The Creative Process · Arts, Culture & Society: Books, Film, Music, TV, Art, Writing, Creativity, Education, Environment, Theatre, Dance, LGBTQ, Climate Change, Social Justice, Spirituality, Feminism, Tech, Sustainability

"For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."Composer Max Richter is known for his ability to translate profound human emotions into music. Max’s record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He’s the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It’s a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter’s music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

Composer Max Richter is known for his ability to translate profound human emotions into music. Max’s record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He’s the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It’s a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."For me, the creative process is a sort of a continuous thing in the sense that I'm writing kind of all the time, at some level. And that doesn't mean I'm sitting at my desk all the time, but it does mean that I've got a continuous thought process, a continuous engagement with the material I'm trying to shape. And it's many different kinds of processes. First of all, obviously an intention. You need to have an intention. What is it I'm trying to do? But then you get a process of making things, and then you get into a process of dialogue with the things you've made where they start to take on properties and it feels like the material has intentions of its own.So then you are trying to - it's like herding cats, you know? - sort of corralling this material into some kind of structure, some kind of formed object. Then it becomes like a sculptural process on the large scale. But time is a super important part of that process. You know, there are things which are just not ready. And you have to just wait until they make sense to you in a new way, or you can discover them almost as though someone else had written them. That sort of trying to achieve a kind of objectivity about the material."www.maxrichtermusic.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter’s music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir’s Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

00:25 JERICHO BROWN - Pulitzer Prize-Winning Poet, Author of “The Tradition” & “The New Testament”00:39 JILL HEINERTH - Explorer, Presenter, Author of “Into The Planet: My Life as a Cave Diver”01:02 ALICE FULTON - Poet - Recipient of MacArthur “Genius”, NEA & Guggenheim Fellowships01:31 BERTRAND PICCARD - Aviator of 1st Round-the-World Solar-Powered Flight, Explorer, Founder, Solar Impulse Foundation: 1000+ Profitable Climate Solutions02:31 CHRIS BLACKWELL - Founder of Island Records - Bob Marley, U2, Cat Stevens, Grace Jones, Roxy Music, Amy Winehouse…Author of “The Islander: My Life in Music and Beyond"03:31 ALICE NOTLEY - Poet & Artist - Academy of American Poets Award Winner04:08 MIA FUNK - Artist, Writer & Host of The Creative Process reads “In My Dreams"04:45 MAX STOSSEL - Award-winning Poet, Filmmaker, Speaker - Creator of "Words That Move”05:04 GERALD FLEMING - Poet, Author of the collections “The Choreographer”, “One”, “Night of Pure Breathing”, among others05:29 MARGO BERDESHEVSKY - Award-winning Poet - "Kneel Said the Night”,"Before The Drought”, “Between Soul & Stone”05:56 SAM LEVY - Award-winning Cinematographer of “Lady Bird” “Frances Ha” “While We’re Young” “Confess, Fletch”06:31 CHAYSE IRVIN - Award-winning Cinematographer - “Blonde" starring Ana de Armas, “Beyonce: Lemonade”, Spike Lee’s “BlacKkKlansman”06:57 KARINA MANASHIL - President of Mad Solar - Creative Confidante for Kid Cudi - Executive Producer of Netflix’s “Entergalactic”, A24’s “Pearl”, “X”07:37 CARL SAFINA - Ecologist - Founding President of Safina Center - NYTimes Bestselling Author of “Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace”, among otherswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastFlower Duet - Leo DelibesCreative Commons  Attribution 3.0 Unported  CC BY 3.0https://creativecommons.org/licenses/by/3.0/Conducted by Philip Milman https://pmmusic.pro/

“These long-lived connections provide a radically different example of the insight from one of the characters created by my fellow Southerner William Faulkner: 'The past is never dead. It's not even past.'And similarly long chains reach from the present into the future. Conventionally, we tend to think that the future is yet to be born or is even only just beginning to be conceived. But the climate future was already beginning to take shape when humans started centuries ago to inject more carbon into the atmosphere than the usual climate dynamics could handle in the usual ways, and climate parameters were forced to start changing. The vast and accelerating carbon emissions of the late 20th century and the early 21st century are building minimum floors under the extent of climate change in future centuries, barring radically innovative corrections of kinds that may or may not be possible.[Timothy Mitchell has written:]'The modes of common life that have arisen largely within the last one hundred years, and whose intensity has accelerated only since 1945, are shaping the planet for the next one thousand years, and perhaps the next 50,000.' The future is not inaccessible – we hold its fundamental parameters in our hands, and we are shaping them now. In this respect, the future is not unborn–it's not even future.”– The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right NowHenry Shue is Professor Emeritus of Politics and International Relations at University of Oxford’s Merton College. He's the author of Basic Rights, as well as The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right Now, among many other publications. In 1976, he co-founded the Institute for Philosophy and Public Policy at the University of Maryland. He was a supporter of the successful campaign by Virginia's Augusta County Alliance to stop the Atlantic Coast Pipeline, and now works primarily on explanations for the urgency of far more ambitious policies to eliminate fossil fuels in order to avoid irreversible damage for future generations.www.merton.ox.ac.uk/people/professor-henry-shue https://press.princeton.edu/books/paperback/9780691202280/basic-rights https://press.princeton.edu/books/hardcover/9780691226248/the-pivotal-generationwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Henry Shue is Professor Emeritus of Politics and International Relations at University of Oxford’s Merton College. He's the author of Basic Rights, as well as The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right Now, among many other publications. In 1976, he co-founded the Institute for Philosophy and Public Policy at the University of Maryland. He was a supporter of the successful campaign by Virginia's Augusta County Alliance to stop the Atlantic Coast Pipeline, and now works primarily on explanations for the urgency of far more ambitious policies to eliminate fossil fuels in order to avoid irreversible damage for future generations.“These long-lived connections provide a radically different example of the insight from one of the characters created by my fellow Southerner William Faulkner: 'The past is never dead. It's not even past.'And similarly long chains reach from the present into the future. Conventionally, we tend to think that the future is yet to be born or is even only just beginning to be conceived. But the climate future was already beginning to take shape when humans started centuries ago to inject more carbon into the atmosphere than the usual climate dynamics could handle in the usual ways, and climate parameters were forced to start changing. The vast and accelerating carbon emissions of the late 20th century and the early 21st century are building minimum floors under the extent of climate change in future centuries, barring radically innovative corrections of kinds that may or may not be possible.[Timothy Mitchell has written:]'The modes of common life that have arisen largely within the last one hundred years, and whose intensity has accelerated only since 1945, are shaping the planet for the next one thousand years, and perhaps the next 50,000.' The future is not inaccessible – we hold its fundamental parameters in our hands, and we are shaping them now. In this respect, the future is not unborn–it's not even future.”– The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right Nowwww.merton.ox.ac.uk/people/professor-henry-shue https://press.princeton.edu/books/paperback/9780691202280/basic-rights https://press.princeton.edu/books/hardcover/9780691226248/the-pivotal-generationwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I've been fortunate over the last 13 years to meet some of the world's leading conservationists. Dr. Sylvia Earl, David Attenborough, Jane Goodall, his Royal Highness Prince Khaled bin Sultan of Saudi Arabia, who came to the film festival in 2014, where we showed some films from his foundation. And there have been a number of others, award-winning filmmakers, and a number of celebrities that have come to the film festival, Academy Award Winner James Cromwell. We've had other celebrities, from Paul Giamatti to Alec Baldwin to Sigourney Weaver, all of whom may have a passion for, if not saving wildlife, then for the environment. And I have found them very humble, very easy to speak to, and I'm immensely grateful that they took the time to come to WCFF from their busy schedule. And we hope to build more relationships.So, we continue to grow, we continue to evolve. These global partnerships are helpful. And there have been a number of challenges. The biggest challenge right now that I have is I have the biggest fight of my life. In September of 2021, I was diagnosed with stage three liver cancer. And unfortunately, it's progressed now to where it's stage four and, you know, it's something that I have to fight with every day. Today I have a lot of energy. I feel good. Some days I do not get out of bed, and unfortunately, the cancer that I have is contracted by maybe 1% of the population. It's a cancer delivered by bile ducts. So there's not a lot of research on it. There's not a lot of studies on it. My physicians have been very candid with me. They cannot cure this. So I don't know how much time I have, whether it's five months, five years, or 50 more years. What they're doing right now is holding it at bay and keeping me alive.”Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.www.wcff.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.“I've been fortunate over the last 13 years to meet some of the world's leading conservationists. Dr. Sylvia Earl, David Attenborough, Jane Goodall, his Royal Highness Prince Khaled bin Sultan of Saudi Arabia, who came to the film festival in 2014, where we showed some films from his foundation. And there have been a number of others, award-winning filmmakers, and a number of celebrities that have come to the film festival, Academy Award Winner James Cromwell. We've had other celebrities, from Paul Giamatti to Alec Baldwin to Sigourney Weaver, all of whom may have a passion for, if not saving wildlife, then for the environment. And I have found them very humble, very easy to speak to, and I'm immensely grateful that they took the time to come to WCFF from their busy schedule. And we hope to build more relationships.So, we continue to grow, we continue to evolve. These global partnerships are helpful. And there have been a number of challenges. The biggest challenge right now that I have is I have the biggest fight of my life. In September of 2021, I was diagnosed with stage three liver cancer. And unfortunately, it's progressed now to where it's stage four and, you know, it's something that I have to fight with every day. Today I have a lot of energy. I feel good. Some days I do not get out of bed, and unfortunately, the cancer that I have is contracted by maybe 1% of the population. It's a cancer delivered by bile ducts. So there's not a lot of research on it. There's not a lot of studies on it. My physicians have been very candid with me. They cannot cure this. So I don't know how much time I have, whether it's five months, five years, or 50 more years. What they're doing right now is holding it at bay and keeping me alive.”www.wcff.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Storytelling is our oldest art form. We can't silence the arts and those voices because if we do, we lose something that is so crucial to who we are just as human beings. We want to tell stories. We want to express things. For example, I cannot draw. And one day the teacher wanted us to do negative space drawings. And I said, ‘What is that?; And they explained that it's looking at what's around the object and not the object. And it clicked, and it made me look at things from a whole different perspective. And you know, what? That became where I was most successful. And so for me, there's are an infinite number of ways to tell a story that you never run out of ideas, that you can always find another road, another way to look at something. That's probably one of the key elements to my career.”Michael Begler is showrunner, writer, and executive producer of Perry Mason, which debuted as HBO’s most-watched series in nearly two years upon its premiere in June 2020. The critically-acclaimed show stars Emmy-winner Matthew Rhys, Juliet Rylance, Katherine Waterston, Hope Davis. In the second season of the Emmy-nominated series, the scion of a powerful oil family is brutally murdered. Power, social justice, immigration, LGBTQ rights, and what it truly means to be guilty, are among the issues raised by the series. Begler’s previous series include the Peabody Award-winning The Knick, starring Clive Owen, directed by Steven Soderbergh, writing/producing credits also include comedy series The Tony Danza Show, The Jeff Foxworthy Show and the film Big Miracle starring Drew Barrymore and John Krasinski.www.imdb.com/title/tt2077823www.instagram.com/perrymasonhbowww.imdb.com/name/nm0066764www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Michael Begler is showrunner, writer, and executive producer of Perry Mason, which debuted as HBO’s most-watched series in nearly two years upon its premiere in June 2020. The critically-acclaimed show stars Emmy-winner Matthew Rhys, Juliet Rylance, Katherine Waterston, Hope Davis. In the second season of the Emmy-nominated series, the scion of a powerful oil family is brutally murdered. Power, social justice, immigration, LGBTQ rights, and what it truly means to be guilty, are among the issues raised by the series. Begler’s previous series include the Peabody Award-winning The Knick, starring Clive Owen, directed by Steven Soderbergh, writing/producing credits also include comedy series The Tony Danza Show, The Jeff Foxworthy Show and the film Big Miracle starring Drew Barrymore and John Krasinski.“Storytelling is our oldest art form. We can't silence the arts and those voices because if we do, we lose something that is so crucial to who we are just as human beings. We want to tell stories. We want to express things. For example, I cannot draw. And one day the teacher wanted us to do negative space drawings. And I said, ‘What is that?; And they explained that it's looking at what's around the object and not the object. And it clicked, and it made me look at things from a whole different perspective. And you know, what? That became where I was most successful. And so for me, there's are an infinite number of ways to tell a story that you never run out of ideas, that you can always find another road, another way to look at something. That's probably one of the key elements to my career.”www.imdb.com/title/tt2077823www.instagram.com/perrymasonhbowww.imdb.com/name/nm0066764www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Even if the current system sucks, we still need to vote. That for me is something that I keep repeating. We cannot leave vacuums in the political system because someone else is going to fill them. So that for me is the number one thing. We change everything we want and work on change, but we need to make sure that the right people are voting or otherwise, it's going to be a lot harder. So we need to play both games, I guess. And then I think that we've had time to experience and experiment with these institutions for hundreds of years. And whenever we propose something new, there is this expectation that completely replaces what exists. And it always gets compared like, ‘Oh, but this happened, but…' We need to experiment. We need to be honest about this, and we need to say like, we don't know if we have unintended consequences. Like what I was saying before about our use of social media, we missed it. And so I think that we can, at the grassroots level, do a lot of experimentation and organizing kind of collectives that self-govern in different ways and use different tools and really experiment with what happens at a human level when certain technologies are used, when certain governance structures are used. So I think that's the game we will all need to play. It's twofold. On the one hand, we need to build a new system. And that makes the existing system obsolete. And we need to do this by finding sandboxes of political innovation and experimenting with political structures ourselves, but at the same time, we need to keep the pressure on the existing system to make sure that it doesn't go to hell. So it's these two things, that's our generational challenge."Pia Mancini is a democracy activist, political scientist, open source sustainer, co-founder & CEO at Open Collective and Chair of DemocracyEarth Foundation. She has worked in politics in Argentina as the Chief of Advisers and Deputy Secretary of Political Affairs, Government of the City of Buenos Aires and CIPPEC think tank. She has developed technology for democracy around the world and is a YC Alum, Young Global Leaders (World Economic Forum). She co-founded DemocracyOS & The Net Party (Partido de la Red).www.piamancini.comhttps://opencollective.comhttps://democracy.earthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Pia Mancini is a democracy activist, political scientist, open source sustainer, co-founder & CEO at Open Collective and Chair of DemocracyEarth Foundation. She has worked in politics in Argentina as the Chief of Advisers and Deputy Secretary of Political Affairs, Government of the City of Buenos Aires and CIPPEC think tank. She has developed technology for democracy around the world and is a YC Alum, Young Global Leaders (World Economic Forum). She co-founded DemocracyOS & The Net Party (Partido de la Red).“Even if the current system sucks, we still need to vote. That for me is something that I keep repeating. We cannot leave vacuums in the political system because someone else is going to fill them. So that for me is the number one thing. We change everything we want and work on change, but we need to make sure that the right people are voting or otherwise, it's going to be a lot harder. So we need to play both games, I guess. And then I think that we've had time to experience and experiment with these institutions for hundreds of years. And whenever we propose something new, there is this expectation that completely replaces what exists. And it always gets compared like, ‘Oh, but this happened, but…' We need to experiment. We need to be honest about this, and we need to say like, we don't know if we have unintended consequences. Like what I was saying before about our use of social media, we missed it. And so I think that we can, at the grassroots level, do a lot of experimentation and organizing kind of collectives that self-govern in different ways and use different tools and really experiment with what happens at a human level when certain technologies are used, when certain governance structures are used. So I think that's the game we will all need to play. It's twofold. On the one hand, we need to build a new system. And that makes the existing system obsolete. And we need to do this by finding sandboxes of political innovation and experimenting with political structures ourselves, but at the same time, we need to keep the pressure on the existing system to make sure that it doesn't go to hell. So it's these two things, that's our generational challenge."www.piamancini.comhttps://opencollective.comhttps://democracy.earthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I was using this jazz technique called woodshedding where you basically isolate yourself, and you come up with harmonic devices that then you can put in your pocket and play during the set. And it's sort of like you create events where you can stimulate happy accidents.So I was doing that I think over a six-month period, and I came up with a lot of different ideas, for example, the sequence where Marilyn Monroe is in the ménage à trois, and she's having a three-way sex scene, and the image is . I found that idea when I went to Canal Plastics in New York, and I ordered a piece of polycarbonate that was mirrored on one side, and I was able to bend it and I would shoot stuff in my studio collaborating with Jack Martinez, a photographer, who would cast different people and we would shoot things together. And I basically, through pre-production, I created I couldn't even count how many cinematic devices, and they were happy accidents in a lot of ways, but in other situations, they were gifts that were given to me by collaborators. And I just had those in my pocket. And a lot of times they would come out spontaneously, like if I saw a scene, and I felt like there was a moment in which we could articulate in a more abstracted point of view...there's a sequence like when Marilyn is coming to the premier, and it's a frenzy and the fans are looking like they're going to consume her. And that sequence, the way it's written, I can interpret that as almost, to go back to the same musical analogy, in jazz would be a moment where the images get to give a solo on the song, on the theme and express it strictly through metaphor and distort notions of reality as long as it's in harmony with what's happening psychologically.”Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.www.chayseirvin.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.“I was using this jazz technique called woodshedding where you basically isolate yourself, and you come up with harmonic devices that then you can put in your pocket and play during the set. And it's sort of like you create events where you can stimulate happy accidents.So I was doing that I think over a six-month period, and I came up with a lot of different ideas, for example, the sequence where Marilyn Monroe is in the ménage à trois, and she's having a three-way sex scene, and the image is . I found that idea when I went to Canal Plastics in New York, and I ordered a piece of polycarbonate that was mirrored on one side, and I was able to bend it and I would shoot stuff in my studio collaborating with Jack Martinez, a photographer, who would cast different people and we would shoot things together. And I basically, through pre-production, I created I couldn't even count how many cinematic devices, and they were happy accidents in a lot of ways, but in other situations, they were gifts that were given to me by collaborators. And I just had those in my pocket. And a lot of times they would come out spontaneously, like if I saw a scene, and I felt like there was a moment in which we could articulate in a more abstracted point of view...there's a sequence like when Marilyn is coming to the premier, and it's a frenzy and the fans are looking like they're going to consume her. And that sequence, the way it's written, I can interpret that as almost, to go back to the same musical analogy, in jazz would be a moment where the images get to give a solo on the song, on the theme and express it strictly through metaphor and distort notions of reality as long as it's in harmony with what's happening psychologically.”www.chayseirvin.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“There's no such thing as completely clean energy. We use that term a lot, but it's not really true. We have low carbon energy, and lower carbon energy, but any kind of industrial system has requirements for materials and processing, and nothing is completely natural in the industrial world. If we can electrify transportation, I think we can clean up the grid, and then I think we can deal with these life cycle issues in a way that's responsible, but it'll never be zero. That's impossible.Today, there are hundreds of thousands, if not millions, just in the advocacy and policy space now. And then you look at all the people, the scientists and the engineers and the investors and the business people who are trying to create these new machines and bring down the cost. You're talking tens of millions maybe. And the annual spend on clean energy globally is somewhere in the range I believe of about 400 billion a year. We're getting up there in terms of social effort, and it's hard to believe that with all these options coming onto the scene that we won't solve or get very close to solving this problem during this century. And our philosophy, which makes us a little different from other environmental organizations that work on this, is we think you ought to be pursuing all of those options because you don't know which are going to work out.”Armond Cohen is Executive Director of Clean Air Task Force, which he has led since its formation in 1996. In addition to leading CATF, Armond is directly involved in CATF research and advocacy on the topic of requirements to deeply decarbonize global energy systems. Prior to his work with CATF, Armond founded and led the Conservation Law Foundation’s Energy Project starting in 1983, focusing on energy efficiency, utility resource planning, and electric industry structure. Armond has published numerous articles on climate change, energy system transformation, and air pollution; he speaks, writes, and testifies frequently on these topics. He is a board member of the Nuclear Innovation Alliance and an honors graduate of Harvard Law School and Brown University.www.catf.uswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Armond Cohen is Executive Director of Clean Air Task Force, which he has led since its formation in 1996. In addition to leading CATF, Armond is directly involved in CATF research and advocacy on the topic of requirements to deeply decarbonize global energy systems. Prior to his work with CATF, Armond founded and led the Conservation Law Foundation’s Energy Project starting in 1983, focusing on energy efficiency, utility resource planning, and electric industry structure. Armond has published numerous articles on climate change, energy system transformation, and air pollution; he speaks, writes, and testifies frequently on these topics. He is a board member of the Nuclear Innovation Alliance and an honors graduate of Harvard Law School and Brown University.“There's no such thing as completely clean energy. We use that term a lot, but it's not really true. We have low carbon energy, and lower carbon energy, but any kind of industrial system has requirements for materials and processing, and nothing is completely natural in the industrial world. If we can electrify transportation, I think we can clean up the grid, and then I think we can deal with these life cycle issues in a way that's responsible, but it'll never be zero. That's impossible.Today, there are hundreds of thousands, if not millions, just in the advocacy and policy space now. And then you look at all the people, the scientists and the engineers and the investors and the business people who are trying to create these new machines and bring down the cost. You're talking tens of millions maybe. And the annual spend on clean energy globally is somewhere in the range I believe of about 400 billion a year. We're getting up there in terms of social effort, and it's hard to believe that with all these options coming onto the scene that we won't solve or get very close to solving this problem during this century. And our philosophy, which makes us a little different from other environmental organizations that work on this, is we think you ought to be pursuing all of those options because you don't know which are going to work out.”www.catf.uswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think that was definitely a pattern that I unknowingly replicated when I first started traveling. I think that's how the travel industry has kind of marketed to us, right? This idea that, you know, bucket lists and wanting to like check boxes of things you're going to do in each place and becomes this thing of, rather than consuming a product that's an actual physical thing, you're consuming a country or consuming an experience. It's the same framework. We're still grasping at things. We're still compulsively trying to do XYZ without really thinking about its impact, without really thinking about the relationships that we're making in those places, without really thinking about reciprocity. And a lot of it comes from a deeply colonial mindset also, right? So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, right? Which I think is the more modern 2023 way that we kind of replicate that colonial travel mindset of–My life right now is not great. I'm going to take a vacation. I'm going to take a break and go somewhere else where I can get what I need? Which I think is in a lot of ways can describe what I did at 24 as well.I think looking at that. Really deeply and really thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.”Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.www.amandaemachado.comIG www.instagram.com/amandaemachado0www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.“I think that was definitely a pattern that I unknowingly replicated when I first started traveling. I think that's how the travel industry has kind of marketed to us, right? This idea that, you know, bucket lists and wanting to like check boxes of things you're going to do in each place and becomes this thing of, rather than consuming a product that's an actual physical thing, you're consuming a country or consuming an experience. It's the same framework. We're still grasping at things. We're still compulsively trying to do XYZ without really thinking about its impact, without really thinking about the relationships that we're making in those places, without really thinking about reciprocity. And a lot of it comes from a deeply colonial mindset also, right? So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, right? Which I think is the more modern 2023 way that we kind of replicate that colonial travel mindset of–My life right now is not great. I'm going to take a vacation. I'm going to take a break and go somewhere else where I can get what I need? Which I think is in a lot of ways can describe what I did at 24 as well.I think looking at that. Really deeply and really thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.”www.amandaemachado.comIG www.instagram.com/amandaemachado0www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I have a granddaughter who's just going into high school, and she is filled with idealistic thoughts and is optimistic. She's a person who is both in love with art and in love with science. She's vivacious and just everything about her seems like life is beautiful, and 'I'm going to be able to do this and that.' And, of course, when I talk to her, I do everything I can to encourage this kind of openness and optimism, and belief in herself and her ability to do worthwhile things. And not be too concerned about is she going to be able to have a job with enough income to be where she wants to be. She's not thinking on those levels. And so it’s how to perpetuate and strengthen that kind of spirit and hope, that it can be validated by giving this generation the opportunity to do things. Because I believe that if she and people who think and feel like her were really given the opportunity to be influential and to do things that would have a tremendous shift in the way the world is going. She doesn't think in terms of quarterly profits. She thinks in terms of human happiness and human good, human fairness, and the beauty of nature. And all of these things that naturally come together in our head. And so that's what I think we need to do. I think the universities can play a part. Schools play a part, but there has to be a broader general sense that this is how we should conceive the future. And, you know, galleries, podcasts, books, newspapers, universities, schools, every kind of institution needs to offer something to help this.”Harold P. Sjursen is an educator and administrator having served on the faculty of both a liberal arts college and school of engineering. His background is in the history of philosophy, but since childhood has sustained an interest in science and technology. His current research interests focus on the philosophy of technology, global philosophy, and technological ethics. His engineering education projects address issues related to the internationalization of higher education, the integration of the liberal arts and engineering and ethics beyond the codes for engineers.http://harold-sjursen.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Harold P. Sjursen is an educator and administrator having served on the faculty of both a liberal arts college and school of engineering. His background is in the history of philosophy, but since childhood has sustained an interest in science and technology. His current research interests focus on the philosophy of technology, global philosophy, and technological ethics. His engineering education projects address issues related to the internationalization of higher education, the integration of the liberal arts and engineering and ethics beyond the codes for engineers.“I have a granddaughter who's just going into high school, and she is filled with idealistic thoughts and is optimistic. She's a person who is both in love with art and in love with science. She's vivacious and just everything about her seems like life is beautiful, and 'I'm going to be able to do this and that.' And, of course, when I talk to her, I do everything I can to encourage this kind of openness and optimism, and belief in herself and her ability to do worthwhile things. And not be too concerned about is she going to be able to have a job with enough income to be where she wants to be. She's not thinking on those levels. And so it’s how to perpetuate and strengthen that kind of spirit and hope, that it can be validated by giving this generation the opportunity to do things. Because I believe that if she and people who think and feel like her were really given the opportunity to be influential and to do things that would have a tremendous shift in the way the world is going. She doesn't think in terms of quarterly profits. She thinks in terms of human happiness and human good, human fairness, and the beauty of nature. And all of these things that naturally come together in our head. And so that's what I think we need to do. I think the universities can play a part. Schools play a part, but there has to be a broader general sense that this is how we should conceive the future. And, you know, galleries, podcasts, books, newspapers, universities, schools, every kind of institution needs to offer something to help this.”http://harold-sjursen.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be Olivia Pope, this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, 'You know you're a miracle, right?'And I don't think it really hit Tracy before that moment. When you really look at the data, when you look at the foster-to-prison pipeline, over 80% of males who age out of foster care end up incarcerated. So there are two broken systems that work hand in hand here. And we had the opportunity of a real success story.”Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA’s Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She’s accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Joy Gorman Wettels is the founder of Joy Coalition, an impact producing venture with a focus on creating purpose-driven film and television content for a global audience. She executive-produced the newly-released UnPrisoned, and is currently working on a multi-part storytelling ecosystem inspired by landmark civil rights documentary Eyes on the Prize. Her body of work includes, notably, the critically acclaimed series Home Before Dark, the influential 13 Reasons Why, created by Pulitzer and Tony Award-winning playwright Brian Yorkey and directed by Oscar-winner Tom McCarthy (Spotlight).Other works include The Meddler, named Vanity Fair's #1 film of 2016, and the forthcoming adaptation of Little House on the Prairie. She serves on the Advisory Council for UCLA’s Center for Scholars and Storytellers and the Advisory Board for Hollywood, Health and Society at USC. As part of their commitment to social change, Joy Coalition works in collaboration with the Office of the Surgeon General in response to the youth mental health crisis. She’s accepted a Sentinel Award, Television Academy Honors for advancing social change, and the 2018 Mental Health America Media Award. “With UnPrisoned and with really my whole body of work as a producer, I'm really drawn to stories that make people feel seen that take issues that have stigma and shame attached to them, and making those issues just more palatable and more human. And few people realize that 50% of American families are touched by incarceration. And when you meet someone like Tracy McMillan, who really is a miracle, this is a woman who's now in her fifties who grew up in 22 different foster homes because her father was incarcerated when she was so little. And yet for all of his mistakes, the fact that he was a career criminal, he still, when he could change her diapers, he was present when he could be there. He braided her hair, and there was real love there. But they were separated not only by his mistakes, but by a system that is really unforgiving and really unfair, especially to black and brown men. So, the idea that we could tell a story where a young woman who was raised that way and by that person turns out to be Kerry Washington. You know, turns out to be somebody who you want to be, turns out to be Olivia Pope, this woman that we all see as so beautiful and such a hero and so strong and so powerful, I felt was just an incredible opportunity. And when we first put Tracy and Kerry in the same room, Kerry said to Tracy, 'You know you're a miracle, right?'And I don't think it really hit Tracy before that moment. When you really look at the data, when you look at the foster-to-prison pipeline, over 80% of males who age out of foster care end up incarcerated. So there are two broken systems that work hand in hand here. And we had the opportunity of a real success story.”www.joycoalition.com www.imdb.com/name/nm2229726www.imdb.com/title/tt20228406/mediaviewer/rm1596470273/?ref_=tt_ov_iwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think maybe what we've learned is how important family and community are. What I noticed in Madagascar is how genuinely happy they are despite not having a lot in life. We have so many material possessions here in the US, and not to say that's all bad if people want to pursue that, but I just definitely noticed how it wasn't so much about what you have, but like who you are as a person. I would want them to know that anything is possible. You just need to persevere and that can have such a huge ripple effect. Not only one person's life, but anybody, whether that's a community or the whole world on a global scale. I wouldn't want people to feel discouraged because I think there are definitely moments along the way of that and people will just not want to try to do that because people around them may say ‘It's not possible.’ But if you keep going, then it will eventually come to life.”Maggie Grout is the founder and CEO of Thinking Huts, an international NGO that increases global access to education with innovative, humanitarian-driven technology solutions. Founded by Maggie  8 years ago, when she was15, Thinking Huts seeks to empower young people, especially girls, to achieve more opportunities by obtaining an education. Grout gave a TEDx talk in 2021 on “how we can tackle the global education crisis with 3D printing.”Grout was born in a rural village in China and adopted at a young age, but where she came from largely shaped her outlook on life and subliminally led her to start Thinking Huts in 2015. Growing up in London and Colorado, Grout was exposed to the melting pot of cultures in British and American society, but she often wondered why so many people were unaware of how others lived an ocean away. She understood what poverty looks like firsthand and how education empowers people to attain greater opportunities.www.thinkinghuts.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Maggie Grout is the founder and CEO of Thinking Huts, an international NGO that increases global access to education with innovative, humanitarian-driven technology solutions. Founded by Maggie  8 years ago, when she was15, Thinking Huts seeks to empower young people, especially girls, to achieve more opportunities by obtaining an education. Grout gave a TEDx talk in 2021 on “how we can tackle the global education crisis with 3D printing.”Grout was born in a rural village in China and adopted at a young age, but where she came from largely shaped her outlook on life and subliminally led her to start Thinking Huts in 2015. Growing up in London and Colorado, Grout was exposed to the melting pot of cultures in British and American society, but she often wondered why so many people were unaware of how others lived an ocean away. She understood what poverty looks like firsthand and how education empowers people to attain greater opportunities.“I think maybe what we've learned is how important family and community are. What I noticed in Madagascar is how genuinely happy they are despite not having a lot in life. We have so many material possessions here in the US, and not to say that's all bad if people want to pursue that, but I just definitely noticed how it wasn't so much about what you have, but like who you are as a person. I would want them to know that anything is possible. You just need to persevere and that can have such a huge ripple effect. Not only one person's life, but anybody, whether that's a community or the whole world on a global scale. I wouldn't want people to feel discouraged because I think there are definitely moments along the way of that and people will just not want to try to do that because people around them may say ‘It's not possible.’ But if you keep going, then it will eventually come to life.”www.thinkinghuts.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I definitely believe at the moment that fashion brands, big fashion in particular, they just exist to exploit people. It's an excuse to exploit the poor, basically. I see fashion as part of this very extractive global economic society where 100, 150 years ago, that extraction was very obvious. You had the enslavement of people. You had taxation. You had literally armies turning up and occupying the land that they wanted and just taking resources or land. These days it's more subtle, but the brands are still following those colonial pathways.I'm like sat here in London and, you know, there's a reason why British brands go to India, Bangladesh, Pakistan, following the same colonial trade routes. It's also a system very much based on really unfair debt and a total lack of debt justice whereby Global South economies are having to earn foreign capital by opening themselves up to these export industries, whether that's cotton or coffee or garments. 80% of everything that Bangladesh exports are garments. It is a ludicrous position for an economy to be in. And it's very deliberate exploitation as well. Brands make these sourcing decisions very, very deliberately.They go where they think that workers' rights will be suppressed and environmental legislation will be suppressed. And if anything does happen that the government will step in and do the suppressing and just give them a sort of carte blanche to do whatever they want.So at the moment, it's very difficult to point at any part of the fashion industry and go, that's not exploitative. You know, that's exploiting the land, that's exploiting these people, that's based on fossil fuels. Those toxic dyes are going into the river. It's a deeply exploitative, industry.”Tansy E. Hoskins is an award winning author and journalist who investigates the global fashion industry. She’s the author of The Anti-Capitalist Book Of Fashion, Foot Work, and Stitched Up. This work has taken her to Bangladesh, India, North Macedonia, and to the Topshop warehouses in Solihull.www.plutobooks.com/9780745346618/the-anti-capitalist-book-of-fashion/www.amazon.co.uk/Foot-Work-What-Your-Shoes-Are-Doing-to-the-World-Tansy-Hoskins/dp/1474609856/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Tansy E. Hoskins is an award winning author and journalist who investigates the global fashion industry. She’s the author of The Anti-Capitalist Book Of Fashion, Foot Work, and Stitched Up. This work has taken her to Bangladesh, India, North Macedonia, and to the Topshop warehouses in Solihull.“I definitely believe at the moment that fashion brands, big fashion in particular, they just exist to exploit people. It's an excuse to exploit the poor, basically. I see fashion as part of this very extractive global economic society where 100, 150 years ago, that extraction was very obvious. You had the enslavement of people. You had taxation. You had literally armies turning up and occupying the land that they wanted and just taking resources or land. These days it's more subtle, but the brands are still following those colonial pathways.I'm like sat here in London and, you know, there's a reason why British brands go to India, Bangladesh, Pakistan, following the same colonial trade routes. It's also a system very much based on really unfair debt and a total lack of debt justice whereby Global South economies are having to earn foreign capital by opening themselves up to these export industries, whether that's cotton or coffee or garments. 80% of everything that Bangladesh exports are garments. It is a ludicrous position for an economy to be in. And it's very deliberate exploitation as well. Brands make these sourcing decisions very, very deliberately.They go where they think that workers' rights will be suppressed and environmental legislation will be suppressed. And if anything does happen that the government will step in and do the suppressing and just give them a sort of carte blanche to do whatever they want.So at the moment, it's very difficult to point at any part of the fashion industry and go, that's not exploitative. You know, that's exploiting the land, that's exploiting these people, that's based on fossil fuels. Those toxic dyes are going into the river. It's a deeply exploitative, industry.”www.plutobooks.com/9780745346618/the-anti-capitalist-book-of-fashion/www.amazon.co.uk/Foot-Work-What-Your-Shoes-Are-Doing-to-the-World-Tansy-Hoskins/dp/1474609856/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastPhoto credit: Sarah Van Looy

“In terms of the impacts of climate change on health when we started 30 years ago, because there was very little data then, so we made suggestions as to what we thought the health outcomes we thought would be affected like vector-borne diseases, crop failures, water availability, sea level rise, increasing disasters related to climatic extreme events, and obviously the effects of extreme heat on vulnerable populations. In particular, elderly people, but not just elderly people. So we suggested a whole range of different health impacts that could occur. And I think, in general, those ideas have stood the test of time, but of course, as the situation has moved on, we've also become much more preoccupied with what kind of action we need to take.So when we started, we were mainly talking about the effects of extreme heat without being able to attribute them to climate change because obviously heat waves have occurred throughout history, and populations are more or less adapted to different climates. But now I think the science has moved on, and we can be much more competent about attributing either some extreme events or trends in extreme heat exposure, for example, to human-induced climate change. So it isn't just natural fluctuation. So that's a change. And as the evidence becomes stronger, of course, it also strengthens the case for climate action, which sadly, as we know at the moment, is not sufficient to really have the desired effect.So our knowledge has advanced, but the actions that we need to put into practice have not gone at the same speed. And so we're really facing an increasing climate emergency. And we don't know quite where it's going to end up, but it could end up 2.5%, 3% hotter than pre-industrial times on global average as we reach the end of the century.”Andy Haines was formerly a family doctor and Professor of Primary Health Care at UCL. He developed an interest in climate change and health in the 1990’s and was a member of the Intergovernmental Panel on Climate Change for the 2nd and 3rd assessment exercises and review editor for the health chapter in the 5th assessment. He was Director (formerly Dean) of the London School of Hygiene & Tropical Medicine from 2001- October 2010. He chaired the Scientific Advisory Panel for the 2013 WHO World Health Report, the Rockefeller /Lancet Commission on Planetary Health (2014-15) and the European Academies Science Advisory Council working group on climate change and health (2018-19). He currently co-chairs the InterAcademy Partnership (140 science academies worldwide) working group on climate change and health and is also co-chairing the Lancet Pathfinder Commission on health in the zero-carbon economy.  He has published many papers on topics such as the effects of environmental change on health and the health co-benefits of low carbon policies. His current research focuses on climate change mitigation, sustainable healthy food systems and complex urban systems for sustainability. He was awarded the Tyler Prize for Environmental Achievement in 2022.www.lshtm.ac.ukhttps://tylerprize.org www.interacademies.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Andy Haines was formerly a family doctor and Professor of Primary Health Care at UCL. He developed an interest in climate change and health in the 1990’s and was a member of the Intergovernmental Panel on Climate Change for the 2nd and 3rd assessment exercises and review editor for the health chapter in the 5th assessment. He was Director (formerly Dean) of the London School of Hygiene & Tropical Medicine from 2001- October 2010. He chaired the Scientific Advisory Panel for the 2013 WHO World Health Report, the Rockefeller /Lancet Commission on Planetary Health (2014-15) and the European Academies Science Advisory Council working group on climate change and health (2018-19). He currently co-chairs the InterAcademy Partnership (140 science academies worldwide) working group on climate change and health and is also co-chairing the Lancet Pathfinder Commission on health in the zero-carbon economy.  He has published many papers on topics such as the effects of environmental change on health and the health co-benefits of low carbon policies. His current research focuses on climate change mitigation, sustainable healthy food systems and complex urban systems for sustainability. He was awarded the Tyler Prize for Environmental Achievement in 2022.“In terms of the impacts of climate change on health when we started 30 years ago, because there was very little data then, so we made suggestions as to what we thought the health outcomes we thought would be affected like vector-borne diseases, crop failures, water availability, sea level rise, increasing disasters related to climatic extreme events, and obviously the effects of extreme heat on vulnerable populations. In particular, elderly people, but not just elderly people. So we suggested a whole range of different health impacts that could occur. And I think, in general, those ideas have stood the test of time, but of course, as the situation has moved on, we've also become much more preoccupied with what kind of action we need to take.So when we started, we were mainly talking about the effects of extreme heat without being able to attribute them to climate change because obviously heat waves have occurred throughout history, and populations are more or less adapted to different climates. But now I think the science has moved on, and we can be much more competent about attributing either some extreme events or trends in extreme heat exposure, for example, to human-induced climate change. So it isn't just natural fluctuation. So that's a change. And as the evidence becomes stronger, of course, it also strengthens the case for climate action, which sadly, as we know at the moment, is not sufficient to really have the desired effect.So our knowledge has advanced, but the actions that we need to put into practice have not gone at the same speed. And so we're really facing an increasing climate emergency. And we don't know quite where it's going to end up, but it could end up 2.5%, 3% hotter than pre-industrial times on global average as we reach the end of the century.”www.lshtm.ac.ukhttps://tylerprize.org www.interacademies.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“The idea of expertise and expert judgment has been around and has been something that society depends upon for a long time, but there have been no serious empirical explorations of who's an expert, what a domain of expertise is, and what sort of frailties are experts susceptible to. Those things haven't been addressed in an empirical way until the last 30 years. Some of this work began in the fifties with Kahneman and Tversky. They began to explore the things that make people misjudge risky situations, and that led to a body of research on who makes good judgments and under what circumstances for things that might affect us in various ways. But these were typically judgments about the probabilities of events and the magnitudes of the consequences. There's a domain in which we use experts to make judgments about future events, the quantities of things that we will see at some time in the future, or things that currently exist, but we don't know what they are. We don't have time yet, to compile the data that we need, and we rely on expert judgments in law courts, but also relied on them for example, we have a new disease like COVID, and we didn't know yet its transmission rates and yet we have to guess at its transmission rates to make judgments about how best to manage the population to protect ourselves. And we rely on expert judgments of all of those circumstances. And yet we don't know who the best expert is. Who should we ask? Is it the best-credentialed person? Is it the person that most people trust? If you ask two experts and you get two opinions, which one should you use? And so on and so forth. Now, that has been the focus of research over the last 10 or 15 years, and I've learned some really important things that run contrary to our intuition about some of those things.”Mark Burgman is Director of the Centre for Environmental Policy at Imperial College London and Editor-in-Chief of the journal Conservation Biology.  He is author of Trusting Judgments: How to Get the Best Out of Experts. Previously, he was Adrienne Clarke Chair of Botany at the University of Melbourne, Australia. He works on expert judgement, ecological modelling, conservation biology and risk assessment.  He has written models for biosecurity, medicine regulation, marine fisheries, forestry, irrigation, electrical power utilities, mining, and national park planning.  He received a BSc from the University of New South Wales, an MSc from Macquarie University, Sydney, and a PhD from the State University of New York at Stony Brook. He worked as a consultant ecologist and research scientist in Australia, the United States and Switzerland during the 1980’s before joining the University of Melbourne in 1990. He joined CEP in February, 2017. He has published over two hundred and fifty refereed papers and book chapters and seven authored books. He was elected to the Australian Academy of Science in 2006.www.imperial.ac.uk/environmental-policy www.conbio.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Mark Burgman is Director of the Centre for Environmental Policy at Imperial College London and Editor-in-Chief of the journal Conservation Biology.  He is author of Trusting Judgments: How to Get the Best Out of Experts. Previously, he was Adrienne Clarke Chair of Botany at the University of Melbourne, Australia. He works on expert judgement, ecological modelling, conservation biology and risk assessment.  He has written models for biosecurity, medicine regulation, marine fisheries, forestry, irrigation, electrical power utilities, mining, and national park planning.  He received a BSc from the University of New South Wales, an MSc from Macquarie University, Sydney, and a PhD from the State University of New York at Stony Brook. He worked as a consultant ecologist and research scientist in Australia, the United States and Switzerland during the 1980’s before joining the University of Melbourne in 1990. He joined CEP in February, 2017. He has published over two hundred and fifty refereed papers and book chapters and seven authored books. He was elected to the Australian Academy of Science in 2006.“The idea of expertise and expert judgment has been around and has been something that society depends upon for a long time, but there have been no serious empirical explorations of who's an expert, what a domain of expertise is, and what sort of frailties are experts susceptible to. Those things haven't been addressed in an empirical way until the last 30 years. Some of this work began in the fifties with Kahneman and Tversky. They began to explore the things that make people misjudge risky situations, and that led to a body of research on who makes good judgments and under what circumstances for things that might affect us in various ways. But these were typically judgments about the probabilities of events and the magnitudes of the consequences. There's a domain in which we use experts to make judgments about future events, the quantities of things that we will see at some time in the future, or things that currently exist, but we don't know what they are. We don't have time yet, to compile the data that we need, and we rely on expert judgments in law courts, but also relied on them for example, we have a new disease like COVID, and we didn't know yet its transmission rates and yet we have to guess at its transmission rates to make judgments about how best to manage the population to protect ourselves. And we rely on expert judgments of all of those circumstances. And yet we don't know who the best expert is. Who should we ask? Is it the best-credentialed person? Is it the person that most people trust? If you ask two experts and you get two opinions, which one should you use? And so on and so forth. Now, that has been the focus of research over the last 10 or 15 years, and I've learned some really important things that run contrary to our intuition about some of those things.”www.imperial.ac.uk/environmental-policy www.conbio.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Mother: A Memoir“Pre-word In my mind's eye she is sitting at the circular white Formica-top table in the corner. Morning sunlight fills the kitchen. She has a cup of Milky Nescafé Gold Blend and is smoking a purple Silk Cut. She is dressed for comfort in a floral bronze-and-brown blouse and blue jumper with light gray slacks and blue slippers. She is absorbed in a crossword (The Times) but not oblivious. She does what always takes me aback. She reads out one of the clues. As if I would know the answer. Her gift for crosswords is alien to me. I get stuck at the first ambiguity or double-meaning. Whereas she sweeps through all illusions allusions red herrings and anagrams and is done most days by lunchtime. But her fondness for crossword puzzles is inseparable from my interest in words. Where they come from. What they might be doing. Earliest recorded use of 'In my mind's eye': Shakespeare's Hamlet (around 1599). Referring to the Ghost.My mother died years ago. What has induced me to write about her after all this time remains mysterious to me. It is connected to the climate crisis. As the natural historian David Attenborough says: 'the collapse of our civilizations and the extinction of much of the natural world is on the horizon.' In ways I cannot pretend to fathom I have found that writing about my mother is bound up with writing about Mother Nature and Mother Earth. And no doubt it has to do also with my own aging and the buried life of mourning. The strange timetables of realization and loss. A memoir is 'a written record of a person's knowledge of events or of a person's own experiences'. 'A record of events written by a person having intimate knowledge of them and based on personal observation.' So the dictionaries tell us. But this memoir of my mother makes no attempt at a comprehensive record.”Nicholas Royle is Professor Emeritus of English at the University of Sussex, England, where he has been based since 1999. He has also taught at the University of Oxford, the University of Tampere, and the University of Stirling; and has been a visiting professor at the universities of Århus, Santiago del Compostela, Turku, Manitoba, and Lille. He is a managing editor of the Oxford Literary Review and director of Quick Fictions. He has published many books, including Telepathy and Literature, E.M. Forster, Jacques Derrida, The Uncanny, Veering: A Theory of Literature, How to Read Shakespeare, and Hélène Cixous: Dreamer, Realist, Analyst, Writing, as well as the novels Quilt and An English Guide to Birdwatching, and Mother: A Memoir. In addition, he is co-author with Andrew Bennett of three books: Elizabeth Bowen and the Dissolution of the Novel, This Thing Called Literature: Reading, Thinking, Writing, and An Introduction to Literature, Criticism and Theory Sixth edition, 2023. Royle’s current projects include a detective novel, a collection of essays about new approaches to narrative theory, and a collaborative work with Timothy Morton on Covid-19. His latest book, David Bowie, Enid Blyton and the Sun Machine, is due to be published in November 2023.www.routledge.com/An-Introduction-to-Literature-Criticism-and-Theory/Bennett-Royle/p/book/9781032158846 https://myriadeditions.com/creator/nicholas-royle/ https://quickfiction.co.uk/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Nicholas Royle is Professor Emeritus of English at the University of Sussex, England, where he has been based since 1999. He has also taught at the University of Oxford, the University of Tampere, and the University of Stirling; and has been a visiting professor at the universities of Århus, Santiago del Compostela, Turku, Manitoba, and Lille. He is a managing editor of the Oxford Literary Review and director of Quick Fictions. He has published many books, including Telepathy and Literature, E.M. Forster, Jacques Derrida, The Uncanny, Veering: A Theory of Literature, How to Read Shakespeare, and Hélène Cixous: Dreamer, Realist, Analyst, Writing, as well as the novels Quilt and An English Guide to Birdwatching, and Mother: A Memoir. In addition, he is co-author with Andrew Bennett of three books: Elizabeth Bowen and the Dissolution of the Novel, This Thing Called Literature: Reading, Thinking, Writing, and An Introduction to Literature, Criticism and Theory Sixth edition, 2023. Royle’s current projects include a detective novel, a collection of essays about new approaches to narrative theory, and a collaborative work with Timothy Morton on Covid-19. His latest book, David Bowie, Enid Blyton and the Sun Machine, is due to be published in November 2023.Mother: A Memoir“Pre-word In my mind's eye she is sitting at the circular white Formica-top table in the corner. Morning sunlight fills the kitchen. She has a cup of Milky Nescafé Gold Blend and is smoking a purple Silk Cut. She is dressed for comfort in a floral bronze-and-brown blouse and blue jumper with light gray slacks and blue slippers. She is absorbed in a crossword (The Times) but not oblivious. She does what always takes me aback. She reads out one of the clues. As if I would know the answer. Her gift for crosswords is alien to me. I get stuck at the first ambiguity or double-meaning. Whereas she sweeps through all illusions allusions red herrings and anagrams and is done most days by lunchtime. But her fondness for crossword puzzles is inseparable from my interest in words. Where they come from. What they might be doing. Earliest recorded use of 'In my mind's eye': Shakespeare's Hamlet (around 1599). Referring to the Ghost.My mother died years ago. What has induced me to write about her after all this time remains mysterious to me. It is connected to the climate crisis. As the natural historian David Attenborough says: 'the collapse of our civilizations and the extinction of much of the natural world is on the horizon.' In ways I cannot pretend to fathom I have found that writing about my mother is bound up with writing about Mother Nature and Mother Earth. And no doubt it has to do also with my own aging and the buried life of mourning. The strange timetables of realization and loss. A memoir is 'a written record of a person's knowledge of events or of a person's own experiences'. 'A record of events written by a person having intimate knowledge of them and based on personal observation.' So the dictionaries tell us. But this memoir of my mother makes no attempt at a comprehensive record.”www.routledge.com/An-Introduction-to-Literature-Criticism-and-Theory/Bennett-Royle/p/book/9781032158846 https://myriadeditions.com/creator/nicholas-royle/ https://quickfiction.co.uk/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I really admire how James Baldwin always talks about jazz as a kind of model for his writing style. But music has certainly had a profound influence on the way I see the world, especially in terms of the social world. One of the big problems we have in all sorts of different places around the world is the question of how to coordinate difference. All sorts of people have different modes of living, different cultural rhythms, and different ideas about the future. Jazz is brilliant at a lot of things, but it notably brings together different people and allows them to retain their own sense of time and rhythm while playing together. It's a really profound model of social coordination. Now, of course, it says something particularly pressing about the United States, but I think as a model for how differences go together, jazz is perhaps unparalleled."Bruce Evan Barnhart is an associate professor of American literature and culture at the University of Oslo and co-director of the project Literature, Rights, and Imagined Communities. He is the author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture. His work has appeared in African American Review, Callaloo, and Novel. His latest publications are Temporal Experiments: Seven Ways of Configuring Time in Art and Literature, co-edited with Marit Grøtta, and LeRoi Jones, Jazz, and the Resonance of Class. His research interests include African American literature, post-Marxist theory, jazz, and Caribbean aesthetics.www.hf.uio.no/ilos/english/people/aca/brucebwww.routledge.com/Temporal-Experiments-Seven-Ways-of-Configuring-Time-in-Art-and-Literature/Barnhart-Grotta/p/book/9781032350240https://www.hf.uio.no/ilos/english/research/groups/temporal-experiments/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Bruce Evan Barnhart is an associate professor of American literature and culture at the University of Oslo and co-director of the project Literature, Rights, and Imagined Communities. He is the author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture. His work has appeared in African American Review, Callaloo, and Novel. His latest publications are Temporal Experiments: Seven Ways of Configuring Time in Art and Literature, co-edited with Marit Grøtta, and LeRoi Jones, Jazz, and the Resonance of Class. His research interests include African American literature, post-Marxist theory, jazz, and Caribbean aesthetics."I really admire how James Baldwin always talks about jazz as a kind of model for his writing style. But music has certainly had a profound influence on the way I see the world, especially in terms of the social world. One of the big problems we have in all sorts of different places around the world is the question of how to coordinate difference. All sorts of people have different modes of living, different cultural rhythms, and different ideas about the future. Jazz is brilliant at a lot of things, but it notably brings together different people and allows them to retain their own sense of time and rhythm while playing together. It's a really profound model of social coordination. Now, of course, it says something particularly pressing about the United States, but I think as a model for how differences go together, jazz is perhaps unparalleled."www.hf.uio.no/ilos/english/people/aca/brucebwww.routledge.com/Temporal-Experiments-Seven-Ways-of-Configuring-Time-in-Art-and-Literature/Barnhart-Grotta/p/book/9781032350240https://www.hf.uio.no/ilos/english/research/groups/temporal-experiments/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.”Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Anna Abraham, Ph.D. is the E. Paul Torrance Professor and Director of the Torrance Center for Creativity and Talent Development at the University of Georgia (USA). She investigates the psychological and neurophysiological mechanisms underlying creativity and other aspects of the human imagination, including the reality-fiction distinction, mental time travel, social and self-referential cognition, and mental state reasoning. She is the author of the 2018 book, The Neuroscience of Creativity (Cambridge University Press) and the editor of the multidisciplinary volume, The Cambridge Handbook of the Imagination (2020).“I love podcasts and things like that, if only to listen to people who've done incredible things. We live in a kind of unusual time where we can hear firsthand people talking about their own experiences, and what they went through when they were creating something. And while artists differ greatly from one another in terms of the specifics of their process, what certainly seems to be the case is that they're extraordinarily interested in their own mind, and they have what we would call a metacognitive awareness. They know almost quite precisely, at least what doesn't work for them. They're very cued into what to avoid and how to sort of generate the mental conditions that are necessary in order to be as generative or as creative as they're likely to be in a specific situation. So that is a deep medical awareness that they have about their own process that is really quite something. They know themselves very well.”www.anna-abraham.com https://coe.uga.edu/directory/torrance-center www.cambridge.org/core/what-we-publish/elements/elements-in-creativity-and-imaginationwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“If I die, it will be in the most glorious place that nobody has ever seen. I can no longer feel the fingers in my left hand. The glacial Antarctic water to see through a tiny puncture in my formerly waterproof glove. If this water were one-tenth of a degree colder, the ocean will become solid. Finding the knife-edged freeze is depleting my strength, my blood vessels throbbing in a futile attempt to deliver warmth to my extremities. The archway of ice above our heads is furrowed like the surface of a golf ball, carved by the hand of the sea. Iridescent blue, Wedgewood, azure, cerulean, cobalt, and pastel robin’s egg meld with chalk and silvery alabaster. The ice is vibrant, right, and at the same time ghostly. The beauty contradicts the danger. We are the first people to cave dive inside an iceberg. And we may not live to tell the story.”Jill Heinerth is a Canadian cave diver, underwater explorer, writer, photographer, and filmmaker. She is a veteran of over thirty years of filming, photography, and exploration on projects in submerged caves around the world. She has made TV series, consulted on movies, written several books and is a frequent corporate keynote speaker. Jill is the first Explorer in Residence for the Royal Canadian Geographical Society, recipient of Canada’s prestigious Polar Medal and is a Fellow of the International Scuba Divers Hall of Fame. In recognition of her lifetime achievement, Jill was awarded the Sir Christopher Ondaatje Medal for Exploration from the RCGS and the William Beebe Award from the Explorers Club.www.intotheplanet.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Jill Heinerth is a Canadian cave diver, underwater explorer, writer, photographer, and filmmaker. She is a veteran of over thirty years of filming, photography, and exploration on projects in submerged caves around the world. She has made TV series, consulted on movies, written several books and is a frequent corporate keynote speaker. Jill is the first Explorer in Residence for the Royal Canadian Geographical Society, recipient of Canada’s prestigious Polar Medal and is a Fellow of the International Scuba Divers Hall of Fame. In recognition of her lifetime achievement, Jill was awarded the Sir Christopher Ondaatje Medal for Exploration from the RCGS and the William Beebe Award from the Explorers Club.“If I die, it will be in the most glorious place that nobody has ever seen. I can no longer feel the fingers in my left hand. The glacial Antarctic water to see through a tiny puncture in my formerly waterproof glove. If this water were one-tenth of a degree colder, the ocean will become solid. Finding the knife-edged freeze is depleting my strength, my blood vessels throbbing in a futile attempt to deliver warmth to my extremities. The archway of ice above our heads is furrowed like the surface of a golf ball, carved by the hand of the sea. Iridescent blue, Wedgewood, azure, cerulean, cobalt, and pastel robin’s egg meld with chalk and silvery alabaster. The ice is vibrant, right, and at the same time ghostly. The beauty contradicts the danger. We are the first people to cave dive inside an iceberg. And we may not live to tell the story.”www.intotheplanet.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts. The instinct of U2 was seeing their determination, the fact that the music itself initially wasn't close to what most of my music was because most of my music was bass and drum. And most of their music was vocal, so it wasn't a certain kind of music that I like all the time. I like music from all different kinds of levels…I absolutely felt for Bob Marley to really make it worldwide as it were, he needed to change something a little bit. I didn't want him to change what he was doing, not his lyrics and everything else like that. It was more the instrumentation of it. I felt for Bob to be able to reach a wider audience that he needed to move away a little bit from that and focus more and more on his lyrics.When I finally met Cat Stevens, and we just sort of sat down and then when he played the song ‘Father and Son,’ then suddenly the lyrics of the song and what it meant and everything, I suddenly felt this guy is fantastic. You know, the I person I'd seen on television had nothing to do with this person sitting in front of me. And so that's really when I said to him, I opened up to him and I said, ‘Honestly, I wasn't really interested to meet, but this song that you've just sung for me is such an incredible song.’ I felt that I could definitely connect with him. ‘Where Do the Children Play', that was the one that, just the fact that he was somebody who was thinking like that.There was one time when Mick Jagger asked me to come and meet with him because I think he'd heard the records that were coming up from me, mainly Jamaican records and things, and that's why he wanted me to come and meet with him. He was leaving Decca, and wanted to go to another level. And I said, ‘It makes absolutely no sense for you to come to my label because you already are huge.’Grace Jones, she's a stunning-looking lady. They put on the record and there was a drum machine, and all it played was a drum machine. There was no vocal, there were no instruments, nothing for about two and a half to three minutes before I heard a voice. I thought, Oh my gosh, this is a disaster. This is going to end in tears. And then suddenly I heard the voice, and the voice sounded great.”Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley’s Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley’s Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts. The instinct of U2 was seeing their determination, the fact that the music itself initially wasn't close to what most of my music was because most of my music was bass and drum. And most of their music was vocal, so it wasn't a certain kind of music that I like all the time. I like music from all different kinds of levels…I absolutely felt for Bob Marley to really make it worldwide as it were, he needed to change something a little bit. I didn't want him to change what he was doing, not his lyrics and everything else like that. It was more the instrumentation of it. I felt for Bob to be able to reach a wider audience that he needed to move away a little bit from that and focus more and more on his lyrics.When I finally met Cat Stevens, and we just sort of sat down and then when he played the song ‘Father and Son,’ then suddenly the lyrics of the song and what it meant and everything, I suddenly felt this guy is fantastic. You know, the I person I'd seen on television had nothing to do with this person sitting in front of me. And so that's really when I said to him, I opened up to him and I said, ‘Honestly, I wasn't really interested to meet, but this song that you've just sung for me is such an incredible song.’ I felt that I could definitely connect with him. ‘Where Do the Children Play', that was the one that, just the fact that he was somebody who was thinking like that.There was one time when Mick Jagger asked me to come and meet with him because I think he'd heard the records that were coming up from me, mainly Jamaican records and things, and that's why he wanted me to come and meet with him. He was leaving Decca, and wanted to go to another level. And I said, ‘It makes absolutely no sense for you to come to my label because you already are huge.’Grace Jones, she's a stunning-looking lady. They put on the record and there was a drum machine, and all it played was a drum machine. There was no vocal, there were no instruments, nothing for about two and a half to three minutes before I heard a voice. I thought, Oh my gosh, this is a disaster. This is going to end in tears. And then suddenly I heard the voice, and the voice sounded great.”www.islandoutpost.com www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701 www.islandrecords.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"Are we looking at intelligence wrong? There are an awful lot of people who have graduated from top schools who become leaders who are worse than incompetent. They make their countries worse rather than better. And the conclusion I came to is that we made a mistake, in that intelligence was originally defined by the founders of the field Alfred Binet, David Wechsler, and others, as the ability to adapt to the environment a requirement. And answering a vocabulary problem for an obscure word is not about adapting to the environment. So I began to wonder where we lost the train of thought. And the conclusion I came to is that colleges just forgot the original message of the founders of the field, and so we got immersed in these numbers that turn out not to mean that much. So I wrote about intelligence as the ability to get along in the world and hopefully make the world a little bit better. And what I argue in the book is that we not only need to develop this kind of intelligence, we need to recognize that it's important, that getting A's in school and top scores on standardized tests, that's not what intelligence is about. So there are people who make serious efforts to make the world better, who fight pollution, who try to be good at what they do, you know, as judges or lawyers or as cleaning people or car mechanics, or doctors, but those aren't the ones you hear about. The ones you hear about are often those who have prestigious degrees and can't seem to do much with them.”Robert J. Sternberg is Professor of Human Development at Cornell University and Honorary Professor of Psychology at the University of Heidelberg, Germany. He is a past winner of the Grawemeyer Award in Psychology, and the William James and James McKeen Cattell Awards of the Association for Psychological Science. Sternberg has served as President of the American Psychological Association, and the Federation of Associations in Behavioral and Brain Sciences. His latest book is Adaptive Intelligence: Surviving and Thriving in Times of Uncertainty.www.robertjsternberg.comwww.cambridge.org/fr/academic/subjects/psychology/cognition/adaptive-intelligence-surviving-and-thriving-times-uncertainty?format=HB&isbn=9781107154384#bookPeoplewww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Robert J. Sternberg is Professor of Human Development at Cornell University and Honorary Professor of Psychology at the University of Heidelberg, Germany. He is a past winner of the Grawemeyer Award in Psychology, and the William James and James McKeen Cattell Awards of the Association for Psychological Science. Sternberg has served as President of the American Psychological Association, and the Federation of Associations in Behavioral and Brain Sciences. His latest book is Adaptive Intelligence: Surviving and Thriving in Times of Uncertainty."Are we looking at intelligence wrong? There are an awful lot of people who have graduated from top schools who become leaders who are worse than incompetent. They make their countries worse rather than better. And the conclusion I came to is that we made a mistake, in that intelligence was originally defined by the founders of the field Alfred Binet, David Wechsler, and others, as the ability to adapt to the environment a requirement. And answering a vocabulary problem for an obscure word is not about adapting to the environment. So I began to wonder where we lost the train of thought. And the conclusion I came to is that colleges just forgot the original message of the founders of the field, and so we got immersed in these numbers that turn out not to mean that much. So I wrote about intelligence as the ability to get along in the world and hopefully make the world a little bit better. And what I argue in the book is that we not only need to develop this kind of intelligence, we need to recognize that it's important, that getting A's in school and top scores on standardized tests, that's not what intelligence is about. So there are people who make serious efforts to make the world better, who fight pollution, who try to be good at what they do, you know, as judges or lawyers or as cleaning people or car mechanics, or doctors, but those aren't the ones you hear about. The ones you hear about are often those who have prestigious degrees and can't seem to do much with them.”www.robertjsternberg.comwww.cambridge.org/fr/academic/subjects/psychology/cognition/adaptive-intelligence-surviving-and-thriving-times-uncertainty?format=HB&isbn=9781107154384#bookPeoplewww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Today's complex problems demand a radically new way of thinking — one in which art, technology, and science converge to expand our creativity and augment our insight. Creativity must be combined with the ability to execute; the leaders and innovators of the future will have to understand this balance and manage such complexities as climate change and pandemics. The place of this convergence is THE NEXUS. In this provocative and visually striking book, Julio Mario Ottino and Bruce Mau offer a guide for navigating the intersections of art, technology, and science.Julio Ottino is an artist, researcher, author, and educator at Northwestern University. He is the author, with Bruce Mau, of The Nexus: Augmented Thinking for a Complex World - The New Convergence of Art, Technology, and Science. He was the founding co-director of the Northwestern Institute on Complex Systems. In 2008, he was listed in the “One Hundred Engineers of the Modern Era”. In 2017, he was awarded the Bernard M. Gordon Prize for Innovation in Engineering and Technology Education from the National Academy of Engineering.www.juliomarioottino.comwww.thenexusbook.comwww.mccormick.northwestern.edu/about/leadership/profiles/ottino-julio.html

Julio Ottino is an artist, researcher, author, and educator at Northwestern University. He is the author, with Bruce Mau, of The Nexus: Augmented Thinking for a Complex World - The New Convergence of Art, Technology, and Science. He was the founding co-director of the Northwestern Institute on Complex Systems. In 2008, he was listed in the “One Hundred Engineers of the Modern Era”. In 2017, he was awarded the Bernard M. Gordon Prize for Innovation in Engineering and Technology Education from the National Academy of Engineering.Today's complex problems demand a radically new way of thinking — one in which art, technology, and science converge to expand our creativity and augment our insight. Creativity must be combined with the ability to execute; the leaders and innovators of the future will have to understand this balance and manage such complexities as climate change and pandemics. The place of this convergence is THE NEXUS. In this provocative and visually striking book, Julio Mario Ottino and Bruce Mau offer a guide for navigating the intersections of art, technology, and science.www.juliomarioottino.comwww.thenexusbook.comwww.mccormick.northwestern.edu/about/leadership/profiles/ottino-julio.html

Florian Hoffmeister is a prolific director of photography. Recent works by Hoffmeister include his lensing on the Apple TV+ series Pachinko, the critically-acclaimed political thriller Official Secrets starring Keira Knightley, Ralph Fiennes, and Matt Smith, and TÁR starring Cate Blanchett. Hoffmeister is well-known for his collaboration with Terence Davies on feature films The Deep Blue Sea, starring Rachel Weisz, Tom Hiddleston and Simon Russel-Beale, and A Quiet Passion, starring Cynthia Nixon and Jennifer Ehle. His work on Brian Kirk’s television phenomenon Great Expectations earned him further distinction as well as numerous accolades, including a Primetime Emmy, a BAFTA, and an ASC Award.

"Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing."

Max Stossel is an Award-winning poet, filmmaker, and speaker, named by Forbes as one of the best storytellers of the year. His Stand-Up Poetry Special Words That Move takes the audience through a variety of different perspectives, inviting us to see the world through different eyes together. Taking on topics like heartbreak, consciousness, social media, politics, the emotional state of our world, and even how dogs probably (most certainly) talk, Max uses rhyme and rhythm to make these topics digestible and playful. Words That Move articulates the deep-seated kernels of truth that we so often struggle to find words for ourselves. Max has performed on five continents, from Lincoln Center in NY to the Hordern Pavilion in Sydney. He is also the Youth and Education Advisor for the Center for Humane Technology, an organization of former tech insiders dedicated to realigning technology with humanity’s best interests.

"I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.”"I like to say that Ginny & Georgia is a show about women by women for everyone. And I will say women in charge, they do things differently. I think that women, we tend to do relationships differently than men do. It's very, very important to me - and I'm not saying that men don't do this - but as a woman, as a female showrunner, it's very important for me to uplift young up-and-coming writers."Debra J. Fisher is a writer, producer, and director. She currently serves as the showrunner, writer, and executive producer of the Netflix series Ginny & Georgia.  Season one of the hit series was watched by over 52 million subscribers in its first month on the platform, gathering a devoted fan base. The highly anticipated second season premiered on January 5th. Ginny & Georgia is Debra’s first time in the showrunner’s seat.  Through her long and varied career, she has worked her way up the ladder on numerous beloved TV shows including Alias, The O.C., Charmed, and Criminal Minds, among others. With a wealth of experience from her own professional journey, she works to pay it forward by mentoring the next generation of creatives.www.instagram.com/debrajfisher www.tiktok.com/@debrajfisherwww.netflix.com/tudum/articles/ginny-and-georgia-season-2-release-datewww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Debra J. Fisher is a writer, producer, and director. She currently serves as the showrunner, writer, and executive producer of the Netflix series Ginny & Georgia.  Season one of the hit series was watched by over 52 million subscribers in its first month on the platform, gathering a devoted fan base. The highly anticipated second season premiered on January 5th. Ginny & Georgia is Debra’s first time in the showrunner’s seat.  Through her long and varied career, she has worked her way up the ladder on numerous beloved TV shows including Alias, The O.C., Charmed, and Criminal Minds, among others. With a wealth of experience from her own professional journey, she works to pay it forward by mentoring the next generation of creatives."I need a balance of light and dark. It can't be just one thing. I want you to be laughing one minute and by the end I want you to be crying. For me, character study is what is the most important. It all comes down to the characters. It's less about action or things like that, which you can have some of that, but it tonally, has to be female-centric and you have to be crying and laughing. There's so many interesting shows that walk that line of light and dark. I want to always live in the gray area with characters. Always. Nothing is ever black or white. It's always a weird gray area.”"I like to say that Ginny & Georgia is a show about women by women for everyone. And I will say women in charge, they do things differently. I think that women, we tend to do relationships differently than men do. It's very, very important to me - and I'm not saying that men don't do this - but as a woman, as a female showrunner, it's very important for me to uplift young up-and-coming writers."www.instagram.com/debrajfisher www.tiktok.com/@debrajfisherwww.netflix.com/tudum/articles/ginny-and-georgia-season-2-release-datewww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast