As I said—a prototype is incomplete unless it has a clear impact model and a concrete action plan; and the knowledge federation prototype is no exception. Before I tell you what exactly we've planned to do to make a difference that makes a difference—here's a note about the strategy; a mountain top view of the general direction I'll invite you to spearhead by taking one or two concrete steps.

In 1999 The Economist issued a challenge—to write an essay describing what the world would be like in 2050; I called my contribution "World in the year 2000". Nobody can predict what the world will be like in 2050, I explained; what we, however, do know is that the answer will crucially depend on how we see the world and act today. I then pointed to the diagnoses that our current trends are not sustainable, that we are headed towards systemic collapse; and concluded that our strategy now must be to create an embryo of a whole new order of things or paradigm.

And transform the dynamic of collapse into the dynamic of re-creation.

I'll add to this an ethical, which follows from what I've shared here—that it is our urgent and foremost duty to liberate our next generation, our students and children, from the world; and instead of preparing them to fit in, and reproduce it—empower them to be creative in ways that their new situation will necessitate.

This two-step call to action has been choreographed as (the beginning of) a practical sequence of steps to achieve that goal.

As I said—the holotopia dialog is our new and evolving collective mind; where we'll think in a new way—which is alert, informed and co-creative; and use this new thinking to create first of all the process by which we communicate and create information; and refocus this process on the core themes of our lives and times; and then—instead of remaining passive spectators of the (media) "spectacle"—be empowered to act knowledge-based.

Considering the importance of this prototype, you won't be surprised when I tell you that I've been developing versions of it all along; I called them key point dialogs, because each of them is a way in which a community of people can collectively walk to the metaphorical mountain top and find—and then also follow—a good direction. I described a few of them in the Liberaition book.

The Liberation book itself is part of this new dialog; its function being to seed the dialog, by challenging our core beliefs, by turning them on their head. The writing of this book was my own initiation into holotopia dialog: To liberate myself sufficiently from the world, I retired early and spent about five years in a self-imposed quarantine; condensing all that's been done and giving it a clear and comprehensible form. But its main effect was that I moved to holotopia; and I don't intend to come back to the world—I cannot; and why would I? So the only option I really have is to continue living in holotopia—and see if other people may want to join me; by staging these dialogs.

The dialog is not so much a conversation as it is an endlessly fertile creative space; where we'll create through artful and judicious use of technology, ever new ways to co-create and share knowledge about the themes that matter. But here I want to be concrete—so let me give you a flavor.

A few years ago I was sailing with a couple of friends off the coast of Croatia; and they said they'd introduce me to someone. Soon we docked on a tiny island called Šćedro, near the much larger island Hvar; where they introduced me to Irena Meier, a Croatian artist living in Switzerland; who owns a house and a small bay on Šćedro, with nobody around. With at least a dozen artistically created conversation places! Some which were tiny, like this one:

And some of which were large.

Naturally, I instantly began planning a holotopia dialog in Irena's place; and Irena gladly joined me, as if she had just been waiting for this. She then took me on a five-minute walk to an adjacent bay; and showed me a church in ruin—which was another strong place, as if made for our purpose.

Here's the plan that came out of this conversation: I imagine it as a radical recreation of the conventional "reality show"; where a group of people spend say, a week, on Šćedro, with a film crew; and converse, in various combinations. I am aware, of course, that "reality show" as metaphor may turn people off; I am using it because of my passion to re-create things; and this reality show will be real reality show—because the conversations will be focused on themes that truly matter; to which we must urgently give the reality status; and also because it will reflect our inner realities—the process that each of us needs to go through to liberate ourselves from the world, and take part in the larger co-creative process that will bring us to the emerging world.

A similar event happened more recently, when another couple of friends, here in Norway, recommended me the Venabu mountain hotel; which is still run by the same family who created it; which is truly a cultural and historical jewel in the middle of Norway. And what a wonderful place it is—for another kind of dialog; where, say, twenty of us sit in a Bohm's circle for a hour and a half after breakfast, and for forty-five minutes before dinner; and the rest of the time is reserved for walking or skiing in nature—and reflecting. In this case the idea is to hand-pick international people who truly have pivotal insights; and bring them together to co-create pivotal insights for everyone. Vennabu will provide exactly the right sort of ecology of mind for it; and of course, also a great arena for filming.

A dialog can be almost anything and anywhere; you and I may be conversing over a cup of tea, or even online—and record the conversation, and contribute it to the overall dialog.

What makes all those various conversations dance together, and for a single large dialog that co-creates the collective mind, is new media technology. And here we are fortunate to have David Price himself guide our co-creative process on DebateGraph; the process that will extract points from contributed materials, relate them to each other, and use them as dots to reach even higher-order points; which will be transformative to us all.

The dialog will create further books; and not only books—but a variety of artistic renditions of those points too. Isn't this the natural way how a cultural revival may naturally happen? And isn't it exactly art (think of Boticelli; or Michelangelo) that gave its recognizable shape to the last cultural revival too?

And here we do have a representative prototype—in the Earth Sharing art installation, and dialog, which Vibeke Jensen created in Gallery 3.14 in the old city core of Bergen; and invited me to step in as co-author. This installation both created a dialog space—and communicated some of the core points of knowledge federation and polyscopy.

As a practical way to change our collective mind; by first of all changing our mindset (which compels us to create "the huge problems now confronting us", while we try to resolve them); and then changing the way in which we communicate—and by elevating us above "the world" and "the information jungle", foster (the collective mind that will give us) the kind of awareness we the people now vitally need.

The Liberation book has that as function—to ignite the dialog; by providing an initial prototype of new thinking, and of the future vision alias holotopia.

The dialog will ignite the self-organization; it will elevate us jointly to a level (on the metaphorical mountain, above 'information jungle') from where we can clearly see what must be done; and then self-organize further, by creating prototypes.

The dialog is holotopia's new collective mind; which will organize us to be creative in the manner our situation demands. The dialog is also the media-enabled communication channel that will provide us awareness. It is by the dialog that the media content on this entirely new news channel will be created.

I have prepared several scenarios how and where these dialogs will begin; I hold back from telling you about them—the important point being that the dialog will continuously recreate itself; by producing newer—and more daring, more to the point, more distinctly functional (ways to produce) knowledge (together).

As academia's—and society's—evolutionary organ.

And as a practical way to to empower our next generation—and the next-generation scientists or academic researchers in particular—to be creative in ways that their situation demands; and in particular and more concretely—to re-create the systems in which we live in work, instead of learning how to fit in and compete within their confines.

By instituting knowledge federation we'll also play the strongest card we have in our hands, act upon the "systemic leverage point" that we control when confronting the power structure—the information; the university's prerogative to tell the world what the information needs to be like; and on a more fundamental level—to provide a new, federated epistemology and methodology for creating truth and meaning.

This can be done in a number of ways; but the concrete way, which is already in implementation is to institute the knowledge federation at the Inter University Center Dubrovnik under the patronage of the World Academy of Art and Science. The IUC has the world's leading universities as members; their students can take the IUC courses for credit, with the consent of their departments. Ands the WAAS is an academic organization whose members do not distinguish themselves by "academic productivity"—but by making a difference in the world.

The idea now is to launch the Collaborology course as an instance of the game-changing game; where the WAAS members will (act as Z-players and) empower the international students and entrepreneurs (as A-players) to re-create "the world".