Hello, and welcome, everybody. My name is Steve Vieweg, and I'm the Associate Director for the I UPI Center for Translating Research into Practice. It's my pleasure to welcome you here to our monthly community conversation. This is an idea that has its roots deep with our founding director Sandra Petronio, who's a professor Emeritus in Communication Studies. When she and her husband at the time, still, Charles Emeritus Chancellor Bans was here on campus, recognized the great amount of translational research that goes on here on campus. Our goal is to help share some of that each month and so we're delighted to have with us today. Jason Kelly. So I want to give us a few things to consider as we get started today. Let me share my screen with you as we are welcoming our friends here today. So it's important for us to remind each other about Zoom etiquette. Oops. This is not the right place. Zoom etiquette where we'll start today. Of course, we're all familiar with Zoom, but please keep your microphones muted and to eliminate some background noise. We're grateful for you to have your cameras on certainly when we get to the conversation piece. As we get ready for the conversation after we hear from Jason Kelly today, you could please type some questions in the chat. That'd be great. We are recording the presentation so that others would have access to this. It's also on Facebook Live is usually how we do this. A reminder that you'll receive a post event evaluation form. We'd like to get your sense of what's going on and your ideas about what to do in the future. If you're not aware yet, we have been able to get continuing education credits for attending these community conversations. If you're interested in that, or you think community partners might be interested, please refer them to the resources here to be able to claim attending here as part of their continuing education. The best way to keep up with us is through our social media. We're trying to be out there everywhere we can. You can find us on Twitter, Facebook, Instagram. We have a YouTube channel where we keep all of our videos in place so that you can just find out what's going on here at IEPY. It's pretty amazing place. Other resource we want to make sure you're aware of is something called Scholar Works. On our website at WWW trippy eDU. You can go to the featured page, the featured scholar page, and we try to work on getting all of our translational scholars here. You can see who's here now, and today we have Jason Kelly. If you flipped down, you'd be able to find him there and click on his profile, and you'd see some more information along with the charming photo and explaining what his translational research is all about. Followed by a list of some of his scholarly works that are available at no charge to you and freely accessible through Scholar works. It's a great way to just be able to dig deeper into some of the academic work where we've done the work for you in finding it and making it available. You can also click on the link there that says, Go to Scholar Works, and you can see all of his works there. There's a couple of easy ways for you to access this amazing dre of work by all of our scholars. We hope that helps you as you learn more about the work that's happening here at IEPI. We do want to let you know a couple of things. We have some upcoming events. February is a big month for us first on February 11. We'll be doing our next monthly conversation. We've invited Veronica Derrick to come and talk. She'll be talking about examining the effects of targeting health information to Black Americans, particularly during this COVID time. Then also, we're very excited to share with you our annual event. We do a keynote address. This year, where we've invited our new Indiana University president Pamela Witton to talk about her translational research, telemedicine, a journey through the evolution of translational research. That'll be Friday, February 25 at noon, and that'll be available. Both of these events are certainly available online, and we hope that you'll take advantage of that. You can go to our website to learn more about how to register for these events. But that brings us up to today. The reason we're here today is to hear from Jason Kelly. One of our esteemed colleagues, Jason and I have the honor of having some connection through the Office of the Vice Chancellor for Research, where he is the director of the IEPI Arts and Humanities Institute. And He's also the chair in the Department of History in the IU School of Liberal Arts, and he's adjunct professor in both Africana and American studies. So we're delighted to have you here with us today, Jason. We're going to turn it over to you to hear about your work, and then we look forward to a conversation to talk more about the things that you want us to help you better understand as we learn more about your translational work. So welcome Jason. Thank you so much for the kind introduction. And it's nice to see everybody. It's great to see so many familiar faces, some of whom I don't get to see very often. So thanks to those of you who've been able to show up today. Yeah, I'm thrilled to be here. It's really great to have a center like trip here on campus, supporting and sustaining this type of scholarship. It's incredibly important to the life of our university, and I think knowledge and scholarship broadly. So these monthly meetings are a very important thing. Look, I am a professor of history. I'm also the director of the Arts and Humanities Institute. While many people probably know what a professor of history does, a lot of people don't know what a director of an Arts and Humanities Institute does. So I thought that might be the best way to start this meeting today to kind of give a sense of what I do with that hat on. So let me share my screen. I'm going to be turning my screen on and off today because I don't want to just speak at you, nor do I just want to show slides to you. What the Arts and Humanities Institute does. So the Arts and Humanities Institute was founded about a decade ago. In fact, coming up in the next fiscal year, we will be 10-years-old. And what we do is support faculty research here on campus. And we do that through a number of ways. There are several listed here. We help fund research. We help make connections and communicate scholarship, we incubate new projects, we convene events, we have workshops, we have public speakers. We have exhibitions and things of that nature. And then we also our liaison with the community itself. So in that capacity, we do a lot of co programming with different organizations across the city. But what we'll also do is research and community engaged scholarship projects with organizations across the city. And I'll share a little bit about what that is today. A few of the projects I'm going to be mentioning today fall under three of our big research projects that are based at the Arts and Humanities Institute and involve university faculty from across the disciplines. In fact, the IPI Arts and Humanities Institute supports all Arts and Humanities scholarship across campus, not just that in the School of Liberal Arts or Hern, but we also work with engineering and technology, the School of Medicine, the School of Science, and the library, and we do a lot of really interesting work with scholars because we're able to convene scholars from across campus. Our three big research projects that are running at the institute at the moment fall under these categories, the Anthropocens Network, cultural ecologies Project, and the COVID 19 Oral History Project. Under the Anthropocs network, and this is the first project we started at the institute a decade ago, we deal with We bring together interdisciplinary teams of scholars from across the globe. We write books together, we have conferences together. We do research together. We do exhibitions together. Voices from the Waterways is an oral history project. Museum of the Anthropocene brings together artists and scientists and humanists to create art installations. The Anthropocene Household, which I'm going to talk about in more detail is based here in Indianapolis and is really concerned with the environment and the environmental history here in the city. And Rivers the Anthropocene deals with freshwater systems across the globe. Our cultural ecologies project. We work with a lot of our graduate students who work at the Institute on the cultural ecologies project, and we've run seminars through that such as our art and ethics seminar, and we host projects with community members, one of which is the religion spirituality in the arts program. Which is run by rabbi Sandy Sasso, who I'm sure a number of you know, who are on the call. This works with artists in the city, brings together faculty member with the artists, and they run these seminars for eight weeks over the course of a semester, and it all culminates in an exhibition. The cultural ecologies project also has some research projects, which is where a number of our graduate students work, and I'll tell you a little bit more about those later, but they're really concerned about the nature of art and equity here in the city of Indianapolis. Then finally, our most recent project is the COVID 19 oral history project, as in the title, it's an oral history project. We are collecting oral histories of the experience of COVID 19, and we started that project on March 20, 2020. As soon as the university sent us home, we started putting this project together. I'm going to say a little bit more about that in just a bit. But before I get started, as you can tell from the previous slide, I want to talk a little bit about my research in a little bit more depth and specifically this thing called the anthropocene, which is so central to my own scholarship. And I know folks are probably not familiar with the anthropocene. So I want to tell you a little bit about the anthropocene a little bit about the way it has shaped my trip research and my scholarly direction. And then make a few comments about how that might help us think about trip as a practice more broadly. So let me turn off my screen share here for a moment. And can you just sorry. There we go. There we go. We can just see me now probably All right. So the anthropocene. So for more than a decade, I've been working on this work about the anthropocene. It's been a key component of my scholarship. And if you're unfamiliar with it, it's basically this. The anthropocene is this concept that geologists and Earth system scientists started talking about probably about 20 years ago or so, it became increasingly popular after about 2000 or so. And the concept is simple at its core. The argument is that humans have so transformed the planet that we've entered a new geological epoch. The anthro, the anthropocene, the human age. So the suggestion is that our current geological epoch, the Holocene, which had previously been generally defined by relatively stable and steady mild, warm climates that brought an end to the last ice age, that set the conditions for agriculture, for the growth of cities, for industrialization, et cetera, the things that kind of define our modern life, those have come to an end, and we've entered a new age, this human age. Since the Industrial Revolution, human actions have increasingly threatened that holocene state, that kind of relatively steady climate period. Most notably, this is through the burning of fossil fuels and the release of CO two, which we all know about, the thing that drives climate change. But there's also been major changes to other Earth systems, the nitrogen cycle, the phosphorus cycle, the water cycle, which is tied to the climate cycles. The warming of the planet has led to things like ocean acidification. And of course, the anthropocene is defined by things like pollutants that are put out into the environment. Heavy metals, for example, example, nuclear radiation, the expansion of plastics across the globe. You can go to the highest mountains and the deepest trenches of the ocean and find plastic. You can find plastic living inside organisms across the globe. The anthropocene is a big narrative about biogeochemical change that explains the rapidly changing lived conditions of people all over the globe. And I would argue that the conditions of the anthropocene are the challenge of the 20th century or the 21st century. And this includes, of course, climate change, which is one of the obvious things. But the anthropocenic conditions that I've just kind of briefly summarized are more than just climate change. These are pervasive changes at all levels of our society. In our politics and in our economies. And just thinking of things like environmental justice here in the city of Indianapolis. Those global changes that have taken place have very real effects in the local level, and they're often asymmetric effects, meaning they often affect poorer countries more than richer countries, for example. I in this country, in particular, race and ethnicity is often a determinant of how much pollution you experience in your day to day life. Now, since the introduction of the concept of the anthropocene, its meanings have been refined and they've been expanded, and the concepts begun to be utilized by scholars from across the di disciplines. And in my own work, this space sits at the intersection of the arts, and the humanities, the social sciences, and even the biophysical sciences. And I'm often translating the scholarship for one disciplinary boundary across the other to help inform other fields. And in my practice in publications, I argue for a few core principles about approaching the anthropocy. So first, the anthropocene is both a concept and a lived experience, meaning, we can talk about the anthropocene and debate about the anthropocene and when human actions began to change the climate or make these massive global shifts. But at the end of the day, we can't forget that the conditions of the anthropocene are being played out in the day to day lives of individuals. And so they're very much lived experiences, not just abstract concepts. And so the anthropocene, I would argue, is something we need to think about on our day to day lives, even though it's this global transformation. The anthropocene isn't simply a product of human actions. It's also the processes of the processes that have created anthropocenic conditions. So climate change, for example, didn't come out of nowhere. It was driven by socio cultural processes, historical sociocultural processes. The release of CO two associated with the Industrial Revolution required centuries of social, political, cultural and economic processes, the development of modern capitalism, global trade, the histories of imperialism, of enslavement, of warfare, of the creation of fiscal military states and debt financing and the development of international banking systems are all tied into the release of CO two. And to understand the anthropocy, means understanding the processes and feedback loops between the socio cultural processes and the biogeophysical processes. Between humans, and the lived environment itself. So we need to think about both of those two things together. Now, because the entanglement between socio cultural and bio geophysical systems We have to recognize that any solution to the deep crisis of the anthropocene requires the cooperation of expertise from scholars and individuals out in the communities across the disciplinary spectrum. So if we think of water, for example, delivering fresh water isn't simply an engineering problem, right? It's a problem that involves geomorphology. Involves public health and biology and economics, and voter behavior and urban histories and organizational behaviors and community organization. And it involves engaging publics in communication and narrative in education and design and coalition building. So it's bringing these fields together in this and integrating them that we can in collaboration with diverse publics that we can address the challenges of the anthropocy. When I speak or write about bringing together socio cultural and biology of physical knowledge, I'm usually advocating for trans disciplinary methods. When we talk about trans disciplinary methods. We're talking about things like problem based research and creative activity that seeks to understand and address specific challenges. You might think of this as translating research into practices, right? This is exactly what is at the core of transdisciplinarity. But there's also an element of this that really is important in the arts and humanities, which is the speculative research and creative activity that imagines new questions and imagines new possibilities that have the potential to reshape how we think about and approach those problems. So this speculative trans disciplinary trans disciplinary, as you might call it, is essential for how we think about approaching problems. And this is because problems in the traditional sense aren't objective things. They're not objective categories, but problems are socially and historically constructed. The ways we think about problems, the way we form problems, the way we address problems are deeply based in our societies and our cultural practices. So when I'm doing my work, these are all the things that are kind of driving how I'm approaching the projects that I'm going to tell you. And I'd love to talk more about all of this stuff because I'm so excited, as you can tell I'm really excited about this kind of work, but I want to share a little bit about the work that I've been doing so that we can open up and have some conversations with each other. So let me share my screen again here. All right, should be able to see this now. All right. So we've talked a little bit about the anthropocene. I've already talked a bit about the Anthropocenes network. But what I really want to talk to you about is our local project that we have running in the city right now, which is called the Anthropocens Household Project. And this is a project that we do with a number of organizations across the city. It's funded by Indiana Universities prepared for environmental change grant challenge Initiative. We work with the Environmental Resilience Institute. Gabe Philip, who I know, many of you already know, is deeply involved in this project, and we're working together with organizations like the Indianapolis Ministeria, groundwork Indie, keep Indianapolis beautiful, these other organizations across the city. To do things like, collect histories of environmental change here in Indianapolis by doing oral histories throughout the city. And while we're doing that, we're also doing things like community based conversations about environmental justice. And as we're doing that, as we're educating and collecting histories for the residents here in the city, We're also distributing household lead testing kits across the city, so that people can test soil, dust and water in their homes. And so we're distributing these through our networks of partners through the city who are allowing us to go household to household, as it were, to see if people are being exposed to lead in the soil outside their homes, or if they're tracking dust into their homes, or if there's paint chips that have turned to dust that they might be inhaling, or perhaps through their pipes, or there faucets, they might be getting lead, and if you know anything about lead poisoning, this is incredibly dangerous heavy metal poisoning. That's difficult to get out of your system, and it is particularly dangerous for children and in childhood development. So it is an essential problem of the 21st century city. And like Flint, like Newark. We need to be very concerned about the extent to which lead and this heavy metal poisoning threatens people throughout the city. So what we're doing is we're collecting this information. We're testing it here in labs, here in the School of Science. We're giving people back the data on their homes, as well as ways they mitigate the lead in their homes as well as resources, because our community partners are offering resources to help them find funding and support in order to mitigate the lead in their homes. But at the same time, all of this data then is being collected into a centralized database that can show us hot spots here across the city of Indianapolis, where lead poisoning might be a major threat to public health. So that's just one example of the kind of trans disciplinary research that I was talking about as part of the anthropocene household project. The cultural ecologies project is very focused, like I said, on things like art and equity. And so we're looking at how arts and cultural interventions transform cities. And we've had a number of projects that we've been working on over the years that are in collaboration with partners, such as the Indianapolis Office of the Mayor, the Arts Council of Indianapolis. And we are currently working at looking at the ways that power and equity intersect in the cultural sphere here in the city. So we're doing things like social network analysis of nonprofit boards, corporate boards, and community boards. We're doing surveys of organizations and individuals across the city to better understand how equity is both perceived and practiced here in the city, and we're creating a major baseline study. Of where equity in the arts is here in the city of Indianapolis. We've been working on that for the past several years, and we're going to be publishing our first reports at the end of this semester. Then finally, the COVID 19 oral history project, which I'm going to go through relatively quickly. But to say this, over since March 2020, we have collected over 700 oral histories across the globe, primarily here in North America, but across the globe. And this works by the team at the I UPI Arts and Humanities Institute, working with researchers at different universities, museums, and cultural institutions at different places around the globe. And we've been working with them to train their students. We've been working with them on oral history, methodologies. We've created a platform that allows people to upload their own oral histories, which are not traditional oral histories, but narratives of their experience of COVID 19 We work with our partners at Arizona State University. We've created with them, we've partnered to create the largest database of the experience of COVID 19 in the world. This journal of the Plake Gear project, if I'm remembering correctly, I'm trying to get the numbers off the top of my head. I think it's 18,000 individual objects that are, capturing this experience of living through COVID 19. As you can see, from the title, it was optimistic at first. It was a year at first. We need to think about that title as we move forward. We've been able to help other projects in other countries get established as well, and, frankly, in other places around this country as well. So the Irish COVID 19 Oral History project is effectively a mirror of the COVID 19 oral history project that we established. And this is based at Dublin City University in Ireland. I think I skipped a slide here. Yeah, we've created online training modules so people can learn how to do their own oral histories and participate. We've trained a lot of people around the country who are u citizens who are interested in getting involved in this work, and we've been able to capture all of this, by working with them, training them in the methods. They are going out and collecting information and putting it back into the database. And the importance of this is, of course, helping people tell the stories about their communities. It's absolutely central to this memory project because it's not just about having the history, but it's also about having this information to understand how people processed it. So that better public policy can be made in the future so that a better decision making can be made in the future. Of course, like I said, we have a number of international partners. This is our German partner based at the University of Hamburg, and working with them has now led to yet another project between IUPUI and University of Hamburg, which is interested in providing open access educational modules to train people in public history. And finally, I'm going to stop now, but I wanted to make sure everybody got invited to the exhibition that we're hosting here at IUPUI. This is called the New Blueprint for Counter Education. This is open to the public. It is looking at this publication from 1970 called Blueprint for Counter Education and thinking about the ways we can re imagine pedagogy. And thinking so we've asked four faculty members here in the IU system to respond to the original blueprint and create new blueprints for education. So there's virtual reality. There's new curricula, there's multimedia projects, there's posters that have been created that are imagining what pedagogy in the 21st century might look like. And so I will stop with that. And I am happy to answer questions both about the general concepts I was presenting at the beginning, as well as some of the research projects that I've been working on over the past few years. Well, thank you, Jason. That is an incredible amount of information and very interesting. We do want to open it up to our audience. I think the best way to do that is you have two options. You're welcome to post a question or comment in the chat and we'll take a look at that. There's already one there. Also, if you are so inclined, we would invite you to go ahead and raise your hand so we know that you're interested, turn on your camera and then mute and we'll invite your question. But doctor Banz is asking about what analyses have been done on the COVID 19 narrative so far. That's a great question. So we're in that middle of trans transitioning from frantic collection to the analysis piece of this. In fact, we just put in a grant, maybe five weeks ago, to help fund this analysis piece of it. The preliminary analysis has been focused primarily on our methods, how we're thinking about collecting this data and what we are collecting. So one of the main focuses from the very beginning of the project has been on issues around making sure that we have a diverse, group of oral histories that we're collecting and that we're not reproducing structures of power and inequality in our society. So, this has been a constant concern. So one of the areas where I've done some analysis is on that first batch of oral histories that came out. And we actually compared the students who are working on collecting oral histories with the faculty that we're collecting oral histories. And what we found out is while we might be emphasizing the importance of Equity and making sure a diverse group of oral histories were being collected in our classroom. What we found out is that was not being reflected in what we were actually doing. Right. Whereas the faculty members themselves were much more focused on diversity and all the various aspects of it. So when we moved into our second semester of working with students, we actually changed our pedagogy, because it was our mistake, that first semester, how we were conveying how we were doing it. So we changed our pedagogy, and that actually transformed what students were collecting. And it was just simple things. It was simple things like having students write a one or two sentence reflection on why they chose that individual was all that it took to get them to start thinking about why they were choosing that individual and how that was shaping this larger project. We've also done some analysis of, pulled some of the data to see where things were peaking and moving in the database itself. But those are very preliminary at this point. I see several people have come to life here. Are any of you intending to mute and ask a question? I am except that I think there are two questions already in the chat. So I think question first. So I'll defer to that and we'll come back to sue so Okay So Jason, in the chat, there are two questions. One is, is any documentation of visual art responses being included in the oral history project? So not in the oral history project, but in the Journal of the Pla Gear project. So the oral history project is the collection of the data which we then host in the journal of the Pla Gear project, which is I mean, it's a very visual database. We have people in lots of different cities doing things like documenting flyers that are put up. They're photographing the streets. They are photographing artwork that's being put up. And one of the early problems that we ran across was, of course, publishing somebody's artwork. So there's a procedure put in place wherever possible to get approval from the artist before the artwork gets put into the database. So yes, the journal of the Play gear is worth going to have a look at because you will find some many very interesting visual responses in a number of different art forms to the COVID pandemic. So Jason, there's another question in the chat from Hillary Can that asks if you can speak more about speculative transdisciplinarity as an interesting concept in how that might be distinct from other methodologies and approaches. Yeah. So when you pick up a book or an article about trans disciplinarity, one of the common things, maybe almost consistent things that comes up is problem based knowledge, right? Practical applied knowledge. And when it's talking about practical applied knowledge, it tends to focus on very material things, which is incredibly important. Yes. By speculative trans disciplinarity, I'm suggesting that there are other practical outcomes that are associated with a problem based problem based research. And one of those things is problematizing the problem itself. And, It's really I would argue the arts and humanity, not that other disciplines don't do this, but the arts and humanities are almost constructed to do this very thing to speculate about why we are doing the things that we are doing. I don't think traditional transdisciplinarity and speculative transdisciplinarity are separate things. I think there are things that happened together, but I think it's worth noting that there is this space that we should think about creating more actively perhaps for this speculation about what it is we do, why we do it, where we want to go with it. And one of the ways of doing that in a more practical sense is when we're creating a research project, that might be, let's say, I'll use our research project, a research project that's environmentally focused. The typical approach would be, Oh, there's lead in the water. How can we engineer ourselves out of this? How can we create better public health policies? That's very practical things. If we were to put an artist or a humanist or a group of artists and humanists in those initial conversations about what we should do, One of the interesting things that might emerge are new ways for thinking about those very questions in the first place. Not that we shouldn't be engineering, not that we shouldn't be dealing with public health issues. But the artists and the humanists might get us thinking about why is it that we're thinking about it in this particular way? Is there another solution? Or How are we communicating with publics? Perhaps there's a better mode of communication. How are people actually thinking about this problem that we're facing? What are the structural conditions that what are the socio cultural structural conditions that perpetuate this problem? There's lots of different ways that I think speculative transdisciplinarity as a mode of working within that kind of broader trans disciplinary umbrella could be really powerful in the work that we do out in communities and for publics. I can't help but think as you're talking that that is an amazing advertisement for the value of what you were talking about earlier about translational research on our campus. That very much embraces the idea of interdisciplinarity and connecting and thinking about things in some different ways. Maybe you could talk a little bit more about how you see the arts and humanities fitting into our efforts at IEPI to embrace our translational research and capacity for that. Sure. One of the first ways I'll talk about it is a very simple thing. Even though it doesn't necessarily appear on surface to have an artist and a humanist involved in a research question and I'm just going to choose engineering and technology just randomly. I could choose any school. Even though it may not make sense on the surface to have an artist and a humanist involved in a project, What happens if we do put them in the project? Again, just the experimental piece of. That's kind of more idealistic approach to it. Then there's more practical pieces to all of this. And we played around with this back in 2014 when we hosted a conference here at IEPI, called Rivers of the Anthropocene. And we brought together Earth system scientists, we brought together geomorphologists. We brought together bio engineers. We brought together all of these folks and we put them in conversation with the artists and the humanists here, as well as some folks that we had invited in. And that group of people when they left that conference, began talking differently about what they were doing. They began communicating with each other in different ways. The humanists and artists started seeing science differently. The scientists started thinking about the questions that they were asking and the artists, what arts and humanities brings to the problems that they're looking at differently. And that group of people remains in contact and working with each other to this day. You know, one of my colleagues even wrote up in nature about how this was important for changing the way he thought about and how people were thinking about going about Earth system science. So it was an experiment to see what happens when you put folks together. And I think their university is the perfect place to do this. Experiment with more voices in the room. Awesome. As I invite Michelle Neiman to unmute and have a question. I do want to make sure that people have seen in the chat, the invitation from Sue Hyatt to check out a web link for some results from a course that she took. But Michelle, go ahead. Hi, Yeah. Thank you, Jason for the talk. It's been, really wonderful to hear what some of what you've been up to. And I wanted to ask a question that is about communicating, I think, with the public, but about this anthropocy and concept specifically, and it's been hugely important over the last ten years in the environmental humanities. And I know in my own field of literary studies, it's really conceptually important, but I appreciate your focus on the lived anthropocene, the every day anthropocene, sort of how people experience it? Because it can also be discussion of it can be theoretically forbidding, right? And it can sort of attract attention to deep time and the geological scale rather than the human scale? My question is just, in your anthropocene household project, do you use the term anthropocene with your community partners with the organizations that you work with or with people who are testing their water for lead? If so, how does that work? What are their responses like? What are the conversations like? Is the term useful? I know how is it useful? Is it not useful? L et me hear you about that. Thanks, Michelle. That's such a good question. Yes, we do use it. We do. That's probably because I'm a little adamant that we continue to use it. Because I find it a really important pup. It's a concept that allows us to think about things in broader ways. If we just called it the lead testing kit, it would do the same thing. But the anthropocene reminds us that that lead is there because of global processes, right? And while that doesn't necessarily matter it doesn't necessarily matter to the person who's testing the house for lead, where it does matter is in those community conversations when we sit down as a group, and we talk about why lead is manifesting itself in certain ways in certain areas of the city. And we think about you know, environmental injustices, you know, that requires us to think not just locally, but understanding it as part of these global processes, right? Like, you can solve a thing locally, but if you're not understanding how it's part of these larger processes, you're addressing the symptom, not the cause, right? So, we do keep talking about the anthropocene. You know, I have this thing when people say, What's the anthropocene? I always say, you'll be using it in two or three years. Just give it time. You'll be using it every day. We do use it. But it's really there with the lead testing. It's just there as a name. But when we start having community conversations, that's when we start unpacking it with people. Yeah, I don't know if that answers your question, Michelle. Yes, no. Yeah. No, that's fascinating. Yeah, thank you. Sir. Thanks, Michelle. We have time for about one more question. I'm going to call on Sue Hyatt who wanted to ask something, bring up something to the group. Thank you very much, Steve. And I think Michelle's question really set me up nicely for what I want to ask. And I'm going to take the conversation a little bit of a different direction. But as I think many of us are aware, our state legislature is in the process of passing bills that will restrict teaching about racial and gender equity in classrooms. And I think they're coming for us next for public universities next. And I think this is a frightening development. But I'm just wondering like the work that you've done, Jason, I think it's just been really important in creating an interface between the campus and our communities. And I'm just wondering if you have any thoughts like moving forward, how we might use the work of the institute or how we might get involved in the institute toward really kind of a public education project because so much of the work that you do, it goes to the heart of understanding the causes and consequences of social inequality, social and material inequality. Yeah. It's a tough one. It's a tough one. Yeah, thanks. This is not the first time we've talked about it, of course. You know, Sue and I have talked about this on a couple of occasions in the past. You know, the first thing I'm going to say is go to that Blueprints for Counter education exhibition. I'm going to repeat that as one way. These types of interventions that we do in the city are important for these kinds of conversations. That's actually one way that I think we can do some of this work is the small scale intimate exhibitions, workshops, conversations. I'd say that that's one important thing. One way I think we can all utilize the Arts and Humanities Institute to do this work is, we have these ongoing conversations. But when faculty are interested in moving things forward, we do have some of the resources and infrastructure to do work out in the community that faculty might want to do. So, you know, weekend classes and things of this nature, we do have some of the infrastructure that could support that type of community engaged work. But I'm always open to new experiments. When it comes down to it, as you can tell from the conversation today, I think arts and humanities are an absolutely essential and important way for thinking through our great problems. And the more that we can do to bring together scientists and engineers and medical professionals with arts and humanities, with community organizers, with politicians to sit down and have these conversations. I think the better we're all going to be and tackling big concepts like the anthropocen that seems so theoretically incomprehensible is one way to challenge people to think about the worlds ever so slightly differently. Thank you. I think you've done an amazing job of translating this idea for us today and presenting it in some very practical ways to help understand it, but then also maybe about it. As Michelle is suggesting that there's going to be opportunity for us to just talk about these things as we move forward. So Dean Hall is putting a link in there in the chat with a link. Be sure to take a look at that and reminding us about the Blueprints show. He's giving you a link to where that is and some information that's open until February 25. We hope everybody here will take advantage of that. I want to remind everybody that in two weeks we'll be doing another community conversation with Veronica Derrick. Then in two weeks after that, so four weeks from now, again, we have our keynote address. This is a big annual event, and our guest this year is President Pamela Whitten from the IU side of the world and talking about her translational research. Thank you, Jason so much for taking time to share your thoughts and ideas with us, helping expand our understanding and appreciation for translational research on campus and giving us the charge to move forward. We have a very important role, I think in what we do. You're getting lots of kudos in the chat. I hope you see those and feel those. We'll give you some air claps as well. Thank you all for joining us. We're going to end our official meeting right now, about 10 minutes till the hour to give everyone a chance to go ahead and go do what they need to do. Although we'll stay online, if there's anybody that wants to hang out for the next few minutes for just some offline communication. We'll end our Five and officially end the program. But I know sometimes people like to just hang out at the end and have a little bit of conversation. We'll do that for just a few minutes, if anyone wants to have a final conversation with Jason. Thank you again for coming and we'll see you soon.