Matching Minds Published and Exhibit Launched

So yeah – I made a new pop-exhibit.

On October 2, after three years, my new book Matching Minds with Sondheim: The Puzzles and Games of the Broadway Legend was launched.

For the past two months I’ve led ten workshops, presentations, and book events.

I’ve been producing my own book-related podcasts (9 so far) and appeared in those of others.

So I imagine you are thinking: Barry must be getting bored. Right? Right!

So last week, in less than 48 hours, I produced a pop-up exhibit about my book. In partnership with The Drama Book Shop, for the month of October, the two cases feature a wide range of Sondheim’s games and puzzles that magically came my way through the generosity of strangers to support the research for my book.

Just by walking into the store, they can now be seen in person, original materials from Sondheim’s treasure hunts, his opening night jigsaw puzzles, items from his collections of books on puzzles and magazines on games, the original Al Hirschfeld created to promote The Last of Sheila, and so much more (including the smallest Sheila running on a loop you’ll ever see – bring a magnifying glass to read the captions).

If you visit, make sure to ask for a Matching Minds bookmark and tag me in your photos. Feeling FOMO? No worries – I created a web site to document it all.

A 25-year career retrospective interview with me (by youth in India)

This one came out of left field! A group calling itself SDG Warriors reached out to see if I would appear on their webinar series for an interview. I had no idea who they were but, sure, I was game.

Turned out SDG stands for the UN’s Sustainability Development Goals. And this group of youth in India are, in their own words, “passionate Student Changemakers and STEMinists on a mission to meet the Global Goals by 2030,” from ages 14-20.

Their production value was high, their research deep, and their interview abilities sharp, insightful, and full of play and fun. They learned about my 25 years of digital learning and asked me about almost everything!

I am used to interviews where the host wants to go deep into one topic and avoids lines that blurred between all the various aspects of my work; now, the tables were flipped, and they wanted to understand how it ALL connected – geocaching programs about national elections, a seltzer museum, Games for Change, a book on Sondheim, MicroRangers, microcredentials, and more.

It was thrilling to think with these remarkable young people about what they could learn about my quarter-century career. I was probably too verbose but my favorite parts were when the host reflected on my responses and tied threads together. Or asked me wildly creative questions (e.g. If Stephen Sondheim wrote a musical about your life, what would the end of act one’s song be?)

And they enjoyed my first appearance so much they decided to invite me back for another hour the week after!

You can check them both out below:

Sondheim Week at the New York Public Library for The Performing Arts

Sondheim, Sold Out, and So Much Fun

What a week! My book tour for Matching Minds with Sondheim kicked off at the New York Public Library for the Performing Arts, and I’m still buzzing. Not one, not two, but THREE events in just a few days—two hands-on workshops and one big stage presentation. One workshop sold out, and the Friday night launch event was sold out a full month in advance.

Designing Like Sondheim (with Treasure Hunts!)

We started with treasure hunts. In true Sondheim style, I handed everyone puzzle pieces when they walked in, so before the workshop even began, strangers were swapping cardboard shapes, making connections, and forming teams. Together we prototyped mini hunts about and around the Library, channeling Sondheim’s “Three Principles of Play”—Generosity, Playfulness, and Mentorship. Watching groups laugh, scribble, and test ideas reminded me why Sondheim loved these games so much: they’re as much about people as they are about puzzles.

Throwing a Games Night (the Sondheim Way)

Two nights later, we shifted gears from hidden clues to parlor games. Think Bartlett’s (with plenty of fake quotes), Running Charades (yes, we had two teams competing at the same time), and even a taste of Sondheim’s infamous Murder Game. Some came for the Sondheim stories, others for the chance to play—but by the end, everyone left grinning and plotting their own Sondheimian “games nights.” playing Bartlett’s playing Running Charades playing Running Charades playing Running Charades playing Running Charades 1st time seeing my book in person!

Seeking Sondheim in the Stacks

And then came Friday. The Bruno Walter Auditorium filled to capacity— ~150 people ready to spend an evening not just listening to me talk about Sondheim’s puzzles and games, but have a chance to connect with other. Early on, I asked the audience to look under their chairs, where each person discovered a card with a unique phrase. Suddenly the room lit up with people turning to neighbors, sharing stories sparked by these little prompts. It was a simple mechanic, but it captured exactly what I love about Sondheim’s play: moments of connection hidden in unexpected places.

We unearthed gems like The Great Conductor Hunt, The Game of Murder, and A Little Jurassic Treasure Hunt. And we didn’t just talk about them—we played. The audience waved their arms in timer signals, puzzled through rules, and laughed their way through the mysteries. I was also honored to welcome two incredible guests to the stage: Richard Maltby Jr., Tony Award–winning lyricist, director, and longtime friend of Sondheim, who talked about playing Sondheim’s games with him over 50 years ago; and Daria Begley, correspondent for the Stephen Sondheim Society who once competed in Sondheim’s A Little Jurassic Treasure Hunt at the Museum of Natural History (and won!). Their stories added warmth, wit, and personal texture that made the night unforgettable.

And then—one of my favorite parts—my first books signing, with hands shaken and stories shared.

A Dream Start

Three nights, three packed events, countless smiles, and the joy of watching strangers bond over Sondheim’s playful genius. This was just the first stop on the journey, and if it’s any indication, the tour ahead will be filled with the same spirit: a little bit of mystery, a lot of laughter, and a whole lot of play.

I really couldn’t have asked for a better host than the NYPL and its staff for this week nor a better crowd than last week’s to “release” my book to. As I said at the end, “It’s yours now… and I can’t wait to see what you do with it.”

Stay tuned—more adventures (and games!) to come.

Matching Minds: Book in Hand

After nearly three and a half years–of interviews, and research, and writing, and promoting–last night I got to hold my latest book in hand.

Matching Minds with Sondheim has been a remarkable journey for me. And I am well aware that launching my book tour this week at the New York Public Library for the Performing Arts is just the start of the latest leg in my journey.

But as an author, the moment I get to hold a physical version of book in hand, for the first time, is a major milestone. It is the formal transition from a crazy idea in my head into something beyond me that can live out in the world. It marks the start of letting it go.

This week has been Sondheim week at the NYPL, with workshops I led all week and the book release event this Friday (and you’re invited). At my workshop yesterday (on parlor games) the staff surprised me by sharing a copy of the books that arrived to be sold at the event.

And as you could see in the photo I couldn’t be more proud.

Barry with book

One Response to Matching Minds: Book in Hand

  1. DK says:

    Many congrats and all the best with the authoring journey!

Comments are closed.

Prototyping the Future: A 10-Day Dive into AI, Games, and Learning

I haven’t felt this way since I launched my first web site 30 years ago (May 27, 1995).

Or maybe when I was 12 years old, coding my first digital game (Programmer’s Revenge, a pseudo-chat bot that allowed the player to curse endlessly at their computer).

This morning I launched a web site I did not build featuring code I did not code for a game I designed but whose visual assets I did not created. It was all done in collaboration with AIs.

TLDR

In only ten days I vibecoded and posted a digital game using AI-generated videos inspired by the AI-generated cards in my tabletop game Uncannny Valley as a proof of concept. Please play Uncannny Valley here and let me know what you think.

THE BACKSTORY

In November of 2023 I started playing around with Midjourney, an image generating tool. It was just curiosity at first. But soon, it became an obsession. Since then, I’ve generated close to 8,000 images. Most of them weren’t for fun or art’s sake—they were for a card game I was designing, called Uncannny Valley.

Uncannny Valley is a tabletop game inspired by two modern classics: Dixit and Spot It. If you’ve played either, you know how different they are—and that contrast sparked an idea.

Dixit is all about surreal storytelling. Each card presents a strange, dreamlike scene with no direct relationship to the others. It’s a poetic exercise in interpretation.

Spot It, by contrast, is pure math in disguise. Each card shows a random-looking collection of symbols—scissors, ink blots, ladybugs. But here’s the trick: every single card shares exactly one item with every other card in the deck. Just one. Always.

I started wondering: what if I could blend the surreal world of Dixit with the precise math of Spot It? Could I create scenes—actual illustrations—that looked like spontaneous AI-generated art but were, in fact, carefully constructed to contain one and only one overlapping element with every other card?

To do that I had to unravel the magic behind Spot It.

I found answer, it turned out, in deep, beautiful math.

COMBINATORICS & AI

When I researched the science behind Spot It I fell into the rabbit hole of combinatorics. Combinatorics is an area of mathematics primarily concerned with counting. In the image below, on the right, we see how to visually represent 7 cards, each containing 3 objects, in such a way that every set of three shares one item and no more than one item with every other set.

Look at the apple at the top. It is grouped with RED LINE (apple, lemon, pair), BLUE LINE (apple, orange, cherry) and GREEN LINE (apple, banana, lime). And while apple is NOT grouped with the other 4 lines (YELLOW, LIGHT BLUE, ORANGE, & PURPLE) the apple’s other two partners are.

I couldn’t understand HOW it worked but I could see that it did. With 7 cards each containing 3 items. But how to design 25 cards each containing 6 items?

Turns out, I couldn’t do that in my head. So I turned to spreadsheets.

Each card’s “scene” needed a defined set of objects. I used combinatoric logic to determine which elements would appear on which cards. And I used a spreadsheet coded to take a list of items with a set number of categories and populate them–combinatoric style–each in their own row. And the end of each row combined those elements into a sentence to be entered as a prompt into an AI. For example: “A top hat and a little boy as dancing ballerinas, in the mountains, in the palette of yellow, as watercolor”.

Once I had the data, it was time to generate the art. That’s where Midjourney came in. I’d take the visual prompts and run them through Midjourney again and again, tweaking the results until I found one that felt just right. Sometimes it would take hours to get one image strong enough to represent all of the element. And my rule was it had to work on the own, with no editing from me. Each card would be a record of how the AI, at the time, interpreted the prompt.

FROM DECK TO DOZENS OF GAMES

Over time, I’ve created four complete themed decks, and dozen of ways to play with them. Each one got closer to my goal—not perfection, but something more interesting: cards that reveal the difference between how humans and AIs see the world.

That’s the heart of Uncanny Valley: it’s not just about playing a game. It’s about developing visual literacy. Can you sense when something feels just a little… off? Can you learn to describe the uncanny valley where the differences between how we and the AIs understand the world become difficult to ignore?

I posted cards on Instagram and invited people to sign up to receive a copy for playtesting. I used the deck for the past few years with educators to teach how game can be used to teach A.I. literacy.

And I thought that was the end of the story. It turned out that was only the end of the first chapter.

VIBECODING VIDEOS

Ten days ago I learned that Midjourney added a feature which creates short movies. Even better, I could set the image for the first frame. That meant all of the cards I had crafted for Uncannny Valley, all of those static images, could now “come to life.” Many of the cards captured a moment in time, which I suspect is why I found so many of those images compelling, leaving me wondering, What is going on here?

Now, with the videos, I could find out.

It did not take me long to ask how a version of the game that was digital and animated would change the learning and play experience. To find out, I turned for the first time to ChatGPT’s coding function.

I knew it was there but had no reason to check it out. I told ChatGPT it was an intern and I was giving it an assignment to build a new game and to teach me how to launch it on the web:

You are an intern at a game design company. I give you a task. I want to adapt a board game to a web-based game. In this game you are given four cards. Each card has a scene on it. Each scene is composed from the same six categories. There are five options within each category. When cards are put side by side, due to Combinatorics, there is always one and only one item that matches between the two cards. In the game, the player puts out four random cards and the first player to find and identify a match wins the round, gaining one point. Game plays until someone has 11 points. For the mobile version of the game, the physical cards will be replaced with videos which each contain the same properties of the cards. Design a prototype of the game for me that lets me put videos into a folder, the game will randomly pick four videos from that folder and display them in a 4 X 4 grid, and provide a playful and accessible interface for the player to first identify the two cards and then quickly name the element they have in common, give them a point if they are right, lose them a point if wrong, and then give them a chance if wrong to guess again but if they are right to replace the two selected cards with two new randomly selected videos from the folder. Attached is a list of the categories and the options within each one. The game is called Uncannny Valley. Have any questions?

After a few false paths, without me understanding 90% of how the code functions, I launched the site this morning. Don’t get me wrong–ChatGPT made it possible but it was still a lot of work: figuring out how to get the AI to give me what I wanted, in a format I could work with, with directions I could follow. For almost two days at one point the game was broken, and I lacked the coding knowledge required to fix it; then I realized I could ask ChatGPT to teach me how, and it did. But as I said – like coding my first web site in 1995, like programming my first games as a boy, this process delivered the same level of dopamine excitement found in creating and solving my own challenges.

This time, however, I wasn’t solving them on my own. ChatGPT congratulated me this morning once I told it the site was up and working. Note the last line, in which it makes a punny joke and does a call-back to its prior knowledge of my seltzer expertise.

So please go check out Uncannny Valley and let me know what you think (and play the video below).

Broadway Legend Sings My New Podcast Theme

This is just crazy!

I am beyond thrilled to have an original theme song written for my upcoming Matching Minds podcast by composer-lyricist Colm Molloy. (Check out his videos on YouTube, especially his brilliant Sondheim birthday puzzle medleys, and on Insta @colmmolloy_ as well.) It was quite generous of him and extends our engagement from our original interview which he provided for my book, focusing on cryptic crossword puzzles. (Easter egg – when you listen to the audio collage at the end of each episode it is Colm who says “I feel like he was more obsessed with puzzles than musicals…”).

Colm then reached out to Ann Morrison, American actress best known for her Broadway debut as Mary Flynn in Merrily We Roll Along. I don’t know how this magic came about, but Ann generously offered to sing the lyrics. Wow. Ann can be founded on Instagram (@ndta_am ) as well. Below is an image of Colm and Ann together.

I will work both the score and lyrics into various parts of the podcast. But here it is, as it deserves, on its own, at center stage. Enjoy!

(To get a preview episode of the upcoming podcast, check it out here.)

My Alma Maters Noticed Me!

In the past month, my undergraduate and graduate alma maters (Northwestern and NYU, respectively) EACH published pieces about me in their alum magazines. I found that very sweet… and also, how can I say this, a bit odd. In the past 30+ years, of all the things I have accomplished professionally, why was the single achievement that finally caught their attention–and within publication weeks of each other–my co-founding the Brooklyn Seltzer Museum? But who am I to argue. Thanks for all the effervescent attention! [note: if you read this on email and there are no photos, click to view online.]

Smithsonian Magazine Features Brooklyn Seltzer Museum

Smithsonian is a magazine covering science, history, art, popular culture and innovation. They recently published an extensive article on seltzer, covering both the factory where we are located–“Their seltzer is the punk band of effervescence”–and, of course, the Brookyn Seltzer Museum (called me ” the pre-eminent—arguably, only—seltzer historian in the United States.”) 

You can read the entire, excellent article from Liza Weisstuch here or highlights about the Musem and the factory below. 

The Effervescent History of Seltzer, From the Early Days of Home Delivery to Today’s Trendy Cans

A century before LaCroix or Spindrift were refrigerator staples, factories in New York City were carbonating gallons and gallons of tap water each day

June 12, 2025

Seltzer is a high-pressure business. And you can see it—all 65 pounds per square inch of it—at the filling station at Brooklyn Seltzer Boys, New York’s last remaining seltzer factory, located in Cypress Hills.

On a Friday in April, a worker in thick rubber gloves and waterproof overalls stood at a hulking iron and steel machine, a century-old piece of engineering. He placed one heavy glass bottle at a time onto a spigot on a rotating belt and removed it once it was filled with a powerful surge of chilled, highly pressurized water, straight out of the old carbonator. He packed them by six into wood crates, their siphon heads sticking out like little chrome bird beaks. Each week, up to 5,000 bottles like these are filled and packed in a truck for delivery.

A century ago, New York City was a hub of manufacturing—from the clothing factories that gave Manhattan’s Garment District its name, to the headstone makers that dotted the Lower East Side when it was a Jewish enclave, to the shipbuilding operations in the Brooklyn Navy Yard and the iron foundries of the Bronx. In the 1930s, dozens of seltzer plants filtered and carbonated city tap water and filled it into airtight siphon bottles. Today, Brooklyn Seltzer Boys is the sole survivor in the five boroughs, and one of only three seltzer plants in the country.

In a moment where pop-culture trends have a blink-and-you’ll-miss-it evanescence, and every beverage or bite du jour seems to outdo the last when it comes to innovation, seltzer endures as a giddy paradox. It’s historic, but it’s perpetually trendy. It’s natural, but you can manufacture—or even enhance—it without cheapening it. It’s healthy, and its contemporary popularity owes a lot to public health campaigns’ warnings against sugar, but pair it with Scotch or vodka and it’s a sneaky vice. It’s the little black dress of drinks—suitable for any occasion. And that’s all palpable inside a brick building across the street from a car repair shop in Brooklyn.

siphon bottles at Brooklyn Seltzer Boys
Each week at Brooklyn Seltzer Boys, up to 5,000 bottles like these are filled and packed in a truck for delivery. Christina Horsten/picture alliance via Getty Images

The origins of seltzer

Brooklyn Seltzer Boys, a fourth-generation-run business, is part of a 2,500-year-long history that’s outlined on plaques at the Brooklyn Seltzer Museum, housed at the front of the space. Here you learn that Hippocrates wrote about naturally carbonated water’s medicinal properties in his seminal work “On Airs, Waters, and Places,” and that spring water from Niederselters, the German town where seltzer got its name, shipped its elixir around the world in the 1700s. The museum notes other highlights in seltzer’s timeline, like how, in 1837, the modern glass seltzer siphon bottle was patented and, in 2015, seltzer got cheeky when “La Croix over boys” was introduced as part of a marketing campaign.

In 1858, Gustavus D. Dows created an ornate marble version, a Rococo apparatus complete with eagle-shaped handles, for his pharmacy in Lowell, Massachusetts, patenting the device in 1863. With that, the soda fountain had arrived.

“The democratization of seltzer had begun,” says Barry Joseph, author of Seltzertopia: The Extraordinary Story of an Ordinary Drink and the pre-eminent—arguably, only—seltzer historian in the United States. He is also the co-founder and director of the Brooklyn Seltzer Museum.

From Jewish dinner tables to mainstream America

“Seltzer” is a Yiddification of “szelters,” the word appropriated from Niederselters, the German spa town that first made fizz famous. But natural springs were abundant around Europe, so how seltzer became a staple on Jewish dinner tables colloquially referred to as “Jewish champagne” is something scholars have made a sport of conjecturing.

The Three Stooges spray seltzer
The Three Stooges spray each other with seltzer during a scene from one of their short films. Bettmann/Getty Images

For Joseph, it’s multifaceted: It was inherently kosher and a healthy complement to heavy food, he says. But he points out the bigger picture.

“Jews moved from country to country and developed practices to maintain tradition. What you consumed was part of defining your identity,” says Joseph. “After World War II, Coke symbolized the beginning of the American century and cultural dominance. Others abandoned seltzer, but Jews held onto it longer.”

Brooklyn Seltzer Boys is the contemporary iteration of Gomberg Seltzer Works, founded in Brooklyn’s Canarsie neighborhood in 1953 by Moe Gomberg, a Russian Jewish immigrant. Before opening his own seltzer factory, Moe was one of hundreds of seltzermen who schlepped crates of fizzy water to people’s front doors, explains Kenny Gomberg, Moe’s grandson and the current president of the company. Each seltzerman had his own branded bottles—typically his name, often embellished with a Star of David, menorah or other Jewish insignia. They’d fill them at a factory in the morning, then head to make deliveries and collect the used bottles on their own route. When a seltzerman retired or passed away, another could buy his route and his bottles.

Gomberg Seltzer Works operated as a production and filling plant. But in the 1970s, business began to change, as people took to buying carbonated drinks in plastic bottles. Immigrants who shaped the city’s early 20th century culture were dying or moving to Florida, including seltzermen themselves, and an increasing number of women were joining the workforce, leaving nobody home to receive deliveries. At that point, Gomberg was under the stewardship of Moe’s son, Pacey, who shifted his focus from delivering freshly bottled bubbles to beer and soft drink distribution. It would remain a filling facility for the city’s dwindling number of seltzermen on through Pacey’s son Kenny’s tenure, though.

Seltzermen delivered to immigrant neighborhoods and beyond in major cities, but the drink only claimed its spot in the mainstream marketplace because of an aquifer in southern France: Vergèze, source of Perrier.

“When Perrier came to the U.S. in 1977, it introduced expensive single-bottle servings of water,” says Joseph. “It came with marketing campaigns targeting yuppies. The trend exploded and opened opportunities in the marketplace. Flavored water all started with Perrier.”

In this renaissance of seltzer, its universal appeal is indisputable. “Jews have affinity for seltzer, but it’s everyone’s,” says Joseph.

The big business of little bubbles

Alex Gomberg, 38, joined the family business in 2012, newly minted with a master’s degree in higher education administration. He changed the name to Brooklyn Seltzer Boys, moved the operation to its current location, and got back into the delivery service. Today, the company delivers to more than 700 clients. He chalks up the success to the ecofriendly perks, unapologetic nostalgia and an epicurean taste for a more powerful fizz than a can of fancifully flavored LaCroix can provide.

Alex Gomberg of Brooklyn Seltzer Boys
Alex Gomberg, 38, joined the family business in 2012. He changed the name to Brooklyn Seltzer Boys, moved the operation to a smaller location in Brooklyn’s Cypress Hills neighborhood, and got back into the delivery service. Christina Horsten/picture alliance via Getty Images

Mention the LaCroixs and Polars and Spindrifts of the seltzer world to the Gombergs, and it’s a nonstarter, akin to suggesting to a third-generation Camembert maker in Normandy that Kraft cheese is worthy of discussion. The issue with seltzer from a can or a bottle is that it loses its vigor the moment you pop it open. Seltzer in a glass siphon bottle stays fresh for months.

Today, Kenny, 67, is “retired.” He gestures air quotes, explaining that he stays busy as the company’s resident handyman. He learned to fix the antique machines from repairmen who stopped by the shop when he was a kid. Now he’s focused on teaching his son, Alex, the company vice president, how to maintain them. It’s critical to keeping the business running. Replacement parts are hard to come by. Specialized mechanics, even more so.

“It’s all about pressure,” Kenny says. “There’s a valve in the head of the cap. You pull the trigger to squeeze out, and when you let go, the valve seals and the pressure remains. On the contrary, with a twist cap, you lose pressure once you open it. With a spigot, the pressure remains in the bottle until the end, you get that massive whoosh of remaining pressure.”

The Gombergs’ seltzer clocks in at 65 pounds per square inch, a testament to the Seltzer Boys’ motto: “Good seltzer should hurt.” Seltzer attacks and bites. Any Gomberg will tell you, you should feel it in the back of your throat. (Kenny says he polishes off a few 26-ounce bottles each day.)

How should I put it? Their seltzer is the punk band of effervescence—a Clash album played on a turntable through deluxe Wharfedale W90 speakers. If you’re looking for the equivalent of an anodyne Top 40 hit to stream on your iPhone, head to the soft drink aisle of your local supermarket.

Real seltzer requires heavy-duty glass bottles that are a quarter-inch-thick on the side and a half-inch-thick on the bottom. The best were handblown in Czechoslovakia in the early 1900s. They’re the bottles that the Gombergs largely use in their business today. Alex estimates they have thousands, many of which have been acquired from seltzermen when they retired, or estate sales. There’s also a very good chance that a bottle that Alex Gomberg packs into his truck today was handled by his great-grandfather during the Eisenhower administration.

“It feels like everyone has a story when they see a seltzer bottle—even people who didn’t grow up in New York,” says Alex. “But we have customers who’ve had seltzer delivered to their home for three generations. The bottles are just beautiful. People really like to have them in their home.”

On the afternoon I visited the Brooklyn Seltzer Museum, Joseph, its director, was giving a tour to a dozen museumgoers, some of whom had stories of their own to share about seltzer-bottle water fights among siblings, seltzermen they knew as children or Friday night Shabbat dinners washed down with bubbles. Standing in front of tarnished vintage machines on display, he explained how local tap water is triple-filtered through sand, charcoal and paper, then blasted with 120 pounds per square inch of carbon dioxide in a carbonator, chilled to 43 degrees Fahrenheit and bottled. The kid-friendly tour, which includes interactive displays that explain the vintage machinery on exhibit and a variety of carbonation-centric comic strips and old illustrations, wrapped with a fresh egg cream, the erroneously named classic New York City drink that contains neither egg nor cream. Just milk, chocolate syrup and seltzer, though iconoclasts argue that vanilla syrup is acceptable, too.

“Yes, once you add chocolate syrup and milk to the equation, there are a thousand different ways to make an egg cream, but there’s not a lot to say about how to combine water and CO2 [to make seltzer],” says Joseph, who teaches museum studies at New York University.

“It’s iconic, but it’s so generic and elusive that you can really read into it,” he adds. “You can talk about seltzer as it relates to health or comedy or nostalgia or identity. That’s part of its power. It’s like a mirror reflecting back at you.”

The Gaming Pathway is Popping!

Since 2020 I have work in a wide range of capacities with the Harlem Gallery of Science to work with other citywide organizations to develop and support Gaming Pathways, a new route for high school students in Harlem, Upper Manhattan and the South Bronx to pursue a bachelor’s degree in digital game design, preparing for future careers in New York City’s rapidly growing digital gaming industry.

It has been like assembling a Lego kit (or, rather, a collection of Minecraft blocks) as we’ve built each element in the Pathway and connected them to each other. Digital gaming courses. Free programming for high schools students. A B.S. degree at City College of New York. A pop-up exhibit.

This past season has been particularly eventful. Rather than try to summarize all the great news, I want to repost below the recent newsletter from Harlem Gallery of Science, that captured it perfectly:

HGS Newsletter: Building Momentum in 2025

As we reflect on the winter season at the Harlem Gallery of Science (HGS), we are proud to share the strides we’ve made, leveraging gaming to make STEM education, mentorship, and potential career paths accessible to students across New York City

The Gaming Pathways team has continued to build out its programs providing pathways for a new generation of students to enter the digital gaming and related creative industries workforce. We are pleased to announce that New York State Department of Education has approved the B.S. in Digital Game Development at City College of New York. In addition to strengthening the pathway from high school to college, the City University has approved Urban Arts to offer approved courses through City College’s College Now program, in which high school students earn college credits toward their B.S. Degree in Digital Game Development.

In January the Harlem Gallery of Science (HGS) launched the Video Games Expo, a new program that brings a pop-up version of the Exhibition directly into schools. The Video Games Expo focuses on how youth use games to form connections with themselves, their communities, and their future. The exhibition includes video games, but it also features participatory activities, art stations, selfie opportunities, spotlights on contemporary game designers, and much more.

In March, the Unreleased Games Arcade returned for another successful year, allowing aspiring developers to showcase and refine their projects. Additionally, HGS was awarded grants from the NYC Department of Cultural Affairs and The NYS Council for the Arts, further supporting the Gallery’s efforts to integrate gaming and STEAM (Science, Technology, Engineering, Arts and Mathematics) education. Continue reading to explore the highlights from this season!

Bringing the Power of Video Games to Schools: Pop-Up Video Games Expo

Photos by Adeline Nieto

This year, HGS and its collaborators launched an exciting initiative to bring the Video Games: The Great Connector exhibition directly into schools. Designed as a traveling pop-up experience, this program introduces middle and high school students in NYC to the educational and career-building potential of video games.

A collaboration with The City College of New York (CCNY), Urban Arts and the NYC Department of Education’s Battle of the Boroughs team, the pop-up expo is a hands-on event in which students and educators can explore free digital gaming resources that develop STEM, career, and life skills. A recruiter from CCNY was on-site to share insights into its upcoming B.S. in Digital Game Development along with details on college admissions and financial aid opportunities.

Over the course of January 1 through February 26, 2025, the Video Games Expo was pilot tested at a number of different school settings. The schools involved were:

  • Eagle Academy for Young Men of Harlem.
  • A.P. Randolph Campus High School
  • Hostos Community College hosted students from 8 high schools in the NYS Higher Education Service Corporation’s NYGEAR UP Program.

Over 1,000 students and over two dozen teachers visited the Expo.

Additionally, a free educational guide—designed to complement the pop-up experience—is now available on the HGS website. Click here to access now!

By bringing gaming into the classroom, the Video Games Expo is helping students discover new pathways to learning, creativity, and future careers in NYC’s digital landscape. Stay tuned for more updates as we continue expanding this initiative!

Continued Support for HGS to Expand Video Game & STEAM Education from the NYC Department of Cultural Affairs and NYSCA

Science and Arts Engagement New York (SAENY), a nonprofit 501(c)(3), partnered with The City College of New York (CCNY) to create the Harlem Gallery of Science (HGS)—a hub for programs that equip students with critical skills like problem-solving, teamwork, and communication. Through collaborations with government agencies, nonprofits, and educational institutions, HGS works to prepare youth for success in the workforce.

SAENY has been awarded a $35,235 Cultural Development Fund (CDF) grant from the NYC Department of Cultural Affairs and a $40,000 grant from the NYS Council for the Arts (NYSCA). This funding will support Video Games: The Great Connector, an initiative at the Harlem Gallery of Science that brings gaming and STEM education into schools.
The program introduces students, to career pathways in science, technology, and digital arts. By integrating gaming with hands-on learning, industry insights, and curriculum-aligned resources, SAENY aims to make STEM education more engaging and accessible.

“This exhibition highlights the power of video games in shaping future careers,” said Dr. Stan Altman, President of SAENY. “It’s an opportunity to show students, parents, and teachers that gaming can lead to high-paying jobs and meaningful careers.”The DCLA grant to SAENY is part of the City’s largest-ever $59.3 million investment in cultural organizations, reinforcing New York’s role as a global leader in arts and innovation.

Social Media Bans Versus Digital Literacy: The New Battle Over Cell-phone-free Schools and Youth Agency

I received the email this week–my child’s high school’s PTA was having an event: Advocating for a Cell-phone-free Environment in Schools. It promised to address four topics pressing to parents:

📌 The move to remove cell phones from schools in New York City and State – with the latest updates on legislative efforts.

📌 The potential impacts of social-media use and cell-phone dependency, along with emerging research suggesting possible links between digital technologies and educational challenges.

📌 How this debate ties into broader political and legislative battles over regulating Big Tech.

📌 The growing nationwide movement to hold digital platforms accountable.

Note that only the first two have anything to do with schools. This spring I have started conversations about work on two youth-focused digital literacy projects, both of which have to consider the public policy implications of new anti-phone bans around the country.

I needed to get more informed.

I started with the author of the book driving much of this agenda: social psychologist Jonathan Haidt. His best selling book The Anxious Generation argues that, well, it’s right in the subtitle: How the Great Rewiring of Childhood Is Causing an Epidemic of Mental Illness. Full stop.

To hear from him directly I listened to his recent appearance on Ezra Klein’s podcast. You can listen it in full here. And I was glad I did. Haidt is a compelling and engaging speaker. He tells a clear story, that is gripping, of parents losing control of their ability to parent and children losing their childhoods to corporate tech giants.

But the story is just that – a story. It’s too clear. Too tight. Too sensational. And, in fact, too familiar.

I, myself, was once a scholar of a time period when parents and communities rallied to protect their children from the obviously damaging impact of a new form of corporate media that was invading the lives of their children and destroying their moral framework.

The time period was the late 1930s and early 1940s. The medium were comic books.

The impact of the public hearings and book burnings and industry self-regulations led not to either better comic books nor the end of juvenile delinquency. Instead, it stunted for generations the growth of comic books from growing into a mature medium (changing when, in part, Maus won a Pulitzer Prize).

It was clear listening to Haidt that he had a moral agenda (much of which I could support) but seemed to be cherry picking stats to support it. And, worse, his solutions seemed, to me, to have little chance of bringing about the changes he sought.

After being introduced to Haidt, I needed to hear from his critics. Top of list seemed to be Candice Odgers, Professor of Psychological Science and Informatics at the University of California Irvine. I listened to her speak on the topic in a different podcast (below).

She confirmed what I was suspected, about the cherry picking, and went further, accusing this movement of using youth as the tip of the spear attacking social media giants. (Note the 3rd and 4th bullets above from my school’s PTA–all about attacking industry, which certainly deserves the criticism, but nothing about the needs of young people).

Finally, I NEEDED this gem: Making Sense of the Research on Social Media & Youth Mental Health. In it, Dr. Jonathan Haidt and Dr. Candice Odgers go head-to-head: discussing the topic, each other’s approach, and then take questions from young people. I found it riveting! I welcome you to listen to it yourself below.

My recent deep dive into this public debate highlights for me that any conversation that is only focused on what digital media is doing to young people removes their agency, ignores the roles they play navigating these challenges, and prevents us from applying their lessons to any future solution. More crucially, they refuse to consider what young people are doing with these tools and how bans would prevent youth from accessing the many many ways they use social media to better their lives.

My PTA invited parents to submit questions in advance. This is what I sent in:

The current push for a cell-phone ban looks little different from past moral panics about corporate media influence on youth (pulp novels, comic books, hip hop, video games, etc.) which, historically, have offered overly simplified solutions to pressing social issues. This hysteria is dangerous, sucking time, energy, and resources from addressing root causes of, in this case, mental health concerns about adolescents and, separately, the increased role of social media platforms in our lives. The vast majority of social science researchers, such as Candice Odgers, do not see in the evidence the same causal factors claimed by those supporting cellphone bans. Instead of taking control away from educators, parents, and youth, why don’t we focus on developing crucial digital literacies, pressuring tech giants to build safer spaces, and working directly with young people to design solutions that work?

One Response to Social Media Bans Versus Digital Literacy: The New Battle Over Cell-phone-free Schools and Youth Agency

  1. A few years ago I saw my son playing Minecraft, collaborating with many others in building a new world full of buildings, bridges and underwater cities. He spent weeks on it, working with others abiding to the rules of collaboration. Finally, he showed me the video demonstrating their work. Of course, I was anxious to see his name in the credits, but there were none: at the end of the video there were only a bunch of avatars jumping together. So I ask him which one was his, and the answered: ‘we know who is which’. No need for more. No need for credits, scores, certificates nor titles to do their work.

    So, I think neither cellphones nor social media are causing problems to education: they are only showing what is wrong in it.

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