000 --> 00:26:06.000
inclusive world.

00:26:06.000 --> 00:26:09.000
  

00:26:09.000 --> 00:26:11.000
We are at the point where we're still 

00:26:11.000 --> 00:26:12.000
building this world .

00:26:12.000 --> 00:26:13.000
 It's not structured yet.

00:26:13.000 --> 00:26:19.000
  

00:26:19.000 --> 00:26:20.000
I think there's a lot of layers 

00:26:20.000 --> 00:26:21.000
involved right now and a lot of big 

00:26:21.000 --> 00:26:26.000
companies and government organizations, 

00:26:26.000 --> 00:26:28.000
a lot of investment interests, because 

00:26:28.000 --> 00:26:32.000
people CVR and other technologies as 

00:26:32.000 --> 00:26:38.000
being capable of supplementing or 

00:26:38.000 --> 00:26:41.000
adding on to the real world in terms of 

00:26:41.000 --> 00:26:50.000
quantitative data that it can provide.  

00:26:50.000 --> 00:26:52.000
I think for disability justice, VR has 

00:26:52.000 --> 00:26:58.000
a lot of potential .

00:26:58.000 --> 00:27:01.000
 For example, with augmented reality, 

00:27:01.000 --> 00:27:02.000
it might highlight and accessible path 

00:27:02.000 --> 00:27:09.000
for you to enter a building.  

00:27:09.000 --> 00:27:14.000
And you might get lives subtitles at a 

00:27:14.000 --> 00:27:15.000
public event and I think, the challenge 

00:27:15.000 --> 00:27:18.000
right now is that the people building 

00:27:18.000 --> 00:27:19.000
this are people in finance.

00:27:19.000 --> 00:27:29.000
  

00:27:29.000 --> 00:27:34.000
For example, the development of sign 

00:27:34.000 --> 00:27:35.000
language in VR has been happening and 

00:27:35.000 --> 00:27:40.000
it's been recent, but the people 

00:27:40.000 --> 00:27:41.000
leading the project or peep who are 

00:27:41.000 --> 00:27:42.000
deaf and hard of hearing, people in the 

00:27:42.000 --> 00:27:43.000
disability justice space.

00:27:43.000 --> 00:27:46.000
  

00:27:46.000 --> 00:27:48.000
So, I think the challenge is to make 

00:27:48.000 --> 00:27:53.000
sure that we build a space that is 

00:27:53.000 --> 00:28:00.000
truly inclusive of all backgrounds and 

00:28:00.000 --> 00:28:04.000
really, in consideration of everyone's 

00:28:04.000 --> 00:28:05.000
perspective lives and backgrounds, 

00:28:05.000 --> 00:28:11.000
rather than creating a structure that's 

00:28:11.000 --> 00:28:13.000
just skinny be or perpetrate the 

00:28:13.000 --> 00:28:15.000
existing infrastructure in place, I 

00:28:15.000 --> 00:28:19.000
think right now, we are still at the 

00:28:19.000 --> 00:28:23.000
point where the door is open for 

00:28:23.000 --> 00:28:25.000
everyone to bring in their experience 

00:28:25.000 --> 00:28:29.000
and contribution to the building of 

00:28:29.000 --> 00:28:30.000
this space .

00:28:30.000 --> 00:28:31.000
's back at what points of the robots 

00:28:31.000 --> 00:28:32.000
going to kill us?  

00:28:32.000 --> 00:28:33.000
>> Hopefully never.

00:28:33.000 --> 00:28:37.000
  

00:28:37.000 --> 00:28:38.000
>> That's a good segue, thank you for 

00:28:38.000 --> 00:28:41.000
the segue.  

00:28:41.000 --> 00:28:50.000
I was can ask you, we talked earlier 

00:28:50.000 --> 00:28:51.000
about your seven jobs, and I just 

00:28:51.000 --> 00:28:52.000
wonder if you would be willing to talk 

00:28:52.000 --> 00:28:53.000
about how you use comedy to dismantle.

00:28:53.000 --> 00:28:55.000
 There are physical barriers, access 

00:28:55.000 --> 00:28:58.000
like ramps and things like that.  

00:28:58.000 --> 00:29:02.000
>> I don't really work in disability 

00:29:02.000 --> 00:29:03.000
justice, my entire thing is I'm 

00:29:03.000 --> 00:29:09.000
disabled and I'm your professor.  

00:29:09.000 --> 00:29:10.000
I'm disabled and nine your executive 

00:29:10.000 --> 00:29:11.000
producer.

00:29:11.000 --> 00:29:15.000
 For me it's more action, I am very 

00:29:15.000 --> 00:29:16.000
emotional about never using my talent 

00:29:16.000 --> 00:29:19.000
to teach .

00:29:19.000 --> 00:29:23.000
 I'm not here to teach peep hole when 

00:29:23.000 --> 00:29:24.000
I'm doing standup comedy, I'm an 

00:29:24.000 --> 00:29:25.000
entertainer.

00:29:25.000 --> 00:29:26.000
 I go on stage to entertain.

00:29:26.000 --> 00:29:27.000
  

00:29:27.000 --> 00:29:29.000
A lot of people learn from me because 

00:29:29.000 --> 00:29:35.000
they live in a really close world where 

00:29:35.000 --> 00:29:36.000
they have not have access to a sexy 

00:29:36.000 --> 00:29:38.000
disabled woman.

00:29:38.000 --> 00:29:40.000
 They think of disabled people as have 

00:29:40.000 --> 00:29:44.000
snowflake Angel babies that we should 

00:29:44.000 --> 00:29:49.000
raise money for and get it to blanket.  

00:29:49.000 --> 00:29:50.000
So my action of walking through limping 

00:29:50.000 --> 00:29:51.000
to the world is much more about, I am 

00:29:51.000 --> 00:29:52.000
really good at what I do.

00:29:52.000 --> 00:29:54.000
  

00:29:54.000 --> 00:29:59.000
I am not given the opportunities that 

00:29:59.000 --> 00:30:00.000
other people are because, performance 

00:30:00.000 --> 00:30:01.000
spaces, if they are accessible tends to 

00:30:01.000 --> 00:30:02.000
be to the audience, not the performer.

00:30:02.000 --> 00:30:04.000
  

00:30:04.000 --> 00:30:05.000
I've been doing this job for 20 years.

00:30:05.000 --> 00:30:08.000
  

00:30:08.000 --> 00:30:09.000
I've sold out shows that 35,000 people 

00:30:09.000 --> 00:30:10.000
in Bridgestone Arena.

00:30:10.000 --> 00:30:13.000
  

00:30:13.000 --> 00:30:14.000
I've never gotten a Netflix special 

00:30:14.000 --> 00:30:18.000
because Hollywood shuns disability.  

00:30:18.000 --> 00:30:19.000
They think of us as unattractive and a 

00:30:19.000 --> 00:30:23.000
conflict to escapism.  

00:30:23.000 --> 00:30:26.000
Nobody thinks we are worth the 

00:30:26.000 --> 00:30:27.000
investment when I talk about the 

00:30:27.000 --> 00:30:29.000
Princeton Fellowship, I came in the 

00:30:29.000 --> 00:30:34.000
fellowship 20 years into my career.  

00:30:34.000 --> 00:30:40.000
It was the first time I've ever been 

00:30:40.000 --> 00:30:41.000
given the implements to do my job, so I 

00:30:41.000 --> 00:30:42.000
didn't spend most of the time 

00:30:42.000 --> 00:30:43.000
struggling with accessibility, I could 

00:30:43.000 --> 00:30:44.000
actually produce staff.

00:30:44.000 --> 00:30:48.000
  

00:30:48.000 --> 00:30:50.000
Princeton University gave me at typists.

00:30:50.000 --> 00:30:52.000
 I have cerebral palsy, I'm a writer 

00:30:52.000 --> 00:30:54.000
and I've written best-selling novels 

00:30:54.000 --> 00:30:57.000
and I'm writing a comic book series.  

00:30:57.000 --> 00:31:01.000
When I got the comic book series deal, 

00:31:01.000 --> 00:31:02.000
without Princeton's fellowship support, 

00:31:02.000 --> 00:31:04.000
I would've had to turn down the 

00:31:04.000 --> 00:31:08.000
scholastic deal because it's impossible 

00:31:08.000 --> 00:31:13.000
for me to type 250 pages without having 

00:31:13.000 --> 00:31:14.000
assistance .

00:31:14.000 --> 00:31:15.000
 If I was going to pay for a typist I 

00:31:15.000 --> 00:31:16.000
would spend my entire salary.

00:31:16.000 --> 00:31:21.000
  

00:31:21.000 --> 00:31:22.000
Artist need this so we can have fun, so 

00:31:22.000 --> 00:31:27.000
that we can create, so that we can say 

00:31:27.000 --> 00:31:34.000
no to one of the 200 trips and say I'm 

00:31:34.000 --> 00:31:35.000
not going to Bentonville, they don't 

00:31:35.000 --> 00:31:36.000
have a hairdresser, and I'm not getting 

00:31:36.000 --> 00:31:37.000
my hair done at Walmart because they 

00:31:37.000 --> 00:31:38.000
made me look like a Lego.  

00:31:38.000 --> 00:31:47.000
It's a whole story.  

00:31:47.000 --> 00:31:48.000
[ LAUGHTER ] in addition to that, 

00:31:48.000 --> 00:31:49.000
Princeton did not say number In the 

00:31:49.000 --> 00:31:50.000
beginning I did have to train people 

00:31:50.000 --> 00:32:00.000
like Christopher is lucky.  

00:32:00.000 --> 00:32:04.000
She have interpreters made sure that I 

00:32:04.000 --> 00:32:07.000
have someone who takes me in a golf 

00:32:07.000 --> 00:32:10.000
cart around campus because campus is 

00:32:10.000 --> 00:32:12.000
huge it's very hard to navigate so 18 

00:32:12.000 --> 00:32:16.000
months I've been with Princeton self 

00:32:16.000 --> 00:32:20.000
far I was literally able to type two 

00:32:20.000 --> 00:32:23.000
entire books of my comic book series 

00:32:23.000 --> 00:32:28.000
that comes out in September I was able 

00:32:28.000 --> 00:32:29.000
to do an entire two film scripts and I 

00:32:29.000 --> 00:32:32.000
was able to like I said begin this 

00:32:32.000 --> 00:32:33.000
Eurasian avoids a look like to be a 

00:32:33.000 --> 00:32:34.000
disabled student our U.

00:32:34.000 --> 00:32:36.000
S.

00:32:36.000 --> 00:32:40.000
 Why are we failing disabled student so 

00:32:40.000 --> 00:32:42.000
much like I said these guys believe in 

00:32:42.000 --> 00:32:45.000
justice I don't I believe in dollar 

00:32:45.000 --> 00:32:47.000
dollar bills disabled people have the 

00:32:47.000 --> 00:32:50.000
buying power of China eight trillion 

00:32:50.000 --> 00:32:52.000
dollars were neither tapping into the 

00:32:52.000 --> 00:32:54.000
intelligence nor are we tapping into 

00:32:54.000 --> 00:32:59.000
the product that they can create so yes 

00:32:59.000 --> 00:33:01.000
of course making sure that 20% of my 

00:33:01.000 --> 00:33:04.000
crew at all times disabled is a 

00:33:04.000 --> 00:33:06.000
priority making sure that any disabled 

00:33:06.000 --> 00:33:12.000
character I write is acted by voice by 

00:33:12.000 --> 00:33:13.000
disabled person making sure those 

00:33:13.000 --> 00:33:24.000
disabled people please don't take this 

00:33:24.000 --> 00:33:25.000
personally because I'm looking at you 

00:33:25.000 --> 00:33:26.000
men.

00:33:26.000 --> 00:33:27.000
 >> The people who have broken through 

00:33:27.000 --> 00:33:30.000
in disability entertainment are white 

00:33:30.000 --> 00:33:31.000
man, Micah Fowler, Danny Wood, Michael 

00:33:31.000 --> 00:33:34.000
J.

00:33:34.000 --> 00:33:36.000
 Fox, we are lucky to have learned and 

00:33:36.000 --> 00:33:42.000
a couple other amazing black and death 

00:33:42.000 --> 00:33:43.000
act versus, but in general the people 

00:33:43.000 --> 00:33:44.000
who have broken through in the arts are 

00:33:44.000 --> 00:33:45.000
white .

00:33:45.000 --> 00:33:48.000
 Why, because in general, color 

00:33:48.000 --> 00:33:49.000
communities are not getting early 

00:33:49.000 --> 00:33:50.000
access.

00:33:50.000 --> 00:33:52.000
 They do not get access to education or 

00:33:52.000 --> 00:33:53.000
access to treatment and definitely not 

00:33:53.000 --> 00:33:54.000
getting access to the arts.

00:33:54.000 --> 00:34:01.000
  

00:34:01.000 --> 00:34:02.000
First of all, we have to make sure that 

00:34:02.000 --> 00:34:03.000
our arts programs are welcoming to 

00:34:03.000 --> 00:34:05.000
disabled students.  

00:34:05.000 --> 00:34:06.000
Is very hard at the University to 

00:34:06.000 --> 00:34:07.000
actually get it disabled kid in my 

00:34:07.000 --> 00:34:11.000
class.  

00:34:11.000 --> 00:34:12.000
I been trying for semesters and is 

00:34:12.000 --> 00:34:16.000
difficult.  

00:34:16.000 --> 00:34:18.000
We need to make sure that none of this 

00:34:18.000 --> 00:34:19.000
work is because you have to.

00:34:19.000 --> 00:34:23.000
  

00:34:23.000 --> 00:34:24.000
We've had to work 10 times harder than 

00:34:24.000 --> 00:34:25.000
the nondisabled peers to get where we 

00:34:25.000 --> 00:34:26.000
are.

00:34:26.000 --> 00:34:28.000
  

00:34:28.000 --> 00:34:29.000
We are proof that we are worth the 

00:34:29.000 --> 00:34:33.000
investment and at the students that we 

00:34:33.000 --> 00:34:35.000
teach are worth the investment.

00:34:35.000 --> 00:34:39.000
 Like I said, a big part of disability 

00:34:39.000 --> 00:34:42.000
justice is being the person in charge.  

00:34:42.000 --> 00:34:47.000
Very few people have ever had to answer 

00:34:47.000 --> 00:34:48.000
to a disabled Muslim woman at Princeton 

00:34:48.000 --> 00:34:50.000
University.  

00:34:50.000 --> 00:35:03.000
Now, you should see, boy, do they.  

00:35:03.000 --> 00:35:04.000
[ LAUGHTER ] >> I'm the angry disabled 

00:35:04.000 --> 00:35:11.000
person.  

00:35:11.000 --> 00:35:15.000
>> Christopher, I've seen videos of 

00:35:15.000 --> 00:35:18.000
your performance .

00:35:18.000 --> 00:35:27.000
 >> We had a premier last week.  

00:35:27.000 --> 00:35:29.000
>> What does, for performance venue in 

00:35:29.000 --> 00:35:42.000
space, what does accessibility for you 

00:35:42.000 --> 00:35:47.000
as it disabled artists, .

00:35:47.000 --> 00:35:48.000
 If disabled artists were in charge of 

00:35:48.000 --> 00:35:49.000
making the artisan technology, what 

00:35:49.000 --> 00:35:55.000
would that look again where we headed 

00:35:55.000 --> 00:35:56.000
as a world quick >> It's important to 

00:35:56.000 --> 00:36:00.000
say, just elaborating a little bit more 

00:36:00.000 --> 00:36:03.000
, we assume that you is the artist you 

00:36:03.000 --> 00:36:04.000
are not responsible for the access of 

00:36:04.000 --> 00:36:06.000
the building.  

00:36:06.000 --> 00:36:07.000
That is the responsibility of the 

00:36:07.000 --> 00:36:12.000
building.  

00:36:12.000 --> 00:36:13.000
Thank you for your booth beautiful 

00:36:13.000 --> 00:36:16.000
words because when I go and teach my 

00:36:16.000 --> 00:36:18.000
class, I can be an artist teaching my 

00:36:18.000 --> 00:36:19.000
class because Prince and is there to 

00:36:19.000 --> 00:36:21.000
support and they do have the 

00:36:21.000 --> 00:36:22.000
infrastructure, that is because of you 

00:36:22.000 --> 00:36:28.000
as well.  

00:36:28.000 --> 00:36:29.000
To request the services we need .

00:36:29.000 --> 00:36:30.000
 I can just be a freaking artist and 

00:36:30.000 --> 00:36:31.000
teach.

00:36:31.000 --> 00:36:33.000
  

00:36:33.000 --> 00:36:35.000
When I go into the space, this is 

00:36:35.000 --> 00:36:39.000
challenging and I have many dreams and 

00:36:39.000 --> 00:36:47.000
many ideas but a tell my producer for 

00:36:47.000 --> 00:36:48.000
the first time in 20 years, as well, 

00:36:48.000 --> 00:36:49.000
and thank you to the Princeton 

00:36:49.000 --> 00:36:50.000
Fellowship for my foundation grant, a 

00:36:50.000 --> 00:36:53.000
major grant that allows me to allocate 

00:36:53.000 --> 00:36:54.000
money for access and peep working in 

00:36:54.000 --> 00:36:56.000
disability justice and disabled people 

00:36:56.000 --> 00:36:57.000
and pay for transportation for people 

00:36:57.000 --> 00:37:02.000
in wheelchairs, that matters.  

00:37:02.000 --> 00:37:03.000
That matters because you can have many 

00:37:03.000 --> 00:37:04.000
dreams but we live in the land of 

00:37:04.000 --> 00:37:05.000
capitalism.

00:37:05.000 --> 00:37:07.000
  

00:37:07.000 --> 00:37:08.000
People don't move a finger if you don't 

00:37:08.000 --> 00:37:10.000
pay them.  

00:37:10.000 --> 00:37:13.000
You should pay everyone, especially in 

00:37:13.000 --> 00:37:14.000
this city where rent is incredible.

00:37:14.000 --> 00:37:16.000
  

00:37:16.000 --> 00:37:17.000
It is expensive to live in the U.

00:37:17.000 --> 00:37:20.000
S.

00:37:20.000 --> 00:37:23.000
 It's not cheaper because we are 

00:37:23.000 --> 00:37:26.000
disabled, we don't get into Walmart and 

00:37:26.000 --> 00:37:37.000
get it discount because we are 

00:37:37.000 --> 00:37:38.000
disabled, we say the are paid up same 

00:37:38.000 --> 00:37:39.000
price.

00:37:39.000 --> 00:37:40.000
 To me, my dream in my dream space, the 

00:37:40.000 --> 00:37:41.000
space is fully accessible is a space 

00:37:41.000 --> 00:37:42.000
where I have the resources, the 

00:37:42.000 --> 00:37:43.000
funding, the funders to pay for 

00:37:43.000 --> 00:37:44.000
everything that we disabled people need 

00:37:44.000 --> 00:37:50.000
to at every moment.  

00:37:50.000 --> 00:37:51.000
We need to nurture disabled artists and 

00:37:51.000 --> 00:37:52.000
let disabled artists just be.

00:37:52.000 --> 00:37:56.000
  

00:37:56.000 --> 00:37:57.000
At some point I said I'm not doing it 

00:37:57.000 --> 00:37:58.000
because I'm an axis consultant as well, 

00:37:58.000 --> 00:38:00.000
every time I got a resident the, 

00:38:00.000 --> 00:38:01.000
welcome, Christopher, what can we do?

00:38:01.000 --> 00:38:03.000
  

00:38:03.000 --> 00:38:05.000
I'm not here to be a consultant.  

00:38:05.000 --> 00:38:09.000
I'm here to be an artist or.  

00:38:09.000 --> 00:38:15.000
That is my first dream.

00:38:15.000 --> 00:38:16.000
 I just go into any residency in 

00:38:16.000 --> 00:38:17.000
Princeton is the exception.

00:38:17.000 --> 00:38:23.000
 I go into any fellowship or any space, 

00:38:23.000 --> 00:38:24.000
any show without people asking me, how 

00:38:24.000 --> 00:38:25.000
can we be more accessible and how can 

00:38:25.000 --> 00:38:26.000
we have ideal description.

00:38:26.000 --> 00:38:27.000
 It's not my job, I am here to be an 

00:38:27.000 --> 00:38:30.000
artist.  

00:38:30.000 --> 00:38:31.000
I want my collaborators to be who they 

00:38:31.000 --> 00:38:32.000
are.

00:38:32.000 --> 00:38:33.000
  

00:38:33.000 --> 00:38:34.000
Not to be consultants for everyone else.

00:38:34.000 --> 00:38:37.000
  

00:38:37.000 --> 00:38:39.000
That is my dream place, a place where 

00:38:39.000 --> 00:38:41.000
people are held accountable and 

00:38:41.000 --> 00:38:42.000
acknowledge that they need to be 

00:38:42.000 --> 00:38:46.000
responsible.  

00:38:46.000 --> 00:38:47.000
Accesses everybody's responsibility, 

00:38:47.000 --> 00:38:49.000
not only disabled people .

00:38:49.000 --> 00:38:57.000
 >> Thank you for that.  

00:38:57.000 --> 00:38:58.000
I hear that and I want to take a moment 

00:38:58.000 --> 00:38:59.000
to repeat the idea that it's the 

00:38:59.000 --> 00:39:00.000
responsibility of the presenting 

00:39:00.000 --> 00:39:01.000
organization, or the host to create 

00:39:01.000 --> 00:39:03.000
access .

00:39:03.000 --> 00:39:04.000
 >> It's the law .

00:39:04.000 --> 00:39:06.000
 >> It's not a responsibility it's the 

00:39:06.000 --> 00:39:08.000
law .

00:39:08.000 --> 00:39:14.000
 >> You're all just one blood vessel 

00:39:14.000 --> 00:39:15.000
pop away from needing the access 

00:39:15.000 --> 00:39:16.000
yourself so prep it before you need it.

00:39:16.000 --> 00:39:20.000
  

00:39:20.000 --> 00:39:21.000
. >> It's true .

00:39:21.000 --> 00:39:26.000
 >> Not 24 hours before the show.  

00:39:26.000 --> 00:39:27.000
>> God forbid .

00:39:27.000 --> 00:39:28.000
 >> Not after you've issued the 

00:39:28.000 --> 00:39:34.000
invitation .

00:39:34.000 --> 00:39:36.000
 >> It's a financial question, because 

00:39:36.000 --> 00:39:37.000
presenting vendors don't have a budget 

00:39:37.000 --> 00:39:45.000
for access.  

00:39:45.000 --> 00:39:49.000
But they don't have a budget and they 

00:39:49.000 --> 00:39:50.000
say we can be accessible with $1000, 

00:39:50.000 --> 00:39:53.000
that's not true, access is expensive 

00:39:53.000 --> 00:39:55.000
and you need to allocate five to 

00:39:55.000 --> 00:39:58.000
$10,000 to access work for one show 

00:39:58.000 --> 00:39:59.000
only .

00:39:59.000 --> 00:40:01.000
 >>> Once you begin the access it 

00:40:01.000 --> 00:40:03.000
become so much easier, you start off 

00:40:03.000 --> 00:40:06.000
and then it becomes, these are the 

00:40:06.000 --> 00:40:09.000
people we always use in these are the 

00:40:09.000 --> 00:40:10.000
rates, I also really hope that is 

00:40:10.000 --> 00:40:15.000
disabled artists that are given the 

00:40:15.000 --> 00:40:16.000
access, we've been given at Princeton, 

00:40:16.000 --> 00:40:17.000
that this is reflected in our students.

00:40:17.000 --> 00:40:24.000
  

00:40:24.000 --> 00:40:25.000
I'm done June 30, they can't fire me 

00:40:25.000 --> 00:40:26.000
but one of the things I did was let my 

00:40:26.000 --> 00:40:27.000
students who had anxiety come to class 

00:40:27.000 --> 00:40:31.000
via zoom.  

00:40:31.000 --> 00:40:32.000
You're not allowed to do that.

00:40:32.000 --> 00:40:33.000
 You're not, it's the Ivy League and 

00:40:33.000 --> 00:40:36.000
its in-person learning, they have to 

00:40:36.000 --> 00:40:40.000
walk through the mud and get to class .

00:40:40.000 --> 00:40:43.000
 What I realized was that when I met my 

00:40:43.000 --> 00:40:48.000
students that had anxiety and had 

00:40:48.000 --> 00:40:49.000
disabling depression, take my class, 

00:40:49.000 --> 00:40:54.000
via zoom, where they didn't have to get 

00:40:54.000 --> 00:40:55.000
dressed and put on the camera, they 

00:40:55.000 --> 00:40:56.000
were so much more successful.

00:40:56.000 --> 00:40:57.000
 The people in the group were so happy 

00:40:57.000 --> 00:40:58.000
they had lost the other student.

00:40:58.000 --> 00:41:00.000
  

00:41:00.000 --> 00:41:05.000
They think the access that we are given 

00:41:05.000 --> 00:41:06.000
as educators has to also be given to 

00:41:06.000 --> 00:41:07.000
our students, they deserve it.

00:41:07.000 --> 00:41:11.000
  

00:41:11.000 --> 00:41:12.000
The old academic theory is sort them 

00:41:12.000 --> 00:41:15.000
out.

00:41:15.000 --> 00:41:16.000
 Be as tough as you can, if they can't 

00:41:16.000 --> 00:41:20.000
hack it, they leave the school.  

00:41:20.000 --> 00:41:21.000
I don't think that's what we should be 

00:41:21.000 --> 00:41:22.000
doing with the greatest minds we have 

00:41:22.000 --> 00:41:23.000
in the country.

00:41:23.000 --> 00:41:24.000
  

00:41:24.000 --> 00:41:25.000
I've taught at Arizona State and NYU 

00:41:25.000 --> 00:41:26.000
and Prince 10.

00:41:26.000 --> 00:41:27.000
  

00:41:27.000 --> 00:41:32.000
Princeton gives you the greatest minds, 

00:41:32.000 --> 00:41:33.000
they work so hard to get there.

00:41:33.000 --> 00:41:35.000
  

00:41:35.000 --> 00:41:36.000
They deserve the same access that the 

00:41:36.000 --> 00:41:37.000
professors are given.

00:41:37.000 --> 00:41:39.000
  

00:41:39.000 --> 00:41:42.000
It's really expensive.  

00:41:42.000 --> 00:41:43.000
It's expensive to have translators and 

00:41:43.000 --> 00:41:47.000
expensive to clear the path that direct 

00:41:47.000 --> 00:41:51.000
the inexpensive redo bathrooms and 

00:41:51.000 --> 00:41:52.000
classic dorms that have a radius for 

00:41:52.000 --> 00:41:56.000
wheelchair.  

00:41:56.000 --> 00:41:59.000
But do we as a people ever feel good 

00:41:59.000 --> 00:42:00.000
about any building on our gorgeous 

00:42:00.000 --> 00:42:03.000
campus, not being accessible.  

00:42:03.000 --> 00:42:04.000
I know accessibility is so much more 

00:42:04.000 --> 00:42:05.000
than the physical.

00:42:05.000 --> 00:42:07.000
  

00:42:07.000 --> 00:42:08.000
But if you can't physically be there, 

00:42:08.000 --> 00:42:09.000
all the rest doesn't matter.

00:42:09.000 --> 00:42:13.000
  

00:42:13.000 --> 00:42:14.000
I want the same investment that was put 

00:42:14.000 --> 00:42:15.000
in me, put into the students, they are 

00:42:15.000 --> 00:42:16.000
worth it.

00:42:16.000 --> 00:42:23.000
  

00:42:23.000 --> 00:42:24.000
>> They are not is worth it as they 

00:42:24.000 --> 00:42:25.000
Kinney kids.

00:42:25.000 --> 00:42:26.000
 Those kids are better.  

00:42:26.000 --> 00:42:33.000
I'm kidding.  

00:42:33.000 --> 00:42:34.000
>> Access in museums, in every area, 

00:42:34.000 --> 00:42:38.000
what does every museum need to have?  

00:42:38.000 --> 00:42:40.000
To begin to welcome and then create a 

00:42:40.000 --> 00:42:42.000
space where people feel they belong and 

00:42:42.000 --> 00:42:43.000
it's a home where they can come and 

00:42:43.000 --> 00:42:44.000
visit?

00:42:44.000 --> 00:42:57.000
  

00:42:57.000 --> 00:42:58.000
>> I just want to pick up on the point.

00:42:58.000 --> 00:43:02.000
  

00:43:02.000 --> 00:43:03.000
The affordability of being disabled.

00:43:03.000 --> 00:43:08.000
 When I was given the description of 

00:43:08.000 --> 00:43:17.000
myself, I am someone with a hearing 

00:43:17.000 --> 00:43:19.000
disability, I have hearing aid which 

00:43:19.000 --> 00:43:21.000
cost a few thousand dollars, that's 

00:43:21.000 --> 00:43:22.000
what or with insurance coverage.

00:43:22.000 --> 00:43:28.000
  

00:43:28.000 --> 00:43:29.000
They are also made to be obsolete 

00:43:29.000 --> 00:43:30.000
within a number of years.

00:43:30.000 --> 00:43:33.000
  

00:43:33.000 --> 00:43:38.000
So, speaking from personal experience, 

00:43:38.000 --> 00:43:41.000
and also, speaking about the biomedical 

00:43:41.000 --> 00:43:44.000
industry as a whole, this and 

00:43:44.000 --> 00:43:53.000
affordability it also continues to play 

00:43:53.000 --> 00:43:54.000
into the system, where the equipment or 

00:43:54.000 --> 00:43:55.000
the extensions of the body that is so 

00:43:55.000 --> 00:43:57.000
crucial to people who are disabled, are 

00:43:57.000 --> 00:44:00.000
being controlled by biomedical can't 

00:44:00.000 --> 00:44:01.000
these, so I just wanted to point that 

00:44:01.000 --> 00:44:06.000
out as well .

00:44:06.000 --> 00:44:07.000
 So, I think one of the biggest 

00:44:07.000 --> 00:44:12.000
challenges that we have phase, in terms 

00:44:12.000 --> 00:44:18.000
of working on VR within the museum 

00:44:18.000 --> 00:44:24.000
setting, is people's mistrust of the VR 

00:44:24.000 --> 00:44:26.000
heads that, and I am speaking for 

00:44:26.000 --> 00:44:27.000
people with disabilities and those 

00:44:27.000 --> 00:44:28.000
without.

00:44:28.000 --> 00:44:32.000
  

00:44:32.000 --> 00:44:38.000
And I think, especially it's hard if 

00:44:38.000 --> 00:44:39.000
you are with the neuro divergent >> 

00:44:39.000 --> 00:44:40.000
Room.

00:44:40.000 --> 00:44:43.000
  

00:44:43.000 --> 00:44:49.000
I think it's a challenge to put 

00:44:49.000 --> 00:44:50.000
something on your head, things that 

00:44:50.000 --> 00:44:51.000
have different voices and things that 

00:44:51.000 --> 00:44:57.000
take you to the realities.  

00:44:57.000 --> 00:44:59.000
I mean, the experience for many people, 

00:44:59.000 --> 00:45:02.000
the first time they where VR had set, 

00:45:02.000 --> 00:45:04.000
the effect becomes compounded for 

00:45:04.000 --> 00:45:12.000
people, who are neuro divergent.  

00:45:12.000 --> 00:45:15.000
I think, in terms of accessibility, 

00:45:15.000 --> 00:45:18.000
it's again, just listening to people 

00:45:18.000 --> 00:45:19.000
and collecting feedback and responding 

00:45:19.000 --> 00:45:20.000
to the feedback.

00:45:20.000 --> 00:45:24.000
  

00:45:24.000 --> 00:45:29.000
I think the danger right now is that 

00:45:29.000 --> 00:45:30.000
the people, the corporations behind the 

00:45:30.000 --> 00:45:35.000
technology are reducing the stories and 

00:45:35.000 --> 00:45:36.000
the experiences into data points, into 

00:45:36.000 --> 00:45:37.000
certain metrics.

00:45:37.000 --> 00:45:41.000
  

00:45:41.000 --> 00:45:47.000
I think really, the solution is to 

00:45:47.000 --> 00:45:50.000
listen to people and to turn these data 

00:45:50.000 --> 00:45:54.000
points into stories and experiences, 

00:45:54.000 --> 00:45:55.000
creating an environment that's truly 

00:45:55.000 --> 00:45:56.000
inclusive.

00:45:56.000 --> 00:46:00.000
  

00:46:00.000 --> 00:46:01.000
>> I know were going to run out of time 

00:46:01.000 --> 00:46:07.000
but I wanted to jump in and one other 

00:46:07.000 --> 00:46:08.000
way, personally for me as an artist, 

00:46:08.000 --> 00:46:09.000
when Christopher and I were talking 

00:46:09.000 --> 00:46:11.000
about how freeing the Princeton 

00:46:11.000 --> 00:46:12.000
fellowship was, I got my Princeton 

00:46:12.000 --> 00:46:18.000
fellowship in the fall of 2021, in the 

00:46:18.000 --> 00:46:20.000
fall 2022, I was paralyzed from my nose 

00:46:20.000 --> 00:46:21.000
to my toes and in the hospital for 

00:46:21.000 --> 00:46:22.000
three months on my back.

00:46:22.000 --> 00:46:24.000
  

00:46:24.000 --> 00:46:26.000
As an artist, especially a New York 

00:46:26.000 --> 00:46:27.000
artist, one of our biggest battles is 

00:46:27.000 --> 00:46:28.000
insurance.

00:46:28.000 --> 00:46:33.000
  

00:46:33.000 --> 00:46:34.000
I'm as screen actors Guild and if you 

00:46:34.000 --> 00:46:35.000
don't get enough appearances on 

00:46:35.000 --> 00:46:40.000
television they take away your 

00:46:40.000 --> 00:46:42.000
insurance, or if you are an independent 

00:46:42.000 --> 00:46:43.000
artist and you make a little bit too 

00:46:43.000 --> 00:46:44.000
much, you are definitely not getting 

00:46:44.000 --> 00:46:45.000
benefits.

00:46:45.000 --> 00:46:46.000
  

00:46:46.000 --> 00:46:47.000
There's a solution in America that all 

00:46:47.000 --> 00:46:48.000
disabled people are handed a check 

00:46:48.000 --> 00:46:49.000
every month to just do what they 

00:46:49.000 --> 00:46:50.000
please, that's not true.

00:46:50.000 --> 00:46:54.000
  

00:46:54.000 --> 00:46:55.000
We are forced to live in poverty or we 

00:46:55.000 --> 00:46:59.000
have to be a Baller, like me.  

00:46:59.000 --> 00:47:00.000
When I got sick, because I was a 

00:47:00.000 --> 00:47:01.000
Princeton fellow, I had a complete set 

00:47:01.000 --> 00:47:02.000
in that.

00:47:02.000 --> 00:47:06.000
  

00:47:06.000 --> 00:47:07.000
I was able to get the treatment I 

00:47:07.000 --> 00:47:08.000
needed and continue teaching virtually, 

00:47:08.000 --> 00:47:09.000
even though they begged me not to.

00:47:09.000 --> 00:47:13.000
  

00:47:13.000 --> 00:47:15.000
Mary O'Connor said you're the only 

00:47:15.000 --> 00:47:17.000
person in America that wants to work 

00:47:17.000 --> 00:47:18.000
when I'm offering to pay you for free, 

00:47:18.000 --> 00:47:24.000
they had my back.  

00:47:24.000 --> 00:47:25.000
Then, they allowed me to use my 

00:47:25.000 --> 00:47:27.000
research funds to do something I'd 

00:47:27.000 --> 00:47:28.000
never done in my life, I was born to 

00:47:28.000 --> 00:47:32.000
immigrant parents who couldn't afford 

00:47:32.000 --> 00:47:35.000
physical therapy or occupational 

00:47:35.000 --> 00:47:39.000
therapy so I took Dance and piano and 

00:47:39.000 --> 00:47:41.000
that's how I learned my coordination.

00:47:41.000 --> 00:47:42.000
 I was able to do a research project 

00:47:42.000 --> 00:47:43.000
where documented having physical 

00:47:43.000 --> 00:47:47.000
therapy B for the first time in my 

00:47:47.000 --> 00:47:48.000
life, at Helen Hays in West have a shop.

00:47:48.000 --> 00:47:53.000
  

00:47:53.000 --> 00:47:59.000
I will would have been -- I would have 

00:47:59.000 --> 00:48:01.000
had an -- been devastated as an artist 

00:48:01.000 --> 00:48:09.000
if I didn't have the safety net of the 

00:48:09.000 --> 00:48:10.000
Princeton fellowship we can't dismiss, 

00:48:10.000 --> 00:48:11.000
as artist, how important it is that not 

00:48:11.000 --> 00:48:13.000
only are they giving us the resources, 

00:48:13.000 --> 00:48:14.000
they are giving us the stability and 

00:48:14.000 --> 00:48:15.000
benefit that we simply did not have 

00:48:15.000 --> 00:48:19.000
before this.  

00:48:19.000 --> 00:48:21.000
>> Thank you.  

00:48:21.000 --> 00:48:36.000
They didn't make me say that.  

00:48:36.000 --> 00:48:37.000
They were like talk about your cat 

00:48:37.000 --> 00:48:42.000
Beyoncé.

00:48:42.000 --> 00:48:43.000
 Also I got divorced, so if anyone 

00:48:43.000 --> 00:48:54.000
would like to take me out for Ramadan.  

00:48:54.000 --> 00:48:57.000
I was told the best place to find a 

00:48:57.000 --> 00:48:58.000
spouse was that reunions.

00:48:58.000 --> 00:49:00.000
 I'm only here until June 30.

00:49:00.000 --> 00:49:02.000
 Thank you .

00:49:02.000 --> 00:49:03.000
 >> Thank you and good luck, you have 

00:49:03.000 --> 00:49:04.000
heard the message.  

00:49:04.000 --> 00:49:17.000
Please respond.  

00:49:17.000 --> 00:49:18.000
[ LAUGHTER ] >> We are about out of 

00:49:18.000 --> 00:49:19.000
time and we wanted to save time for 

00:49:19.000 --> 00:49:20.000
questions, but I know that Christopher 

00:49:20.000 --> 00:49:21.000
had a video, I want to give you the 

00:49:21.000 --> 00:49:22.000
opportunity if you would like to share 

00:49:22.000 --> 00:49:23.000
the AV materials that you have brought.

00:49:23.000 --> 00:49:24.000
  

00:49:24.000 --> 00:49:25.000
Take the time now.  

00:49:25.000 --> 00:49:29.000
>> Sure.  

00:49:29.000 --> 00:49:32.000
If it's ready to share, yes, this is a 

00:49:32.000 --> 00:49:34.000
little short film that I did in the 

00:49:34.000 --> 00:49:36.000
worst part of the pandemic and it was 

00:49:36.000 --> 00:49:37.000
commissioned by the Joyce theater.

00:49:37.000 --> 00:49:43.000
  

00:49:43.000 --> 00:49:44.000
We were supposed to perform and person 

00:49:44.000 --> 00:49:45.000
and the pandemic happened and 

00:49:45.000 --> 00:49:48.000
everything changed.

00:49:48.000 --> 00:49:50.000
 We did a lovely film, my auto 

00:49:50.000 --> 00:49:54.000
describer is doing Spanglish, it's very 

00:49:54.000 --> 00:49:55.000
experimental and it's a story about my 

00:49:55.000 --> 00:49:59.000
childhood, because my art is also tech 

00:49:59.000 --> 00:50:03.000
tile, some of the toys in the film are 

00:50:03.000 --> 00:50:05.000
here in person, they are the megastars.

00:50:05.000 --> 00:50:09.000
 You're welcome to come and touch them 

00:50:09.000 --> 00:50:11.000
at some point in the Q&A, don't take 

00:50:11.000 --> 00:50:17.000
them because they are very collectible 

00:50:17.000 --> 00:50:20.000
and hard to get.  

00:50:20.000 --> 00:50:23.000
A fuzzy yellow spot.  

00:50:23.000 --> 00:50:25.000
>> Should we start?  

00:50:25.000 --> 00:50:29.000
>> Yes.  

00:50:29.000 --> 00:50:33.000
>> Are you able to see?  

00:50:33.000 --> 00:50:34.000
>> Maybe Christopher and Michael can 

00:50:34.000 --> 00:50:55.000
scoot over a little bit.  

00:50:55.000 --> 00:51:01.000
>> I don't like that profile.  

00:51:01.000 --> 00:51:10.000
[ LAUGHTER ]   

00:51:10.000 --> 00:51:15.000
Dimetapp dancer.  

00:51:15.000 --> 00:51:18.000
  

00:51:18.000 --> 00:51:22.000
I am a tap dancer.  

00:51:22.000 --> 00:51:25.000
>> That's why you are responding.  

00:51:25.000 --> 00:51:30.000
>> I will get out my sock puppets.  

00:51:30.000 --> 00:51:32.000
[ LAUGHTER ] can we have some sound?  

00:51:32.000 --> 00:51:35.000
>> Yes.  

00:51:35.000 --> 00:51:42.000
>> Thank you.  

00:51:42.000 --> 00:51:48.000
>> It's interesting how much patience I 

00:51:48.000 --> 00:51:49.000
have after teaching on zoom, dancing, 

00:51:49.000 --> 00:51:50.000
slow dance to have faith that it will 

00:51:50.000 --> 00:52:19.000
come together.  

00:52:19.000 --> 00:52:32.000
  

00:52:32.000 --> 00:53:02.000
[ Video playing with captions ]  

00:55:50.000 --> 00:55:51.000
[ Applause ] expect Thank you.

00:55:51.000 --> 00:55:53.000
 Thank you.  

00:55:53.000 --> 00:55:59.000
It's just part of a series that I did 

00:55:59.000 --> 00:56:00.000
called memories of a disabled child, 

00:56:00.000 --> 00:56:01.000
the real, the imaginary in the 

00:56:01.000 --> 00:56:04.000
misunderstood.  

00:56:04.000 --> 00:56:06.000
It's about the memories of a disabled 

00:56:06.000 --> 00:56:07.000
child, particularly a blind disabled 

00:56:07.000 --> 00:56:09.000
child.  

00:56:09.000 --> 00:56:10.000
>> Thank you, Christopher.

00:56:10.000 --> 00:56:16.000
  

00:56:16.000 --> 00:56:20.000
>> I just have a short three second 

00:56:20.000 --> 00:56:24.000
clip, showcasing some of the work we 

00:56:24.000 --> 00:56:34.000
did as museum or's in the fall.  

00:56:34.000 --> 00:56:38.000
We partner with the museum and the 

00:56:38.000 --> 00:56:46.000
Princeton historical Society the these 

00:56:46.000 --> 00:56:52.000
are small size museums, the town 

00:56:52.000 --> 00:56:54.000
boundaries,, I think if you most people 

00:56:54.000 --> 00:57:05.000
at the University, most people wouldn't 

00:57:05.000 --> 00:57:06.000
have been, I think most people would 

00:57:06.000 --> 00:57:15.000
have been to these sites, so we brought 

00:57:15.000 --> 00:57:20.000
them together and we created a virtual 

00:57:20.000 --> 00:57:21.000
exhibition as a way to increase 

00:57:21.000 --> 00:57:27.000
community engagement between 

00:57:27.000 --> 00:57:31.000
institutions and to the University 

00:57:31.000 --> 00:57:34.000
campus as a way to get people at the 

00:57:34.000 --> 00:57:35.000
University to engage more with the arts 

00:57:35.000 --> 00:57:46.000
and cultural institution in town.  

00:57:46.000 --> 00:57:51.000
The objects that the museum selected, 

00:57:51.000 --> 00:57:55.000
there was a sword that was owned by 

00:57:55.000 --> 00:57:59.000
Robert Stockton that was in pieces and 

00:57:59.000 --> 00:58:00.000
fragmented and we did a scan and a 

00:58:00.000 --> 00:58:04.000
digital reconstruction of the sword.  

00:58:04.000 --> 00:58:07.000
There was also an 18 century dress, one 

00:58:07.000 --> 00:58:10.000
of the earliest example was of a French 

00:58:10.000 --> 00:58:11.000
stress in America belong to Julius 

00:58:11.000 --> 00:58:12.000
stock tin.

00:58:12.000 --> 00:58:14.000
  

00:58:14.000 --> 00:58:19.000
We also have a Tiffany silver punch 

00:58:19.000 --> 00:58:21.000
bowl that was commissioned for the USS 

00:58:21.000 --> 00:58:26.000
battleship New Jersey.

00:58:26.000 --> 00:58:30.000
 We have a short, 32nd clip, an 

00:58:30.000 --> 00:58:39.000
overview of the work that we do.  

00:58:39.000 --> 00:58:49.000
  

00:58:49.000 --> 00:59:10.000
[ Video playing with captions ]  

00:59:10.000 --> 00:59:14.000
>> Michael, I love so much about what 

00:59:14.000 --> 00:59:15.000
you're doing, we talked a lot about how 

00:59:15.000 --> 00:59:19.000
people don't love the Internet and 

00:59:19.000 --> 00:59:20.000
virtual stuff .

00:59:20.000 --> 00:59:23.000
 This really opens a whole new world to 

00:59:23.000 --> 00:59:24.000
a bunch of disabled people that could 

00:59:24.000 --> 00:59:27.000
never have access to these things.  

00:59:27.000 --> 00:59:28.000
Even if it's just that they can't fly, 

00:59:28.000 --> 00:59:35.000
you know?  

00:59:35.000 --> 00:59:36.000
This is incredible for everybody, but I 

00:59:36.000 --> 00:59:37.000
love what it does for disabled kids 

00:59:37.000 --> 00:59:39.000
that would not have access otherwise.  

00:59:39.000 --> 00:59:43.000
>> Thank you.  

00:59:43.000 --> 00:59:45.000
One of the people that we learned most 

00:59:45.000 --> 00:59:46.000
from our artists while working the 

00:59:46.000 --> 00:59:49.000
space.  

00:59:49.000 --> 00:59:57.000
They are very consciously thinking 

00:59:57.000 --> 00:59:58.000
about how to make VR more accessible 

00:59:58.000 --> 00:59:59.000
for individuals, not just people with 

00:59:59.000 --> 01:00:00.000
disabilities but for everyone in 

01:00:00.000 --> 01:00:01.000
general.  

01:00:01.000 --> 01:00:04.000
One of the artist we learned a lot from 

01:00:04.000 --> 01:00:09.000
his name Jeffrey Warren, he did a 

01:00:09.000 --> 01:00:16.000
project, he has a series where he 

01:00:16.000 --> 01:00:17.000
reconstructs Chinatown in the United 

01:00:17.000 --> 01:00:18.000
States and reconstructs them in virtual 

01:00:18.000 --> 01:00:21.000
spaces.  

01:00:21.000 --> 01:00:25.000
He also does a workshop where he guides 

01:00:25.000 --> 01:00:30.000
people into making these individualized 

01:00:30.000 --> 01:00:33.000
masks that go around the VR headset.  

01:00:33.000 --> 01:00:37.000
One of the common complaints that we've 

01:00:37.000 --> 01:00:40.000
heard is that when wearing the VR 

01:00:40.000 --> 01:00:42.000
headset it makes you feel robotic .

01:00:42.000 --> 01:00:43.000
 It takes away the human sensory 

01:00:43.000 --> 01:00:51.000
experience.  

01:00:51.000 --> 01:00:52.000
By making the VR headset more 

01:00:52.000 --> 01:00:53.000
individualized, it becomes a way to 

01:00:53.000 --> 01:00:54.000
access memory in a way to access the 

01:00:54.000 --> 01:00:55.000
space it that is profoundly yours.

01:00:55.000 --> 01:00:59.000
  

01:00:59.000 --> 01:01:01.000
I think by virtue of working with art 

01:01:01.000 --> 01:01:03.000
museums and artists, we are really 

01:01:03.000 --> 01:01:08.000
learning how to harness the potential 

01:01:08.000 --> 01:01:11.000
of VR through an individualist and 

01:01:11.000 --> 01:01:12.000
humanistic experience .

01:01:12.000 --> 01:01:16.000
 >> Great, thank you.  

01:01:16.000 --> 01:01:18.000
>> I teach through the dream project 

01:01:18.000 --> 01:01:25.000
and I partner with the pediatric 

01:01:25.000 --> 01:01:26.000
physical therapist and we teach dance 

01:01:26.000 --> 01:01:27.000
to children with and without 

01:01:27.000 --> 01:01:28.000
disabilities.

01:01:28.000 --> 01:01:35.000
 It's performance oriented and joyful, 

01:01:35.000 --> 01:01:36.000
live music, to the point of letting the 

01:01:36.000 --> 01:01:37.000
children be artists, having the 

01:01:37.000 --> 01:01:38.000
experiences in creating experiences for 

01:01:38.000 --> 01:01:39.000
they can participate fully and learn 

01:01:39.000 --> 01:01:41.000
each other, then also perform in front 

01:01:41.000 --> 01:01:45.000
of an audience .

01:01:45.000 --> 01:01:46.000
 You are the representation and 

01:01:46.000 --> 01:01:48.000
advocates that our children will 

01:01:48.000 --> 01:01:54.000
emulate and learn that they can be 

01:01:54.000 --> 01:01:55.000
artists as children, with and without 

01:01:55.000 --> 01:01:56.000
disabilities, that this is a career 

01:01:56.000 --> 01:01:59.000
that's available to them.  

01:01:59.000 --> 01:02:00.000
I want to say thank you to each of you 

01:02:00.000 --> 01:02:03.000
for that example, for the beautiful 

01:02:03.000 --> 01:02:04.000
work you are doing, for inspiring the 

01:02:04.000 --> 01:02:05.000
children and helping them to understand 

01:02:05.000 --> 01:02:10.000
what they can be .

01:02:10.000 --> 01:02:14.000
 Also, another piece of it is creating 

01:02:14.000 --> 01:02:16.000
audiences of the future, artists of the 

01:02:16.000 --> 01:02:22.000
future but also audiences who really 

01:02:22.000 --> 01:02:23.000
understand that dance can and should 

01:02:23.000 --> 01:02:26.000
look in many, many different ways that 

01:02:26.000 --> 01:02:28.000
are beautiful and accessible and that 

01:02:28.000 --> 01:02:32.000
this really opens hearts and minds .

01:02:32.000 --> 01:02:37.000
 >> It has to reflect society, we are a 

01:02:37.000 --> 01:02:38.000
major, major portion of society, very 

01:02:38.000 --> 01:02:43.000
diverse .

01:02:43.000 --> 01:02:46.000
 >>> Should be get these people back?  

01:02:46.000 --> 01:02:49.000
>> I always get self-conscious.  

01:02:49.000 --> 01:02:50.000
I'm Ariba and I can't have people 

01:02:50.000 --> 01:02:52.000
behind me.  

01:02:52.000 --> 01:03:00.000
You see WhatsApp running right now.  

01:03:00.000 --> 01:03:03.000
>> I don't have anything to share, it's 

01:03:03.000 --> 01:03:05.000
a party, you can pay me to break up 

01:03:05.000 --> 01:03:11.000
with people, I swear to God .

01:03:11.000 --> 01:03:12.000
 >> We have questions now and if you 

01:03:12.000 --> 01:03:13.000
want to stay at the end I have a video 

01:03:13.000 --> 01:03:14.000
of our children dance thing.

01:03:14.000 --> 01:03:17.000
  

01:03:17.000 --> 01:03:18.000
Spackle Q&A we will alternate between 

01:03:18.000 --> 01:03:19.000
the live audience in New York in the 

01:03:19.000 --> 01:03:22.000
zoom audience.  

01:03:22.000 --> 01:03:25.000
For anyone in the live audience in New 

01:03:25.000 --> 01:03:26.000
York with any questions, raise your 

01:03:26.000 --> 01:03:27.000
hand and I will walk a microphone over 

01:03:27.000 --> 01:03:31.000
to you .

01:03:31.000 --> 01:03:32.000
 >> It doesn't have to be substantial, 

01:03:32.000 --> 01:03:33.000
it can be really shallow.

01:03:33.000 --> 01:03:37.000
  

01:03:37.000 --> 01:03:39.000
>> Just because we have a few minutes, 

01:03:39.000 --> 01:03:40.000
keep questions brief so we can get to 

01:03:40.000 --> 01:03:44.000
as many as possible.  

01:03:44.000 --> 01:03:45.000
>> Hello, I enjoyed your presentation 

01:03:45.000 --> 01:03:52.000
very much.  

01:03:52.000 --> 01:03:55.000
I would just like to ask you, from the 

01:03:55.000 --> 01:03:57.000
devils advocate perspective, because my 

01:03:57.000 --> 01:04:00.000
understanding from shows like a strange 

01:04:00.000 --> 01:04:08.000
loop and protections I go to and 

01:04:08.000 --> 01:04:09.000
Michael R Jackson and Marlon Matlin, 

01:04:09.000 --> 01:04:12.000
and Stevie Wonder and all of these 

01:04:12.000 --> 01:04:15.000
people who have disabilities, I am 

01:04:15.000 --> 01:04:24.000
wondering if you could speak about how 

01:04:24.000 --> 01:04:25.000
you see, in this genre and what is 

01:04:25.000 --> 01:04:31.000
going on on Broadway now, if there is a 

01:04:31.000 --> 01:04:32.000
big open space for people with 

01:04:32.000 --> 01:04:33.000
disabilities to get their productions 

01:04:33.000 --> 01:04:34.000
done?

01:04:34.000 --> 01:04:40.000
  

01:04:40.000 --> 01:04:41.000
This is the entire new trend .

01:04:41.000 --> 01:04:45.000
 >> We wish there was.  

01:04:45.000 --> 01:04:46.000
We are 25% of the population and right 

01:04:46.000 --> 01:04:50.000
now a popular media in the amended date 

01:04:50.000 --> 01:04:51.000
, we are 2% of the images you see in 

01:04:51.000 --> 01:04:54.000
media.  

01:04:54.000 --> 01:04:57.000
Whether that is screen, stage or 

01:04:57.000 --> 01:04:59.000
television, dance, we have much more 

01:04:59.000 --> 01:05:00.000
representation in music, because of the 

01:05:00.000 --> 01:05:06.000
nature of this genre.  

01:05:06.000 --> 01:05:07.000
Bet of that 2% of images of disability 

01:05:07.000 --> 01:05:10.000
that we see, and these are actual's 

01:05:10.000 --> 01:05:14.000
that he's done by the Ruderman 

01:05:14.000 --> 01:05:17.000
foundation and UCLA and USC, 95% are 

01:05:17.000 --> 01:05:22.000
portrayed by nondisabled artists.  

01:05:22.000 --> 01:05:23.000
Do we really know how many disabled 

01:05:23.000 --> 01:05:24.000
artists we have on stage?  

01:05:24.000 --> 01:05:27.000
We do not.  

01:05:27.000 --> 01:05:31.000
When we talk about disability, we tend 

01:05:31.000 --> 01:05:36.000
to focus on visible disability, we have 

01:05:36.000 --> 01:05:37.000
no way of knowing who has invisible 

01:05:37.000 --> 01:05:41.000
disability because the stigma against 

01:05:41.000 --> 01:05:42.000
mental health issues or fibromyalgia, 

01:05:42.000 --> 01:05:43.000
or any sort of chronic illness.

01:05:43.000 --> 01:05:44.000
  

01:05:44.000 --> 01:05:48.000
The stigma is so bad that you hide it.  

01:05:48.000 --> 01:05:49.000
But when we see the exceptions, they 

01:05:49.000 --> 01:05:51.000
are really highlighted.  

01:05:51.000 --> 01:05:54.000
The reality is that we live in a 

01:05:54.000 --> 01:05:58.000
country that thinks it's okay for a 

01:05:58.000 --> 01:06:03.000
major ABC television show to have a man 

01:06:03.000 --> 01:06:05.000
named Freddy Highmore pretending to be 

01:06:05.000 --> 01:06:10.000
disabled in 2023.  

01:06:10.000 --> 01:06:11.000
Super sore still has an ambulatory act 

01:06:11.000 --> 01:06:12.000
playing a wheelchair user.

01:06:12.000 --> 01:06:17.000
  

01:06:17.000 --> 01:06:18.000
Disability mimicry or what I call 

01:06:18.000 --> 01:06:22.000
ripping up is still happening today.  

01:06:22.000 --> 01:06:26.000
We are still fighting as people of 

01:06:26.000 --> 01:06:27.000
different races to not have brown face 

01:06:27.000 --> 01:06:31.000
and yellow face and black face, but 

01:06:31.000 --> 01:06:32.000
when it comes to disability, I have to 

01:06:32.000 --> 01:06:37.000
sit for hours and hours and ask to 

01:06:37.000 --> 01:06:40.000
people that know the role of a girl 

01:06:40.000 --> 01:06:41.000
with cerebral palsy will not be played 

01:06:41.000 --> 01:06:42.000
by an nondisabled girl that is shaking.

01:06:42.000 --> 01:06:45.000
  

01:06:45.000 --> 01:06:47.000
Marley Matlin had to threaten to step 

01:06:47.000 --> 01:06:48.000
away because they wanted to cast 

01:06:48.000 --> 01:06:51.000
nondata factors.  

01:06:51.000 --> 01:06:56.000
When we talk about Marley, let's talk 

01:06:56.000 --> 01:06:59.000
about this, 17 of the last 20 man to 

01:06:59.000 --> 01:07:01.000
win best act, played either disabled or 

01:07:01.000 --> 01:07:05.000
sick .

01:07:05.000 --> 01:07:12.000
 Marley Matlin was the only person with 

01:07:12.000 --> 01:07:13.000
the or only one with a disability, to 

01:07:13.000 --> 01:07:14.000
win in 33 years, just to come back and 

01:07:14.000 --> 01:07:16.000
win again.  

01:07:16.000 --> 01:07:17.000
This woman is the only one that is 

01:07:17.000 --> 01:07:19.000
winning.  

01:07:19.000 --> 01:07:20.000
She's the only one getting a chance.

01:07:20.000 --> 01:07:24.000
  

01:07:24.000 --> 01:07:26.000
Eddie Red Wing got an award?  

01:07:26.000 --> 01:07:34.000
Let's talk about it.  

01:07:34.000 --> 01:07:35.000
Allie stroker on Sex in the city, she's 

01:07:35.000 --> 01:07:40.000
on only murders in the building, Ozark, 

01:07:40.000 --> 01:07:41.000
lifetime movies, we found one blonde 

01:07:41.000 --> 01:07:44.000
disabled woman he gave her every single 

01:07:44.000 --> 01:07:48.000
role on television, and Allie stroker 

01:07:48.000 --> 01:07:49.000
is the right ventricle of my heart .

01:07:49.000 --> 01:07:50.000
 I love her.

01:07:50.000 --> 01:07:51.000
 She should not get every single role 

01:07:51.000 --> 01:07:55.000
in television.  

01:07:55.000 --> 01:07:56.000
While we see these minor advancements, 

01:07:56.000 --> 01:08:01.000
we are still in a really pitiful 

01:08:01.000 --> 01:08:04.000
situation when the United States still 

01:08:04.000 --> 01:08:05.000
is casting nondisabled actors to play 

01:08:05.000 --> 01:08:06.000
physically disabled on TV.

01:08:06.000 --> 01:08:07.000
 It's offensive.

01:08:07.000 --> 01:08:10.000
  

01:08:10.000 --> 01:08:17.000
>> I don't know much about 

01:08:17.000 --> 01:08:18.000
entertainment, bravo, but let's say the 

01:08:18.000 --> 01:08:19.000
venues already but they are not.

01:08:19.000 --> 01:08:21.000
  

01:08:21.000 --> 01:08:24.000
I just dispensed $75,000 in my last 

01:08:24.000 --> 01:08:25.000
production, I am a small choreographer.

01:08:25.000 --> 01:08:29.000
  

01:08:29.000 --> 01:08:30.000
The reason I was able to do it is 

01:08:30.000 --> 01:08:31.000
because I have a major foundation 

01:08:31.000 --> 01:08:33.000
supporting my work.  

01:08:33.000 --> 01:08:34.000
Most disabled people don't get that 

01:08:34.000 --> 01:08:39.000
opportunity, but let's say they are 

01:08:39.000 --> 01:08:42.000
ready, I am talking about a child that 

01:08:42.000 --> 01:08:43.000
is disabled like a wheelchair user 

01:08:43.000 --> 01:08:44.000
that's five or six, they go to a dance 

01:08:44.000 --> 01:08:45.000
studio.  

01:08:45.000 --> 01:08:46.000
This is a real story.

01:08:46.000 --> 01:08:50.000
  

01:08:50.000 --> 01:08:53.000
Her mom took her to a dance studio, 

01:08:53.000 --> 01:08:59.000
another dance studio, another dance 

01:08:59.000 --> 01:09:00.000
studio, they all denied the child the 

01:09:00.000 --> 01:09:03.000
opportunity to take a dance class.  

01:09:03.000 --> 01:09:04.000
This is not about the artist, it's how 

01:09:04.000 --> 01:09:06.000
you make it there.  

01:09:06.000 --> 01:09:07.000
How do you go to school?

01:09:07.000 --> 01:09:08.000
  

01:09:08.000 --> 01:09:16.000
How do you train as a dancer?  

01:09:16.000 --> 01:09:17.000
How do you keep your child in classes, 

01:09:17.000 --> 01:09:18.000
is transportation accessible and is the 

01:09:18.000 --> 01:09:19.000
building where the studio is accessible 

01:09:19.000 --> 01:09:23.000
?  

01:09:23.000 --> 01:09:24.000
We need to consider all of these 

01:09:24.000 --> 01:09:25.000
factors and do we have the money to pay 

01:09:25.000 --> 01:09:26.000
for classes for a disabled child to go 

01:09:26.000 --> 01:09:27.000
to arts classes?

01:09:27.000 --> 01:09:30.000
  

01:09:30.000 --> 01:09:31.000
It so much more than the venue being 

01:09:31.000 --> 01:09:33.000
ready.  

01:09:33.000 --> 01:09:36.000
That's from the perspective of the 

01:09:36.000 --> 01:09:38.000
white to gaze, how we make art of 

01:09:38.000 --> 01:09:41.000
disabled people.

01:09:41.000 --> 01:09:42.000
 It's not only the presenting venue 

01:09:42.000 --> 01:09:45.000
that says they are ready but were not 

01:09:45.000 --> 01:09:49.000
ready as disabled people and there's a 

01:09:49.000 --> 01:09:53.000
whole infrastructure, it's about food, 

01:09:53.000 --> 01:09:54.000
transportation, infrastructure, 

01:09:54.000 --> 01:09:55.000
teachers ready to teach a dance to a 

01:09:55.000 --> 01:10:00.000
wheelchair user.  

01:10:00.000 --> 01:10:02.000
Many teachers are scared of teaching a 

01:10:02.000 --> 01:10:03.000
disabled child because is a fear about 

01:10:03.000 --> 01:10:04.000
being in social spaces with disabled 

01:10:04.000 --> 01:10:05.000
people.  

01:10:05.000 --> 01:10:11.000
People are scared of us.  

01:10:11.000 --> 01:10:14.000
So, I have venues, at least in dance.  

01:10:14.000 --> 01:10:18.000
They were ready for me because I have 

01:10:18.000 --> 01:10:21.000
big check for them, that is how people, 

01:10:21.000 --> 01:10:22.000
especially in this business, they seek 

01:10:22.000 --> 01:10:23.000
money not just this.

01:10:23.000 --> 01:10:27.000
  

01:10:27.000 --> 01:10:28.000
>> With being ready, it's also very 

01:10:28.000 --> 01:10:29.000
hard for artists who are new to ask her 

01:10:29.000 --> 01:10:36.000
what they need.  

01:10:36.000 --> 01:10:37.000
When I went on MSNBC, they put me on a 

01:10:37.000 --> 01:10:38.000
spinning rolling chair and I almost 

01:10:38.000 --> 01:10:42.000
rolled off screen.  

01:10:42.000 --> 01:10:43.000
Was really uncomfortable and the next 

01:10:43.000 --> 01:10:45.000
time I said it was a problem and they 

01:10:45.000 --> 01:10:46.000
literally pinned me between the wall 

01:10:46.000 --> 01:10:47.000
and the chair so that the chair would 

01:10:47.000 --> 01:10:48.000
not move.

01:10:48.000 --> 01:10:55.000
  

01:10:55.000 --> 01:10:56.000
Now, I have the ability as an artist 

01:10:56.000 --> 01:10:57.000
and a writer, to go up and be like, the 

01:10:57.000 --> 01:10:58.000
chair will be like this, the microphone 

01:10:58.000 --> 01:10:59.000
will be like this.  

01:10:59.000 --> 01:11:03.000
I will have ASL interpreters.  

01:11:03.000 --> 01:11:04.000
You have to understand that the artist 

01:11:04.000 --> 01:11:09.000
that is getting their first gig is 

01:11:09.000 --> 01:11:10.000
terrified to say hey I have to take an 

01:11:10.000 --> 01:11:11.000
insulin shot every three hours.  

01:11:11.000 --> 01:11:12.000
This 12 hour shoot will have to take 

01:11:12.000 --> 01:11:15.000
for breaks.  

01:11:15.000 --> 01:11:19.000
They are terrified of doing that 

01:11:19.000 --> 01:11:20.000
because yes, there is a law but the law 

01:11:20.000 --> 01:11:21.000
is not enforceable.

01:11:21.000 --> 01:11:24.000
  

01:11:24.000 --> 01:11:25.000
There's no one we can call and say hey 

01:11:25.000 --> 01:11:26.000
there was an ADA violation,, and get 

01:11:26.000 --> 01:11:27.000
Angel.

01:11:27.000 --> 01:11:29.000
  

01:11:29.000 --> 01:11:30.000
It's not actually enforceable, you know 

01:11:30.000 --> 01:11:32.000
what I mean?  

01:11:32.000 --> 01:11:35.000
That's the other big thing about this.  

01:11:35.000 --> 01:11:36.000
You in the back?

01:11:36.000 --> 01:11:41.000
  

01:11:41.000 --> 01:11:42.000
>> No worries, we are first going to 

01:11:42.000 --> 01:11:48.000
take a question from zoom, this 

01:11:48.000 --> 01:11:49.000
question is maybe direct did; may be 

01:11:49.000 --> 01:11:51.000
you might have thoughts on this as 

01:11:51.000 --> 01:11:52.000
well, but anyone can chime in.

01:11:52.000 --> 01:11:54.000
  

01:11:54.000 --> 01:11:57.000
You spoke a lot about accessibility and 

01:11:57.000 --> 01:12:01.000
physical spaces, what are your thoughts 

01:12:01.000 --> 01:12:04.000
or experiences interacting with digital 

01:12:04.000 --> 01:12:05.000
speeches such as the Internet and 

01:12:05.000 --> 01:12:06.000
websites etc.

01:12:06.000 --> 01:12:09.000
?  

01:12:09.000 --> 01:12:10.000
>> They're not going to have time for 

01:12:10.000 --> 01:12:11.000
that.

01:12:11.000 --> 01:12:13.000
  

01:12:13.000 --> 01:12:14.000
>> I think the potential is there .

01:12:14.000 --> 01:12:15.000
 We are not there.

01:12:15.000 --> 01:12:18.000
  

01:12:18.000 --> 01:12:19.000
The technology is not there.  

01:12:19.000 --> 01:12:20.000
The construction of the space is not 

01:12:20.000 --> 01:12:30.000
there yet.  

01:12:30.000 --> 01:12:31.000
I think right now, what is challenging 

01:12:31.000 --> 01:12:35.000
about navigating digital spaces is that 

01:12:35.000 --> 01:12:40.000
it still very much the able-bodied user 

01:12:40.000 --> 01:12:42.000
and accommodations are being made for 

01:12:42.000 --> 01:12:47.000
people with disabilities .

01:12:47.000 --> 01:12:50.000
 As a mentioned, in my discussion, this 

01:12:50.000 --> 01:12:56.000
is a pivotal moment for people from all 

01:12:56.000 --> 01:12:57.000
backgrounds to start building in this 

01:12:57.000 --> 01:13:02.000
new space.  

01:13:02.000 --> 01:13:03.000
I think that is where the opportunity 

01:13:03.000 --> 01:13:10.000
and the challenge lies to be able to 

01:13:10.000 --> 01:13:15.000
have that space in which people who are 

01:13:15.000 --> 01:13:21.000
hard of hearing or deaf can contribute 

01:13:21.000 --> 01:13:26.000
to improving signing in virtual reality 

01:13:26.000 --> 01:13:32.000
spaces, they can advocate for more 

01:13:32.000 --> 01:13:33.000
closed captioning or live captioning in 

01:13:33.000 --> 01:13:41.000
virtual reality or augmented reality, 

01:13:41.000 --> 01:13:44.000
for people for neuro- divergent 

01:13:44.000 --> 01:13:49.000
experiences to express their discomfort 

01:13:49.000 --> 01:13:52.000
for the obstacles that the system 

01:13:52.000 --> 01:14:00.000
currently places on users.  

01:14:00.000 --> 01:14:04.000
Really incorporating these experiences 

01:14:04.000 --> 01:14:08.000
and this feedback and applying it, 

01:14:08.000 --> 01:14:15.000
earnestly and not reducing them to 

01:14:15.000 --> 01:14:16.000
anonymous comments or data that 

01:14:16.000 --> 01:14:17.000
engineers might work on later.

01:14:17.000 --> 01:14:20.000
 I think right now that the technology, 

01:14:20.000 --> 01:14:21.000
there is potential but it requires the 

01:14:21.000 --> 01:14:30.000
whole community to be a part of that 

01:14:30.000 --> 01:14:31.000
making .

01:14:31.000 --> 01:14:32.000
 >> I will add briefly that one of the 

01:14:32.000 --> 01:14:33.000
amazing things about zoom, when 

01:14:33.000 --> 01:14:34.000
everything, when the world shut down, 

01:14:34.000 --> 01:14:35.000
we began teaching our dream dance 

01:14:35.000 --> 01:14:36.000
classes online.

01:14:36.000 --> 01:14:40.000
  

01:14:40.000 --> 01:14:41.000
The music was a challenge, it was 

01:14:41.000 --> 01:14:49.000
glitchy, but it opened up a whole world 

01:14:49.000 --> 01:14:50.000
of access because we had dancers who 

01:14:50.000 --> 01:14:51.000
joined us from their beds who would 

01:14:51.000 --> 01:14:52.000
never have been able to come into our 

01:14:52.000 --> 01:14:53.000
physical space to participate in the 

01:14:53.000 --> 01:14:54.000
class.  

01:14:54.000 --> 01:14:58.000
We had children from all over the 

01:14:58.000 --> 01:14:59.000
country joining us that we had children 

01:14:59.000 --> 01:15:04.000
who are wheelchair users who could hurt 

01:15:04.000 --> 01:15:06.000
to set it in their homes, perhaps with 

01:15:06.000 --> 01:15:10.000
assistive devices when they needed to .

01:15:10.000 --> 01:15:14.000
 So, there are pieces of the technology 

01:15:14.000 --> 01:15:16.000
and zoom technology that have given us 

01:15:16.000 --> 01:15:20.000
the opportunity to reach more children 

01:15:20.000 --> 01:15:22.000
and to innovate new ways to maximize 

01:15:22.000 --> 01:15:25.000
participation .

01:15:25.000 --> 01:15:27.000
 So that has been a gift of the COVID 

01:15:27.000 --> 01:15:28.000
for us.

01:15:28.000 --> 01:15:31.000
  

01:15:31.000 --> 01:15:34.000
>> That's remote working, zoom, that is 

01:15:34.000 --> 01:15:38.000
grip culture.  

01:15:38.000 --> 01:15:39.000
We did it before, I was zooming two 

01:15:39.000 --> 01:15:40.000
years before the pandemic.

01:15:40.000 --> 01:15:43.000
  

01:15:43.000 --> 01:15:44.000
The reason it became hugest because of 

01:15:44.000 --> 01:15:48.000
disability communities.  

01:15:48.000 --> 01:15:50.000
Again, there's a lot of erasure about 

01:15:50.000 --> 01:15:52.000
all of these things .

01:15:52.000 --> 01:15:53.000
 >> Ask people to keep the tech 

01:15:53.000 --> 01:15:54.000
knowledge he.

01:15:54.000 --> 01:16:00.000
  

01:16:00.000 --> 01:16:01.000
I found people wanted to abandon the 

01:16:01.000 --> 01:16:02.000
technology we found during this, as 

01:16:02.000 --> 01:16:04.000
Christopher said, we were doing this 

01:16:04.000 --> 01:16:05.000
long before you all know about it, it 

01:16:05.000 --> 01:16:07.000
wasn't that hard to step into the 

01:16:07.000 --> 01:16:09.000
space, especially as a comic.  

01:16:09.000 --> 01:16:12.000
What I want to see is the continuing of 

01:16:12.000 --> 01:16:13.000
the culture .

01:16:13.000 --> 01:16:16.000
 I love that right now that we have the 

01:16:16.000 --> 01:16:17.000
entire zoom audience with S, we are 

01:16:17.000 --> 01:16:21.000
utilizing the more expanded universe 

01:16:21.000 --> 01:16:22.000
that we found, especially when we talk 

01:16:22.000 --> 01:16:23.000
about people with anxiety and mental 

01:16:23.000 --> 01:16:25.000
health issues.  

01:16:25.000 --> 01:16:28.000
It's a lifesaver to be able to 

01:16:28.000 --> 01:16:30.000
participate remotely .

01:16:30.000 --> 01:16:35.000
 >> We have time for one more question 

01:16:35.000 --> 01:16:36.000
from the back of New York City venue .

01:16:36.000 --> 01:16:43.000
 >> So much pressure .

01:16:43.000 --> 01:16:44.000
 >> Make it good, no pressure .

01:16:44.000 --> 01:16:45.000
 >> I will try my best, thank you for 

01:16:45.000 --> 01:16:51.000
bringing this to light.  

01:16:51.000 --> 01:16:52.000
These are all themes that that I, as a 

01:16:52.000 --> 01:16:53.000
dancer who was also neuro- diverse and 

01:16:53.000 --> 01:16:54.000
went to Princeton, I did a lot of 

01:16:54.000 --> 01:16:55.000
writing and living on this exact topic.

01:16:55.000 --> 01:17:01.000
  

01:17:01.000 --> 01:17:02.000
I graduated in 2021, so I'm jealous I'm 

01:17:02.000 --> 01:17:05.000
missing these two wonderful fellows.  

01:17:05.000 --> 01:17:08.000
I currently work at Jacobs pillow which 

01:17:08.000 --> 01:17:11.000
is a big dance festival in the 

01:17:11.000 --> 01:17:14.000
Berkshires, we talk about how physical 

01:17:14.000 --> 01:17:16.000
space and preventing or presenting 

01:17:16.000 --> 01:17:21.000
venues have almost halted at times, the 

01:17:21.000 --> 01:17:25.000
ability to be or they will expect a 

01:17:25.000 --> 01:17:26.000
disabled artist to adapt to the scenery 

01:17:26.000 --> 01:17:29.000
itself and not create long-lasting 

01:17:29.000 --> 01:17:32.000
initiatives that physically change the 

01:17:32.000 --> 01:17:33.000
space to make it work and be ready for 

01:17:33.000 --> 01:17:34.000
anybody in any person in any mind 

01:17:34.000 --> 01:17:37.000
amending individual.  

01:17:37.000 --> 01:17:39.000
I think this question came out of your 

01:17:39.000 --> 01:17:47.000
discussing with the disco 

01:17:47.000 --> 01:17:48.000
conversations, what did the Princeton 

01:17:48.000 --> 01:17:49.000
students in terms of what is working 

01:17:49.000 --> 01:17:51.000
and what isn't, when in your 

01:17:51.000 --> 01:17:52.000
experience, all of you navigating 

01:17:52.000 --> 01:17:54.000
venues and being an artist, what are 

01:17:54.000 --> 01:18:03.000
wage that these historic landmarks or 

01:18:03.000 --> 01:18:04.000
the Ivy League dorms that are not 

01:18:04.000 --> 01:18:05.000
accessible for people who have no 

01:18:05.000 --> 01:18:06.000
elevators or Jacobs pillow that has 

01:18:06.000 --> 01:18:07.000
gravel roads and hills and rocks, how 

01:18:07.000 --> 01:18:08.000
can we work, potentially with funders 

01:18:08.000 --> 01:18:11.000
and pitch that to make those changes 

01:18:11.000 --> 01:18:13.000
and make them last more than just 

01:18:13.000 --> 01:18:17.000
beyond a one year grant?  

01:18:17.000 --> 01:18:20.000
>> Have a disabled person fall down and 

01:18:20.000 --> 01:18:27.000
sue them for other words, they learn 

01:18:27.000 --> 01:18:28.000
really quick when we do that.

01:18:28.000 --> 01:18:29.000
 If anyone finds a solution, let me 

01:18:29.000 --> 01:18:30.000
know.

01:18:30.000 --> 01:18:31.000
 It's been really hard, when you get 

01:18:31.000 --> 01:18:37.000
into the classic historical theaters 

01:18:37.000 --> 01:18:38.000
and staff, they are very emotional 

01:18:38.000 --> 01:18:40.000
about their structures and very 

01:18:40.000 --> 01:18:46.000
resistant about accessibility, which is 

01:18:46.000 --> 01:18:47.000
why I always court capitalism and say 

01:18:47.000 --> 01:18:48.000
do you want the 25% of the audience or 

01:18:48.000 --> 01:18:51.000
do you not?  

01:18:51.000 --> 01:18:52.000
At what point are you going to say that 

01:18:52.000 --> 01:18:53.000
we don't want seniors to come see our 

01:18:53.000 --> 01:18:57.000
show because the gravel is more 

01:18:57.000 --> 01:18:58.000
important?

01:18:58.000 --> 01:18:59.000
  

01:18:59.000 --> 01:19:00.000
I have not succeeded.

01:19:00.000 --> 01:19:02.000
 I'm telling you the truth.  

01:19:02.000 --> 01:19:03.000
I have tried theaters throughout the 

01:19:03.000 --> 01:19:05.000
world to get them to have some sort of 

01:19:05.000 --> 01:19:06.000
access to the stage that's not stairs, 

01:19:06.000 --> 01:19:10.000
I have not succeeded.  

01:19:10.000 --> 01:19:12.000
What I heard from students was 

01:19:12.000 --> 01:19:13.000
successful was access to extraordinary 

01:19:13.000 --> 01:19:19.000
instruct others.  

01:19:19.000 --> 01:19:20.000
I'm not saying that about me, at 

01:19:20.000 --> 01:19:22.000
Princeton our lighting professor is 

01:19:22.000 --> 01:19:23.000
like a legend, a Broadway legend of 

01:19:23.000 --> 01:19:24.000
lighting.

01:19:24.000 --> 01:19:26.000
  

01:19:26.000 --> 01:19:27.000
They are very happy about that.

01:19:27.000 --> 01:19:30.000
 What they are not happy about is that 

01:19:30.000 --> 01:19:33.000
people who are so tied into this old 

01:19:33.000 --> 01:19:37.000
theory of academia that they will not 

01:19:37.000 --> 01:19:38.000
where the amplifier so that it deaf or 

01:19:38.000 --> 01:19:43.000
hard of hearing person can even hear 

01:19:43.000 --> 01:19:44.000
them, they won't give them notes .

01:19:44.000 --> 01:19:48.000
 I have to convince professors all the 

01:19:48.000 --> 01:19:49.000
time to give students notes .

01:19:49.000 --> 01:19:51.000
 They are like well, if they can't take 

01:19:51.000 --> 01:19:52.000
notes they don't belong in the class, 

01:19:52.000 --> 01:19:53.000
you know how competitive it was to get 

01:19:53.000 --> 01:19:54.000
in here.

01:19:54.000 --> 01:19:58.000
  

01:19:58.000 --> 01:19:59.000
Students are disappointed in the fact 

01:19:59.000 --> 01:20:02.000
that professors are so tied to the 

01:20:02.000 --> 01:20:04.000
legendary academia, are not making the 

01:20:04.000 --> 01:20:05.000
accommodations and are not simply 

01:20:05.000 --> 01:20:08.000
understanding one big thing.  

01:20:08.000 --> 01:20:12.000
There is no disabled student that is 

01:20:12.000 --> 01:20:16.000
asking for a guaranteed outcome .

01:20:16.000 --> 01:20:17.000
 A lot of professors think that when 

01:20:17.000 --> 01:20:22.000
the students are saying, I want to do 

01:20:22.000 --> 01:20:23.000
lighting, I can't climb onto the grid, 

01:20:23.000 --> 01:20:25.000
the professors instinct is to say then 

01:20:25.000 --> 01:20:26.000
you can't do lighting, do something 

01:20:26.000 --> 01:20:27.000
else.

01:20:27.000 --> 01:20:29.000
  

01:20:29.000 --> 01:20:34.000
What they need, when we are in the 

01:20:34.000 --> 01:20:37.000
number one school, we beat Harvard this 

01:20:37.000 --> 01:20:38.000
year, we are the number one school, we 

01:20:38.000 --> 01:20:43.000
need to have innovative solutions.

01:20:43.000 --> 01:20:44.000
 We need to say, okay, we are not going 

01:20:44.000 --> 01:20:45.000
to ruin the gravel path but we are 

01:20:45.000 --> 01:20:47.000
going to build the gorges structure 

01:20:47.000 --> 01:20:48.000
above it that is accessible, how do you 

01:20:48.000 --> 01:20:53.000
do both.  

01:20:53.000 --> 01:20:57.000
When Christopher says it cost $75,000 

01:20:57.000 --> 01:20:58.000
to do a small structure, to make 

01:20:58.000 --> 01:20:59.000
lasting change to historical structures 

01:20:59.000 --> 01:21:00.000
is a big investment.

01:21:00.000 --> 01:21:02.000
  

01:21:02.000 --> 01:21:05.000
What I'm saying is, it is worth it and 

01:21:05.000 --> 01:21:06.000
it pays for itself with audience access 

01:21:06.000 --> 01:21:07.000
that you would lose otherwise.

01:21:07.000 --> 01:21:11.000
  

01:21:11.000 --> 01:21:12.000
We have gotten to the point, in 

01:21:12.000 --> 01:21:13.000
America, that if you are not accessible 

01:21:13.000 --> 01:21:18.000
to get shamed on twitter.  

01:21:18.000 --> 01:21:19.000
Publicity, we will shut down festivals 

01:21:19.000 --> 01:21:22.000
and we have set down movies .

01:21:22.000 --> 01:21:26.000
 Let me tell you, if I throw up the 

01:21:26.000 --> 01:21:27.000
wheelchair symbol, an entire army of 

01:21:27.000 --> 01:21:28.000
disabled people line up behind me.

01:21:28.000 --> 01:21:31.000
  

01:21:31.000 --> 01:21:32.000
It's very disconcerting and powerful.

01:21:32.000 --> 01:21:35.000
  

01:21:35.000 --> 01:21:37.000
>> I will say, in addition to the money 

01:21:37.000 --> 01:21:40.000
, that one of the problems that we have 

01:21:40.000 --> 01:21:41.000
in America is we do not want to stop.

01:21:41.000 --> 01:21:45.000
  

01:21:45.000 --> 01:21:46.000
This hyper productivity culture, we 

01:21:46.000 --> 01:21:47.000
don't want to stop.

01:21:47.000 --> 01:21:51.000
  

01:21:51.000 --> 01:21:55.000
So what if Jacob pillow stops for three 

01:21:55.000 --> 01:21:56.000
years and makes all the difference in 

01:21:56.000 --> 01:21:57.000
the infrastructure?

01:21:57.000 --> 01:21:58.000
  

01:21:58.000 --> 01:21:59.000
It takes time.

01:21:59.000 --> 01:22:04.000
 You won't build it into months.  

01:22:04.000 --> 01:22:05.000
So we need to understand that this is 

01:22:05.000 --> 01:22:08.000
grip time and this is how we understand 

01:22:08.000 --> 01:22:12.000
grip time, things need time, think 

01:22:12.000 --> 01:22:13.000
about and reflect on it and welcome 

01:22:13.000 --> 01:22:15.000
disabled people into the conversation.  

01:22:15.000 --> 01:22:17.000
What do we need, what do we need to 

01:22:17.000 --> 01:22:19.000
make this space accessible?  

01:22:19.000 --> 01:22:20.000
That takes money and time.

01:22:20.000 --> 01:22:24.000
  

01:22:24.000 --> 01:22:26.000
If we don't stop, this is the thing 

01:22:26.000 --> 01:22:29.000
that I believe disability communities 

01:22:29.000 --> 01:22:34.000
are really contributing to the moment 

01:22:34.000 --> 01:22:35.000
right now in 2023 and the pandemic, 

01:22:35.000 --> 01:22:39.000
stop.

01:22:39.000 --> 01:22:40.000
 I tell my students, my students, they 

01:22:40.000 --> 01:22:43.000
are welcome to take a nap any time .

01:22:43.000 --> 01:22:47.000
 >> Yes, mine also .

01:22:47.000 --> 01:22:50.000
 >> From 21, maybe 15 are taking a nap, 

01:22:50.000 --> 01:22:51.000
that's how desperate they are to stop.

01:22:51.000 --> 01:22:58.000
  

01:22:58.000 --> 01:22:59.000
Stop and reflect before we make 

01:22:59.000 --> 01:23:00.000
decisions, before we spend $75,000 on a 

01:23:00.000 --> 01:23:01.000
ramp that is not gonna work for more 

01:23:01.000 --> 01:23:02.000
than three months, let's use the 

01:23:02.000 --> 01:23:04.000
resources wisely.  

01:23:04.000 --> 01:23:06.000
Let's stop for a moment to think about 

01:23:06.000 --> 01:23:07.000
the of reasonable creative, real 

01:23:07.000 --> 01:23:08.000
solution for all of this.

01:23:08.000 --> 01:23:11.000
  

01:23:11.000 --> 01:23:16.000
>> Having a disability consultant .

01:23:16.000 --> 01:23:17.000
 >> Not a consultant but like a group 

01:23:17.000 --> 01:23:20.000
of people because one person cannot 

01:23:20.000 --> 01:23:21.000
make the decision for all the different 

01:23:21.000 --> 01:23:22.000
disabilities that we have.  

01:23:22.000 --> 01:23:23.000
Thank you.

01:23:23.000 --> 01:23:26.000
  

01:23:26.000 --> 01:23:34.000
>> With that, and before I think -  

01:23:34.000 --> 01:23:35.000
>> What's in the bag Dawn, tell me 

01:23:35.000 --> 01:23:40.000
what's in the bag, is it cash?  

01:23:40.000 --> 01:23:42.000
[ LAUGHTER ] >> Before we formally 

01:23:42.000 --> 01:23:47.000
think our panelists, I want to reflect 

01:23:47.000 --> 01:23:48.000
as well because Christopher mentioned 

01:23:48.000 --> 01:23:59.000
his reflection a minute ago.  

01:23:59.000 --> 01:24:00.000
It reminds me, back in 2017 when Angel 

01:24:00.000 --> 01:24:02.000
at the Lewis Center for the arts and 

01:24:02.000 --> 01:24:08.000
myself, made a commitment to each other 

01:24:08.000 --> 01:24:09.000
to explore artists and entrepreneurs as 

01:24:09.000 --> 01:24:10.000
a group of people who have so much in 

01:24:10.000 --> 01:24:13.000
common.  

01:24:13.000 --> 01:24:20.000
In terms of innovation, creativity, 

01:24:20.000 --> 01:24:28.000
passion, empathy, resilience, these 

01:24:28.000 --> 01:24:29.000
adjectives make Princeton very powerful.

01:24:29.000 --> 01:24:32.000
 We were committed, Aidan Gill and INR 

01:24:32.000 --> 01:24:35.000
respect organizations, to explore how 

01:24:35.000 --> 01:24:36.000
artists and entrepreneurs can work 

01:24:36.000 --> 01:24:39.000
together and actually leverage and 

01:24:39.000 --> 01:24:43.000
benefit from each other this panel 

01:24:43.000 --> 01:24:46.000
discussion, to me, reflects that in 

01:24:46.000 --> 01:24:48.000
such a meaningful way .

01:24:48.000 --> 01:24:51.000
 So, With that, first of all I'd like 

01:24:51.000 --> 01:24:53.000
to thank the two ASL interpreters.  

01:24:53.000 --> 01:24:54.000
[ Applause ] marvelous.

01:24:54.000 --> 01:25:04.000
  

01:25:04.000 --> 01:25:05.000
On behalf of both the Princeton 

01:25:05.000 --> 01:25:06.000
entrepreneur Council and Lewis Center 

01:25:06.000 --> 01:25:07.000
for the arts, a token of our 

01:25:07.000 --> 01:25:08.000
appreciation as well as with Sophia, 

01:25:08.000 --> 01:25:11.000
Sophia in the background was connecting 

01:25:11.000 --> 01:25:12.000
the zoom community with this community 

01:25:12.000 --> 01:25:17.000
here, Sophia, thank you so much.  

01:25:17.000 --> 01:25:20.000
And for our panelists, I will hand out 

01:25:20.000 --> 01:25:21.000
the gifts afterwords .

01:25:21.000 --> 01:25:23.000
 >> Is it cheese?  

01:25:23.000 --> 01:25:24.000
>> You will have to see.

01:25:24.000 --> 01:25:29.000
  

01:25:29.000 --> 01:25:30.000
But, a resounding round of applause for 

01:25:30.000 --> 01:25:37.000
the most fascinating conversation.  

01:25:37.000 --> 01:25:43.000
[ Applause ] with that we will close 

01:25:43.000 --> 01:25:44.000
down the zoom connection, so for those 

01:25:44.000 --> 01:25:45.000
of us who have joined remotely, Thank 

01:25:45.000 --> 01:25:46.000
you very much.

01:25:46.000 --> 01:25:47.000
  

01:25:47.000 --> 01:25:49.000
We will see you again.  

01:25:49.000 --> 01:25:53.000
For the audience here, we are now going 

01:25:53.000 --> 01:25:56.000
to break for a reception with food and 

01:25:56.000 --> 01:26:01.000
wine and soft drinks