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Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>","avatar":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twitter":"chloeveltman","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["author"]},{"site":"pop","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Chloe Veltman | KQED","description":"Arts and Culture Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cveltman"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13807948":{"type":"posts","id":"arts_13807948","meta":{"index":"posts_1591205157","site":"arts","id":"13807948","score":null,"sort":[1505574030000]},"guestAuthors":[],"slug":"video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","title":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk","publishDate":1505574030,"format":"video","headTitle":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk | KQED","labelTerm":{"term":1541,"site":"arts"},"content":"\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4tor0TADs3Q\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Watch KQED Newsroom's interview with the creators of a mind-altering, 24-hour long cabaret act. ","status":"publish","parent":0,"modified":1705029521,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":220},"headData":{"title":"VIDEO: Taylor Mac & Machine Dazzle Turn U.S. History into a Catwalk | KQED","description":"Watch KQED Newsroom's interview with the creators of a mind-altering, 24-hour long cabaret act. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13807948/video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Stockton-born, New York-based performance artist \u003ca href=\"http://www.taylormac.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Mac\u003c/a> and his costume designer Machine Dazzle are no ordinary historians. In \u003cem>A 24-Decade History of Popular Music\u003c/em>, their 24-hour romp through American history from 1776 to the present day, Mac, Dazzle and their vast team of collaborators use the pop hits of the ages, commentary, and off-the-wall fashions to share a unique vision of this country’s story.\u003c/p>\n\u003cp>KQED’s senior arts editor Chloe Veltman sat down with Mac and Dazzle in the costume-strewn basement of San Francisco’s Curran Theater when the artists were prepping for a run of their show.\u003c/p>\n\u003cp>Watch the report for \u003cem>KQED Newsroom\u003c/em> here:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4tor0TADs3Q'\n title='//www.youtube.com/embed/4tor0TADs3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A 24-Decade History of Popular Music\u003c/em> runs in four, six-hour-long episodes from Friday, Sept. 15 to Sunday, Sept. 24 at the Curran Theater in San Francisco. For more information, click \u003ca href=\"https://sfcurran.com/shows/taylor-mac/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stanford Live is also presenting a 3-hour-long, abridged version of the show at the Bing Concert Hall on the Stanford Campus on Wednesday, Sept. 27. Information \u003ca href=\"https://live.stanford.edu/calendar/september-2017/24-decade-history-popular-music-abridged\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg\" alt=\"Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6629-e1504893309577-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Costumes for A 24-Decade History of Popular Music pack the basement of The Curran Theater. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807948/video-taylor-mac-machine-dazzle-turn-u-s-history-into-a-catwalk","authors":["8608"],"programs":["arts_1541"],"categories":["arts_69","arts_235","arts_1003","arts_75","arts_967"],"tags":["arts_2372","arts_1118","arts_596","arts_1007"],"featImg":"arts_13807956","label":"arts_1541"},"news_11617329":{"type":"posts","id":"news_11617329","meta":{"index":"posts_1591205157","site":"news","id":"11617329","score":null,"sort":[1505518857000]},"guestAuthors":[],"slug":"co-directors-of-the-vietnam-war-discuss-emotional-interviews","title":"Co-Directors of 'The Vietnam War' Discuss Emotional Interviews","publishDate":1505518857,"format":"video","headTitle":"KQED Newsroom | KQED News","labelTerm":{"term":7052,"site":"news"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Decades after the brutal conflict divided soldiers and civilians both on and off the battlefield, filmmakers Ken Burns and Lynn Novick take on the history of the Vietnam War in a 10-part,\u003c/span> \u003cspan style=\"font-weight: 400\">18-hour documentary series. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The Vietnam War\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> premieres on national PBS on Sunday, Sept. 17 and airs through Sept. 28. Check local listings for exact times.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Co-Directors Ken Burns and Lynn Novick discuss the making of \"The Vietnam War\"","status":"publish","parent":0,"modified":1505518857,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":61},"headData":{"title":"Co-Directors of 'The Vietnam War' Discuss Emotional Interviews | KQED","description":"Co-Directors Ken Burns and Lynn Novick discuss the making of "The Vietnam War"","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11617329 https://ww2.kqed.org/news/?p=11617329","disqusUrl":"https://ww2.kqed.org/news/2017/09/15/co-directors-of-the-vietnam-war-discuss-emotional-interviews/","disqusTitle":"Co-Directors of 'The Vietnam War' Discuss Emotional Interviews","videoEmbed":"https://youtu.be/cCdyrhV63Gc","path":"/news/11617329/co-directors-of-the-vietnam-war-discuss-emotional-interviews","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Decades after the brutal conflict divided soldiers and civilians both on and off the battlefield, filmmakers Ken Burns and Lynn Novick take on the history of the Vietnam War in a 10-part,\u003c/span> \u003cspan style=\"font-weight: 400\">18-hour documentary series. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The Vietnam War\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> premieres on national PBS on Sunday, Sept. 17 and airs through Sept. 28. Check local listings for exact times.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11617329/co-directors-of-the-vietnam-war-discuss-emotional-interviews","authors":["236"],"programs":["news_7052"],"categories":["news_8"],"tags":["news_19374","news_5579","news_21618","news_5067"],"featImg":"news_11617331","label":"news_7052"},"arts_11484965":{"type":"posts","id":"arts_11484965","meta":{"index":"posts_1591205157","site":"arts","id":"11484965","score":null,"sort":[1460498453000]},"guestAuthors":[],"slug":"odc-choreographer-addresses-climate-change-with-lime-green-snow","title":"ODC Choreographer Addresses Climate Change with Lime Green Snow","publishDate":1460498453,"format":"video","headTitle":"ODC Choreographer Addresses Climate Change with Lime Green Snow | KQED","labelTerm":{"term":141,"site":"arts"},"content":"\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":"KT Nelson’s 'Dead Reckoning' demonstrates how humans are navigating blindly through environmental damage.","status":"publish","parent":0,"modified":1705044599,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":404},"headData":{"title":"ODC Choreographer Addresses Climate Change with Lime Green Snow | KQED","description":"KT Nelson’s 'Dead Reckoning' demonstrates how humans are navigating blindly through environmental damage.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/1N41d7BjShY","sticky":false,"path":"/arts/11484965/odc-choreographer-addresses-climate-change-with-lime-green-snow","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hardly a week goes by without seeing news about the alarming pace and extent of climate change, from rising sea levels to record-setting temperatures in the Bay Area and beyond.\u003c/p>\n\u003cp>But lost among this torrent of data, policy measures and updated climate models is a different side of climate change — one which Bay Area choreographer KT Nelson wants people to see, and more importantly, feel.\u003c/p>\n\u003cfigure id=\"attachment_11485753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485753\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg\" alt=\"ODC Co-Artistic Director KT Nelson at Yerba Buena Center for the Arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010184-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODC co-artistic director KT Nelson at Yerba Buena Center for the Arts. \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Perhaps one of the things we need today is to address climate change from a more emotional point of view,” says Nelson, who co-directs \u003ca href=\"http://odcdance.org/index.php\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, a San Francisco dance company founded in 1971.\u003c/p>\n\u003cp>Inspired by a sabbatical she took to Death Valley in 2013, Nelson created \u003cem>Dead Reckoning\u003c/em>, a production that explores the anxiety, indifference and panic brought on by a world transformed and threatened by climate change.\u003c/p>\n\u003cp>“In \u003cem>Dead Reckoning\u003c/em>, there is this lime-green snow, or confetti, that first starts coming from the dancer’s hands, and eventually it comes from the sky,” Nelson says. “Nothing in nature is like that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Complementing this visual metaphor is the soundtrack to \u003cem>Dead Reckoning\u003c/em>, which is composed by renowned former Kronos Quartet cellist \u003ca href=\"http://www.jjcello.com/\">Joan Jeanrenaud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11485760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg\" alt=\"Joan Jeanrenaud composed the music for 'Dead Reckoning.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1010066-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joan Jeanrenaud composed the music for ‘Dead Reckoning.’ \u003ccite>(Sheraz Sadiq/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">The title of Nelson’s work is itself a cautionary metaphor. Sailors typically use dead reckoning to estimate their position at sea based on past measurements. The technique is useful when celestial observations aren’t available owing to thick cloud cover. \u003c/span>\u003c/p>\n\u003cp>Jeanrenaud layers multiple cello tracks on top of each other and changes their tempo in key sections of the piece. She uses the cello’s broad musical range to capture different moods, from aching sorrow to frantic urgency, as dancers variously collide into each other, run in place and dance romantically.\u003c/p>\n\u003cfigure id=\"attachment_11485109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11485109\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg\" alt=\"Josie G. Sadan, a company dancer at ODC, during a rehearsal for 'Dead Reckoning.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/SP9135.new_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josie G. Sadan dances during a rehearsal for ‘Dead Reckoning’ at ODC. \u003ccite>(Blake McHugh/KQED Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Today, where we are with climate change is we are navigating blindly,” Nelson says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Reckoning \u003c/em>had its world premiere last year at Yerba Buena Center for the Arts where it returned this year for four performances in March. If you missed it, you can watch the entire performance on\u003ca href=\"http://odcdance.org/performance.php?param=315\" target=\"_blank\" rel=\"noopener\"> ODC’s web site\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11484965/odc-choreographer-addresses-climate-change-with-lime-green-snow","authors":["3249"],"programs":["arts_1541","arts_141"],"series":["arts_1259"],"categories":["arts_966","arts_235","arts_1003","arts_990"],"tags":["arts_1118","arts_596","arts_1406","arts_973","arts_1007"],"featImg":"arts_11484966","label":"arts_141"},"arts_11431312":{"type":"posts","id":"arts_11431312","meta":{"index":"posts_1591205157","site":"arts","id":"11431312","score":null,"sort":[1458846012000]},"guestAuthors":[{"ID":"128593","displayName":"Lori Halloran","firstName":"Lori","lastName":"Halloran","userLogin":"lhalloran","userEmail":"lhalloran@KQED.org","linkedAccount":"lhalloran","website":"","description":"","userNicename":"lhalloran","type":"guest-author","nickname":""}],"slug":"oakland-based-artist-creates-grand-scale-snow-drawings-in-the-sierra","title":"Oakland-Based Artist Creates Grand Scale Snow Drawings in the Sierra","publishDate":1458846012,"format":"video","headTitle":"Oakland-Based Artist Creates Grand Scale Snow Drawings in the Sierra | KQED","labelTerm":{"term":1541,"site":"arts"},"content":"\u003cp>For the past seven years \u003ca href=\"http://www.sonja-hinrichsen.com\" target=\"_blank\" rel=\"noopener\">Sonja Hinrichsen\u003c/a> has made snow drawings all over the world. Over time she’s come to terms with the completely unpredictable nature of her work. Though she spends months planning her projects, she can never be sure if the weather will cooperate, until the appointed day arrived. If there’s no snow, there’s no canvas. If the snow is falling, she has to wait out the storm. Even when conditions are perfect and her creation is complete, it’s a race against time to photograph the work before the next snowfall covers it up or it simply melts away.\u003c/p>\n\u003caside class=\"pullquote alignright\">I am perfectly fine with my work disappearing. Because as an artist and also an environmentalist I feel like I don’t need to add additional stuff to this world.\u003cbr>\n\u003ccite>Sonja Hinrichsen\u003c/cite>\u003c/aside>\n\u003cp>Snow drawings started as play for Hinrichsen in 2009 during a winter hike in Colorado’s Rocky Mountains. Imprinting labyrinthine patterns on the pristine snow as she walked, she would listen to the crunch of her snowshoes and the sound of her breath and be transported to a kind of meditative state. It wasn’t until after her next foray on a frozen river that she got the chance to fly overhead to photograph the results. She was amazed by how impressive the spirals appeared from above, and how much more “canvas” she had covered. Then it struck her, if she involved volunteers, she could create drawings on an even larger scale.\u003c/p>\n\u003cp>Climate change and fluctuations in snowfall around the world, especially in California, have added to Hinrichsen’s challenge to be in the right place at the right time to create her best work. Ironically, after years of drought-driven, low snow pack in the Northern Sierra, this winter’s El Nino storm system provided near perfect conditions. On President’s Day weekend volunteers from the Bay Area, Reno and nearby Truckee gathered at UC Berkeley’s \u003ca href=\"http://sagehen.berkeley.edu\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> to help Hinrichsen create her first project in the California. The KQED Arts crew strapped on snowshoes and followed the group as they worked for two days to fill 60 acres of meadowland with spirals of varying sizes and shapes.\u003c/p>\n\u003cfigure id=\"attachment_11431551\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11431551\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg\" alt=\"Snow drawings at Lake Catamount, Colorado in 2013 \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Snow drawings at Lake Catamount, Colorado in 2013 \u003ccite>(Photo: Sonja Hinrichsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following Monday, as Hinrichsen flew over the meadows with a local pilot to photograph the drawings, the temperature rose to near record levels for February. Just a few days later the snow, along with the drawings, had melted away. But the ephemeral nature of her work is just fine.\u003c/p>\n\u003cp>“It stays in the photographs and in the memories of the people who participated in it, so it still fulfills its purpose,” Hinrichsen says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Artist Sonja Hinrichsen and dozens of volunteers create mesmerizing works of art, only to see them disappear within days.","status":"publish","parent":0,"modified":1705044772,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":471},"headData":{"title":"Oakland-Based Artist Creates Grand Scale Snow Drawings in the Sierra | KQED","description":"Artist Sonja Hinrichsen and dozens of volunteers create mesmerizing works of art, only to see them disappear within days.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"videoEmbed":"https://youtu.be/A7m--rcypeA","sticky":false,"path":"/arts/11431312/oakland-based-artist-creates-grand-scale-snow-drawings-in-the-sierra","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past seven years \u003ca href=\"http://www.sonja-hinrichsen.com\" target=\"_blank\" rel=\"noopener\">Sonja Hinrichsen\u003c/a> has made snow drawings all over the world. Over time she’s come to terms with the completely unpredictable nature of her work. Though she spends months planning her projects, she can never be sure if the weather will cooperate, until the appointed day arrived. If there’s no snow, there’s no canvas. If the snow is falling, she has to wait out the storm. Even when conditions are perfect and her creation is complete, it’s a race against time to photograph the work before the next snowfall covers it up or it simply melts away.\u003c/p>\n\u003caside class=\"pullquote alignright\">I am perfectly fine with my work disappearing. Because as an artist and also an environmentalist I feel like I don’t need to add additional stuff to this world.\u003cbr>\n\u003ccite>Sonja Hinrichsen\u003c/cite>\u003c/aside>\n\u003cp>Snow drawings started as play for Hinrichsen in 2009 during a winter hike in Colorado’s Rocky Mountains. Imprinting labyrinthine patterns on the pristine snow as she walked, she would listen to the crunch of her snowshoes and the sound of her breath and be transported to a kind of meditative state. It wasn’t until after her next foray on a frozen river that she got the chance to fly overhead to photograph the results. She was amazed by how impressive the spirals appeared from above, and how much more “canvas” she had covered. Then it struck her, if she involved volunteers, she could create drawings on an even larger scale.\u003c/p>\n\u003cp>Climate change and fluctuations in snowfall around the world, especially in California, have added to Hinrichsen’s challenge to be in the right place at the right time to create her best work. Ironically, after years of drought-driven, low snow pack in the Northern Sierra, this winter’s El Nino storm system provided near perfect conditions. On President’s Day weekend volunteers from the Bay Area, Reno and nearby Truckee gathered at UC Berkeley’s \u003ca href=\"http://sagehen.berkeley.edu\" target=\"_blank\" rel=\"noopener\">Sagehen Creek Field Station\u003c/a> to help Hinrichsen create her first project in the California. The KQED Arts crew strapped on snowshoes and followed the group as they worked for two days to fill 60 acres of meadowland with spirals of varying sizes and shapes.\u003c/p>\n\u003cfigure id=\"attachment_11431551\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11431551\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg\" alt=\"Snow drawings at Lake Catamount, Colorado in 2013 \" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Snow-Drawing-2-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Snow drawings at Lake Catamount, Colorado in 2013 \u003ccite>(Photo: Sonja Hinrichsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The following Monday, as Hinrichsen flew over the meadows with a local pilot to photograph the drawings, the temperature rose to near record levels for February. Just a few days later the snow, along with the drawings, had melted away. But the ephemeral nature of her work is just fine.\u003c/p>\n\u003cp>“It stays in the photographs and in the memories of the people who participated in it, so it still fulfills its purpose,” Hinrichsen says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11431312/oakland-based-artist-creates-grand-scale-snow-drawings-in-the-sierra","authors":["128593"],"programs":["arts_1541"],"series":["arts_1259"],"categories":["arts_70"],"tags":["arts_1310","arts_1118","arts_596","arts_1007"],"featImg":"arts_11431314","label":"arts_1541"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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