COLLABORISM: A public co-working space and platform for collaboration between members acting in mutual interest for the development of Regenerative Culture. The facility would be equipped with various studios which would double for performances, pitches, organizational processes, and/or various usage. This would include local on-site collaborations, basic online collaborations, and collaborative gaming. Collaborative gaming is when groups in person and/or online set their mutual collaboration on a common agenda. An agenda could be poverty, human trafficking, autism, urban food insecurity, gentrification, etc. Success rates of strategies with replicable methods would be shared automatically.

  • Art & Music studios (no 440 hertz tuning for music and no exclusivity contracts for artists)

  • Retail store for ALL work produced on site whether in part or in full

  • Large Performance stages

  • Film & Media studio

  • Rental equipment for creation, events and performance

  • Dance studio

  • Fabric Arts Studio

  • Rehearsal unit spaces

  • Basic and advanced recordings

  • 100% collaborative process transparency

  • Green methods are used for most every aspect of production

  • Vegetable based inks for printing, compostable plastics (not municipal composting but home-based), post-consumer goods and Upcycling area

  • 3D printer / CAD / Lasercutter for anything and everything, including products designed on site and open-sourced designs cataloged on the platform.

An individual of any background, skill or study genre can network or collaborate to invest their skills, time and resources. Various sector pins that represent how a user desires to contribute can be worn for public networking anywhere or anytime,

Pins can also be used to display the representing successful group crests, quotes or mottos. These specific designs are ONLY available to their exclusive team collaborators, never the general public. A Collaborism gaming group can create a promo pin though, which would be worn by the general public no different than what a football fan or political party would proudly wear.

Collaborism acts as a matchmaking service between agents of any discipline to inspire one another and/or to develop game-changing strategies. To further expand on the concept, Cultural Gaming is when individuals, groups, and/ or entities collaborate both online and/or in-person for the development of Regenerative culture. Each group would be self-assembled as a team. The scale of each group's positive impact would be organized online in a virtual fern-shaped fractal in relative size according to how much proactively beneficial change they created in the world as depicted on the HUES. (Please see SACRED AUTOPOIESIS)

This is like using the team strategy of sports players and combining it with complexity graphics for the expression of Peace. Dancers could organize to perform a flash mob dance on wall street, etc.

These broadcasting groups of various disciplines are transparently compensated for their innovations and actions as well. Fans can propose collaborations and team contract agendas according to expertise and if their team assembles in response to inspiration then there would be a perk for those fans who initiated the team proposal. Its a bit like the concept interactive “fantasy football” but instead of sports its all about a massive restoration process to out-model: poverty, pollution, human rights violations, school-to-prison pipeline, animal rights violation, injustice, corruption, institutional racism, etc.

This concept is a supplemental and modern twist inspired by Buckminster Fuller's World Game but is intended to be suited for anyone and everyone, not just humanitarian designers. Team proposals for collaborations between exciting representatives are key also. The platform supports innovations and expressions of Regenerative Culture with a spontaneous and optimistic outlook, using systems thinking, alternative sub-cultures, hive-minded action, human-user-design and in publicly engaging ways like the rising Flash Mob phenomena.

Anyone can determine the types of collaborations they’re interested in and set an agenda to the nature of their collaboration if they so choose. Sub-Contracts would be used in the event of a local and immediate sub-collaboration and could be used to collaborate with a larger group. Groups who wish to collaborate with an original intention must sign a SAC or a “Set-Agenda Contract”. This outlines what Open Credit or ISC percentages earned in proportion to each collaborators’ level of participation and/or contribution. Once this contract is complete, a group goal is set which outlines how each user will contribute to the pursuit or development of a specific agenda with an optional open contract form for sub-collaborators who would like to tangentially participate. An example of this which inspires me would be an SAC in the interest of young women's resilience where it is threatened with the greatest feasible impact.


Issues can be brought to light in regions with low-literacy through the sharing of songs and in some cases video. So in terms of addressing the need to prevent malicious persuasion to poor mothers in acquiring their daughters for the sex trade, songs can be used to address this lack of knowledge. Unfortunately what typically happens is a man will come to a village and say to a mother that he has a job for her daughter which would provide her an opportunity out of poverty. This act of manipulation can be the theme of a song which could then be translated into various languages like Arabic, Tagalog, Urdi, Tamil, Gujarati, Bengali, Mandarin, etc.

Open sub-contracts would exist for collaborators who can translate the songs into languages where the specific region is effected by this issue like India, China, Ukraine, Egypt, etc. Where the SAC: Set Agenda Contract would come in is for a set number of “Heavy-Weight Champions”. So major collaborators using a SAC might look something like this: Eve Ensler (activist, play-writer, founder of One Billion Rising), Adele (recording artist), Anuradha Koirala (activist), Jacqueline Novogratz (Acumen &, and a representative of

The insights of these combined individuals and groups can discuss ideas and familiarize themselves in the logistics of implementing a shift in the global meme from a stance of “empowerment beyond human trafficking” through this strategy of song. This can work exponentially by having Open sub-contracts which exist to invite others to participate in the creation of culture for lasting change around this practice. Not a sad ballad but an upbeat can-do attitude to empower women to share it and sing it with each other. And empower men to rise above this practice and denounce it among other men. Open Sub-contracts would be available for those who would like to translate, perform, film, costume design, video production, etc to create a critical mass of cultural activism in diversely relevant ways.

The Collaborism site would enable them with the tools and protocol they would need to successfully accomplish this with backtracks and online music remix tools or sample mixes. The best part about this is that both OMA and currency profits of each Collaborism proceed would be going towards various groups like Organizations such as these would provide rehabilitation, future preventative measures, restorative justice, and create economically sustainable living alternatives for women who are survivors of the sex trade. (There are many growing organizations who are just a few examples such as Sacred Mark Soap, Shop Dignify and Punjammies).

An “Open-Agenda Contract” is somewhat different, it is still a contractual agreement of what Open Credit or ISC percentages earned in proportion to each collaborators’ level of participation and/or contribution. However, this type of contract differs in that a collaborative group will grow through time based on inspiration and aesthetic support without a set issue as the basis of collaboration. This can foster inspiration itself as a resource for learning, entertainment and the humanities.

See below for a chronological example of what an Open-Agenda Contract (OAC) would enable, again this has no specific goal except for the act of expression itself:

  1. A Danish cellist uploads a piece of original music

  2. A Brazilian ballet and hip-hop fusion dancer is filmed performing to the Danish cellist and uploads the video online.

  3. A costume designer from Hoboken New Jersey contacts the dancer to create a costume based on their measurements, sends it to the dancer who performs again.

  4. A graphic animator in London sees the dancer in costume and fills in the background with tantalizing abstract shapes that seem to dance in response with the dancer's swift movements. Video is uploaded.

  5. A poet, a typeface lettering designer and an animator use a sub-contracted collaboration for the film to work together in-person to overlay info-graphic styled animated poetry onto the abstract shapes surrounding the dancer. Video uploaded.

  6. A talent agency contacts the Collaborism group to invite them to perform their work in a theater with other choreographed dance which will be seamlessly made to support the style proposed by the group. The group will receive a commission for their various skills and direction to achieve a harmonious collaboration with a known theater dance troupe. The theater company will then become a tangential entity on the chain of collaboration. Ticket sales will compensate each collaborator with their initial set equity percentage. A film of the performance as well as merchandise sales are included in their equity also.

  7. Then a notorious film director in France sees the performance on a streaming service and is inspired to create a film with a particular sequence accredited to that origin of style OR directly puts clips of the work into the film. (This is like hitting paydirt since the ISC percentages of all the previous collaborators would allow for direct, transparent and even residual compensation by means of percentages of ticket sales or royalties)

  8. A college film professor who sees the collaborative clip in the major motion picture then breaks down the animation film into an open-sourced curriculum model as a basis for a dynamic and enriching assignment for a short-film student project.

(And so on……)

With this model, Picasso's infamous statement about the best artists stealing becomes an irrelevant expression of lack by the use of a platform that supports flexible intellectual property rights, collaborator compensation and sharing. The best artists in this future will evolve beyond competition or scarcity by using cooperation and flowing an abundant supply of ideas to redefine mutually derived value. “Stealing” will no longer be relevant because it implies lack rather than transparency around the dynamic of inspiration; this doesn't mean ideas are promoted to be stolen but that the mindset around inspiration itself would evolve to an understanding that each individual has access to their own plentiful supply of ideas.

Presently there is a Creative Commons license and commons movement but there is not a main-stream popular commons reservoir both in-person as well as online for global sharing and content-making known to the general public. I believe that sites such as the Creative Commons ( has the potential to foster ideas for a new art form that utilizes technology to expand the number of collaborators and aesthetics which could develop as a response to inspiration and shared expression. This allows collaborators to tap into the stream of shared ideas together and create residual income earnings under protective contracts. Thus creating an Intellectual Property Commons that still directly compensates collaborators while fostering Regenerative culture. Moving beyond social patterns of competition by magnifying the innate impulse of mutual cooperation.