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

"I think having a "Food and Drug administration’ for technology would be great. And one of the other ones that people bring up is this idea of the Hippocratic Oath, which suggests that if you're in the medical field, you're supposed to above all else, do no harm. That's your kind of guiding light, and it's a really useful, basic philosophical idea to use as your guide when you make decisions because it forces you to do this kind of pros and cons analysis with everything you're doing.There is no Hippocratic Oath for tech, but it's a great idea, right? If Facebook says, 'We're going to introduce the like button, what's the worst that can happen?' Turns out some pretty bad stuff can happen. But if you don't ask that question, you just don't turn your mind to those questions - or maybe you aren't forced to, maybe you know that they're there, but you just don't really look at the sun because the potential negatives are kind of overwhelming. So I agree, some oversight would be great. And that's why a lot of people think government legislation is critical with respect to technology because we can't just rely on consumers to empower themselves when everything is being done to undermine that power, and the government might need to get involved in some form."Adam Alter is a Professor of Marketing at NYU’s Stern School of Business and the Robert Stansky Teaching Excellence Faculty Fellow. Adam is the New York Times bestselling author of Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked, and Drunk Tank Pink, which investigates how hidden forces in the world around us shape our thoughts, feelings, and behaviors. He has written for the New York Times, New Yorker, The Atlantic, Washington Post, and a host of TV, radio, and publications. His next book Anatomy of a Breakthrough will be published in 2023.https://adamalterauthor.com www.penguin.co.uk/books/431386/irresistible-by-adam-alter/9781784701659 www.simonandschuster.com/books/Anatomy-of-a-Breakthrough/Adam-Alter/9781982182960www.stern.nyu.edu/faculty/bio/adam-alterwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Adam Alter is a Professor of Marketing at NYU’s Stern School of Business and the Robert Stansky Teaching Excellence Faculty Fellow. Adam is the New York Times bestselling author of Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked, and Drunk Tank Pink, which investigates how hidden forces in the world around us shape our thoughts, feelings, and behaviors. He has written for the New York Times, New Yorker, The Atlantic, Washington Post, and a host of TV, radio, and publications. His next book Anatomy of a Breakthrough will be published in 2023.https://adamalterauthor.com www.penguin.co.uk/books/431386/irresistible-by-adam-alter/9781784701659 www.simonandschuster.com/books/Anatomy-of-a-Breakthrough/Adam-Alter/9781982182960www.stern.nyu.edu/faculty/bio/adam-alterwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"We're really starting to witness serious climate extremes that can no longer be ignored. And the IPCC, one of our key conclusions to that report was that effectively the human fingerprint on the climate system is now undeniable. It is now an established fact that we have warmed every single continent, every ocean basin on the planet. And again, that's a pretty serious thing to contemplate that human activity from the burning of fossil fuels and the clearing of land has led to this energy imbalance in the earth system, which is leading to a rapidly shifting climate."Dr. Joëlle Gergis is an award-winning climate scientist and writer at the Australian National University. She served as a lead author for the IPCC Sixth Assessment Report and is the author of Humanity’s Moment: A Climate Scientist’s Case for Hope and Sunburnt Country: The History and Future of Climate Change in Australia. Joëlle has also contributed chapters to The Climate Book by Greta Thunberg, and Not Too Late: Changing the Climate Story from Despair to Possibility, edited by Rebecca Solnit and Thelma Young Lutunatabua.http://joellegergis.comhttps://climatehistory.com.auwww.blackincbooks.com.au/authors/jo-lle-gergiswww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Dr. Joëlle Gergis is an award-winning climate scientist and writer at the Australian National University. She served as a lead author for the IPCC Sixth Assessment Report and is the author of Humanity’s Moment: A Climate Scientist’s Case for Hope and Sunburnt Country: The History and Future of Climate Change in Australia. Joëlle has also contributed chapters to The Climate Book by Greta Thunberg, and Not Too Late: Changing the Climate Story from Despair to Possibility, edited by Rebecca Solnit and Thelma Young Lutunatabua."We're really starting to witness serious climate extremes that can no longer be ignored. And the IPCC, one of our key conclusions to that report was that effectively the human fingerprint on the climate system is now undeniable. It is now an established fact that we have warmed every single continent, every ocean basin on the planet. And again, that's a pretty serious thing to contemplate that human activity from the burning of fossil fuels and the clearing of land has led to this energy imbalance in the earth system, which is leading to a rapidly shifting climate."http://joellegergis.comhttps://climatehistory.com.auwww.blackincbooks.com.au/authors/jo-lle-gergiswww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language. And I think the same way that people are excited about learning and speaking different languages - because I think each language has different merits and different aspects.Because my mom grew up in a period where they were excited about Nazi ideology and my mom knew this wasn't a good thing. So this idea of making up your own story instead of taking other people's stories was something that was very important. When I was a child, my mother didn't allow children's books in our home because she insisted on making up the stories for us. For her, basically, it was like the idea of reading us classics from a book was like ordering a pizza instead of cooking dinner. It meant that she didn't care about us. And she felt that because her parents told her bedtime stories in the ghetto where they had no access to books. And she saw how those people who were broken and angry and hurting could still find in their imaginations a brand new story that they made for somebody that they loved. So for her, it was this kind of generosity and something that could not be compared to, for example, buying Alice in Wonderland and reading it to somebody. You had to give more than that."Author, Screenwriter, and Director Etgar Keret is a recipient of the French Chevalier des Arts et des Lettres, the Charles Bronfman Prize, and the Caméra d’Or at the Cannes Film Festival for Jellyfish, which he directed with his wife Shira Geffen. Most recently, they created the TV mini series The Middleman (L’Agent Immobilier) starring Mathieu Amalric. His books include the short story collections Fly Already, Suddenly a Knock on the Door, and his memoir The Seven Good Years. Etgar’s work has been translated into forty-five languages and has appeared in The New Yorker, The Paris Review,The New York Times, and This American Life. A frequent collaborator with visual and performing artists, an exhibition inspired by his mother called Inside Out is currently showing at the Jewish Museum in Berlin until February 5th, 2023.www.etgarkeret.comThe Middleman www.imdb.com/title/tt11523800www.jmberlin.de/en/exhibition-inside-out-etgar-kerethttps://etgarkeret.substack.comJellyfish http://www.imdb.com/title/tt0807721www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Author, Screenwriter, and Director Etgar Keret is a recipient of the French Chevalier des Arts et des Lettres, the Charles Bronfman Prize, and the Caméra d’Or at the Cannes Film Festival for Jellyfish, which he directed with his wife Shira Geffen. Most recently, they created the TV mini series The Middleman (L’Agent Immobilier) starring Mathieu Amalric. His books include the short story collections Fly Already, Suddenly a Knock on the Door, and his memoir The Seven Good Years. Etgar’s work has been translated into forty-five languages and has appeared in The New Yorker, The Paris Review,The New York Times, and This American Life. A frequent collaborator with visual and performing artists, an exhibition inspired by his mother called Inside Out is currently showing at the Jewish Museum in Berlin until February 5th, 2023."For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language. And I think the same way that people are excited about learning and speaking different languages - because I think each language has different merits and different aspects.Because my mom grew up in a period where they were excited about Nazi ideology and my mom knew this wasn't a good thing. So this idea of making up your own story instead of taking other people's stories was something that was very important. When I was a child, my mother didn't allow children's books in our home because she insisted on making up the stories for us. For her, basically, it was like the idea of reading us classics from a book was like ordering a pizza instead of cooking dinner. It meant that she didn't care about us. And she felt that because her parents told her bedtime stories in the ghetto where they had no access to books. And she saw how those people who were broken and angry and hurting could still find in their imaginations a brand new story that they made for somebody that they loved. So for her, it was this kind of generosity and something that could not be compared to, for example, buying Alice in Wonderland and reading it to somebody. You had to give more than that."www.etgarkeret.comThe Middleman www.imdb.com/title/tt11523800www.jmberlin.de/en/exhibition-inside-out-etgar-kerethttps://etgarkeret.substack.comJellyfish http://www.imdb.com/title/tt0807721www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast Photo credit: Lielle Sand

"What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement." Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón’s Y tu mamá también.  Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix’s Inventing Anna, starring Julia Garner.https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/

Cinematographer Manuel Billeter has worked across a variety of iconic and groundbreaking shows and films including Jessica Jones, Luke Cage, Iron Fist, Law & Order, Person of Interest, Orange Is The New Black, Lawless, and Alfonso Cuarón’s Y tu mamá también.  Most recently he has been Director of Photography on the HBO Max series The Gilded Age, starring Carrie Coon and Christine Baranski, and Netflix’s Inventing Anna, starring Julia Garner."What I think made me want to pursue film or what started my fascination with film and cinema were definitely Fellini, Antonioni, and Bertolucci; the masters, if you will, that kind of make you dream - make you just go to a movie theater, enter this space, and just have a communal experience. I know looking at the screen and just being completely immersed and experiencing stories or experiencing things that make you understand life more - or make you understand life less - and create a dialogue between you and the rest of the world.After that, Alfonso Cuarón, obviously the collaboration was incredibly important and I learned a lot and I carry a lot of that in me, undeniably. Then, I also had the very good fortune of working as a camera assistant, and a camera operator with other cinematographers, so I learned a lot from them. And they became mentors in a way. And it was kind of like a fortunate path to becoming a cinematographer myself.The camera is my tool of choice. It's what I've been given to express what needs to be expressed, what needs to be told. So I'm definitely very particular about composition or lens choices or camera placement."  https://manuelbilleter.comwww.imdb.com/name/nm1193850/ www.imdb.com/title/tt4406178/?ref_=fn_al_tt_1 https://www.imdb.com/title/tt8740976/?ref_=fn_al_tt_1www.creativeprocess.info www.oneplanetpodcast.org Instagram www.instagram.com/creativeprocesspodcast/ Photo credit: Sarah Shatz

"I think Riches has all the hallmarks of the things I've worked on before in terms of complex, slightly subversive women. At the heart of it, it is negotiating power dynamics. And at the heart of it, there are two very complex and yet vulnerable black women, but I've always loved family drama shows and particularly family businesses, whether it's fictional ones or in real life. I think whether you're talking about the Hiltons, the Kardashians, or the Royal Family, the dynamics of how, where power and money and blood merge is just such a potent and combustible mix that I've always been intrigued by them. I watched them growing up, whether it was Dallas or Dynasty or Six Feet Under, so it was a space which I was really interested in, and wanted to write a black family business show.Myself and my producers, they knew my interest, and we talked around what would a black British business be, and they were interested in cosmetics, which I thought was a really good start because obviously, that's incredibly visual, but for me, hair was the piece that kind of tied it all together. A hair and cosmetics business because black hair is often so politicized, and it's such a way in which black people are sometimes policed in terms of having dreadlocks, having relaxed hair, whether they wear wigs. So it was a way in which we would have a glamorous visual for a show and an entertaining world that's aspirational, but still have a layer in which we get to tell substantive issues about black beauty, about black ownership, about how the spoils from a very lucrative industry often don't go back into the black community. So that's why I was interested in that. It could be glamorous and fun but also have slightly more in-depth issues to talk about as well."Abby Ajayi is a British Nigerian writer and director who serves as a show creator, executive producer, and writer on the Amazon Series Riches, which is currently on Amazon Prime and premiers on ITVX in the UK on December 22. She has previously worked on the shows Four Weddings and a Funeral, How to Get Away with Murder, Inventing Anna, The First Lady, and Eastenders. As a result, she had the opportunity to learn under the likes of Shonda Rhimes, Pete Nowalk, and Tracey Wigfield. Abby’s next project is the Onyx Collective on Hulu’s limited series The Plot with Mahershala Ali. She is adapting the eight-episode series from Jean Hanff Korelitz’s novel of the same name.www.imdb.com/name/nm2184926www.amazon.com/Riches-Season-1/dp/B0B8MTCYVMwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Abby Ajayi is a British Nigerian writer and director who serves as a show creator, executive producer, and writer on the Amazon Series Riches, which is currently on Amazon Prime and premiers on ITVX in the UK on December 22. She has previously worked on the shows Four Weddings and a Funeral, How to Get Away with Murder, Inventing Anna, The First Lady, and Eastenders. As a result, she had the opportunity to learn under the likes of Shonda Rhimes, Pete Nowalk, and Tracey Wigfield. Abby’s next project is the Onyx Collective on Hulu’s limited series The Plot with Mahershala Ali. She is adapting the eight-episode series from Jean Hanff Korelitz’s novel of the same name."I think Riches has all the hallmarks of the things I've worked on before in terms of complex, slightly subversive women. At the heart of it, it is negotiating power dynamics. And at the heart of it, there are two very complex and yet vulnerable black women, but I've always loved family drama shows and particularly family businesses, whether it's fictional ones or in real life. I think whether you're talking about the Hiltons, the Kardashians, or the Royal Family, the dynamics of how, where power and money and blood merge is just such a potent and combustible mix that I've always been intrigued by them. I watched them growing up, whether it was Dallas or Dynasty or Six Feet Under, so it was a space which I was really interested in, and wanted to write a black family business show.Myself and my producers, they knew my interest, and we talked around what would a black British business be, and they were interested in cosmetics, which I thought was a really good start because obviously, that's incredibly visual, but for me, hair was the piece that kind of tied it all together. A hair and cosmetics business because black hair is often so politicized, and it's such a way in which black people are sometimes policed in terms of having dreadlocks, having relaxed hair, whether they wear wigs. So it was a way in which we would have a glamorous visual for a show and an entertaining world that's aspirational, but still have a layer in which we get to tell substantive issues about black beauty, about black ownership, about how the spoils from a very lucrative industry often don't go back into the black community. So that's why I was interested in that. It could be glamorous and fun but also have slightly more in-depth issues to talk about as well."www.imdb.com/name/nm2184926www.amazon.com/Riches-Season-1/dp/B0B8MTCYVMwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

“Digital advocacy organizations are recognized as influential actors by the media, politicians, and some academics. In 2016, GetUp, an Australian digital advocacy organization, was named by the Australian Financial Review as one of the top ten actors with ‘covert power’ in Australia.1 Campact in Germany has powerfully mobilized public opinion against the Transatlantic Trade and Investment Partnership. MoveOn was one of the ‘leading advocacy organizations’ mobilizing people against the Iraq War in the United States. Meanwhile, Leadnow, a digital advocacy organization in Canada, helped to unseat Prime Minister Stephen Harper in the 2015 Canadian federal election. This new model of advocacy organization has spread around the world. Nineteen digital advocacy organizations claim to have a total of over 20 million members. What drove the global spread of digital advocacy organizations?”- Nina HallTransnational Advocacy in the Digital Era: Think Global, Act LocalNina Hall is an Assistant Professor in International Relations at Johns Hopkins School of Advanced International Studies (Europe). She previously worked as a Lecturer at the Hertie School of Governance, where she published her first book Displacement, Development, and Climate Change: International Organizations Moving Beyond their Mandates? Her latest book is Transnational Advocacy in the Digital Era: Think Global, Act Local. She holds a DPhil in International Relations from the University of Oxford and is the co-founder of an independent and progressive think tank, New Zealand Alternative. She has been a Senior Fellow at the Weizenbaum Institute (the German Internet Institute) and a Faculty Affiliate at the SNF Agora Institute, Johns Hopkins University.https://ninahall.net https://global.oup.com/academic/product/transnational-advocacy-in-the-digital-era-9780198858744?cc=fr&lang=en& https://sais.jhu.edu/users/nhall20 www.oneplanetpodcast.org www.creativeprocess.info Instagram @creativeprocesspodcast

Nina Hall is an Assistant Professor in International Relations at Johns Hopkins School of Advanced International Studies (Europe). She previously worked as a Lecturer at the Hertie School of Governance, where she published her first book Displacement, Development, and Climate Change: International Organizations Moving Beyond their Mandates? Her latest book is Transnational Advocacy in the Digital Era: Think Global, Act Local. She holds a DPhil in International Relations from the University of Oxford and is the co-founder of an independent and progressive think tank, New Zealand Alternative. She has been a Senior Fellow at the Weizenbaum Institute (the German Internet Institute) and a Faculty Affiliate at the SNF Agora Institute, Johns Hopkins University.“Digital advocacy organizations are recognized as influential actors by the media, politicians, and some academics. In 2016, GetUp, an Australian digital advocacy organization, was named by the Australian Financial Review as one of the top ten actors with ‘covert power’ in Australia.1 Campact in Germany has powerfully mobilized public opinion against the Transatlantic Trade and Investment Partnership. MoveOn was one of the ‘leading advocacy organizations’ mobilizing people against the Iraq War in the United States. Meanwhile, Leadnow, a digital advocacy organization in Canada, helped to unseat Prime Minister Stephen Harper in the 2015 Canadian federal election. This new model of advocacy organization has spread around the world. Nineteen digital advocacy organizations claim to have a total of over 20 million members. What drove the global spread of digital advocacy organizations?”- Nina HallTransnational Advocacy in the Digital Era: Think Global, Act Localhttps://ninahall.net https://global.oup.com/academic/product/transnational-advocacy-in-the-digital-era-9780198858744?cc=fr&lang=en& https://sais.jhu.edu/users/nhall20 www.oneplanetpodcast.org www.creativeprocess.info Instagram @creativeprocesspodcast

"At this very moment, millions of people around the world are working hard to bring to life. A handful of these ideas will turn out to be stunning successes and will have a major impact on the world and culture. The next polio vaccine, the next Google, the next Harry Potter. Others will become smaller, more personal, but no less meaningful successes...Most people believe that they either are or will be in the first group—the group whose ideas will be successful. All they have to do is work hard and execute well. Unfortunately, we know that this cannot be the case. Most new products, services, businesses, and initiatives will fail soon after they are launched—regardless of how promising they sound, how much their developers commit to them, or how well they execute them. This is a hard fact to accept. We believe that other people fail, because they don’t know what they are doing…just as I had reached new heights of confidence and hubris, the Beast of Failure wrapped its tentacles around me and bit me in the ass…I could lick my wounds or bite back. I decided to bite back. Failure became my nemesis. Defeating it, my obsession. Teaching others how to defeat it, my mission.”– The Right It: Why So Many Ideas Fail and How to Make Sure Yours SucceedAlberto Savoia was Google’s first engineering director and is currently Innovation Agitator Emeritus, where, among other things, he led the development and launch of the original Google AdWords. He is the author of The Right It: Why So Many Ideas Fail and How to Make Sure Yours Succeed, a book that provides critical advice for rethinking how we launch a new idea, product, or business, and gives insights to help successfully beat the law of market failure: that most new products will fail, even if competently executed.He is a successful serial entrepreneur, angel-investor and an expert practitioner in pretotyping and lean innovation. He is based in Silicon Valley where he teaches his uniquely effective approach to innovation at Google, Stanford. He has also taught and coached many Fortune 500 companies, including Nike, McDonald’s, and Walmart, as well as the US Army.www.albertosavoia.com https://harperone.com/9780062884671/the-right-itwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Alberto Savoia was Google’s first engineering director and is currently Innovation Agitator Emeritus, where, among other things, he led the development and launch of the original Google AdWords. He is the author of The Right It: Why So Many Ideas Fail and How to Make Sure Yours Succeed, a book that provides critical advice for rethinking how we launch a new idea, product, or business, and gives insights to help successfully beat the law of market failure: that most new products will fail, even if competently executed.He is a successful serial entrepreneur, angel-investor and an expert practitioner in pretotyping and lean innovation. He is based in Silicon Valley where he teaches his uniquely effective approach to innovation at Google, Stanford. He has also taught and coached many Fortune 500 companies, including Nike, McDonald’s, and Walmart, as well as the US Army."At this very moment, millions of people around the world are working hard to bring to life. A handful of these ideas will turn out to be stunning successes and will have a major impact on the world and culture. The next polio vaccine, the next Google, the next Harry Potter. Others will become smaller, more personal, but no less meaningful successes...Most people believe that they either are or will be in the first group—the group whose ideas will be successful. All they have to do is work hard and execute well. Unfortunately, we know that this cannot be the case. Most new products, services, businesses, and initiatives will fail soon after they are launched—regardless of how promising they sound, how much their developers commit to them, or how well they execute them. This is a hard fact to accept. We believe that other people fail, because they don’t know what they are doing…just as I had reached new heights of confidence and hubris, the Beast of Failure wrapped its tentacles around me and bit me in the ass…I could lick my wounds or bite back. I decided to bite back. Failure became my nemesis. Defeating it, my obsession. Teaching others how to defeat it, my mission.”– The Right It: Why So Many Ideas Fail and How to Make Sure Yours Succeedwww.albertosavoia.com https://harperone.com/9780062884671/the-right-itwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Writer/director Dean Craig's film career took off in 2007 when he wrote the hit UK comedy, Death at a Funeral, starring Matthew Macfadyen, Keeley Hawes and Peter Dinklage, and directed by Frank Oz. The film won several audience awards for Best Film, and was remade in the US starring Chris Rock, Zoe Saldana, Martin Lawrence, and Tracy Morgan.In 2020, Craig turned his attention to directing as well as writing, with his debut film Love, Wedding, Repeat. Craig went on to write and directed The Honeymoon, with Maria Bakalova and Asim Chaudhry, and The Estate, starring Toni Collette, Anna Faris, Kathleen Turner and David Duchovny.Craig’s other writing producing credits include the feature films Caffeine, A Few Best Men as well as creating the comedy series, Off the Hook with Jonathan Bailey, and Hit the Road, starring Jason Alexander. "So, you have my rhythm on the page, and then David Duchovny brings his rhythm and his attributes. And then you get this sort of hopefully wonderful collaboration between writer and director and actor. The Estate is the film that I directed most recently, and that's with Toni Colette, Anna Faris, David Duchovny, Kathleen Turner, Rosemarie DeWitt, Ron Livingston, Keyla Monterroso Mejia. Some really wonderful actors and I think a very fun ensemble that we were able to do there. I had a very strange year where I got to do The Honeymoon and The Estate pretty much back to back with no break in between, which was challenging, but also amazing to be one minute in Venice with these fantastic actors. Really, I can't tell you how much I loved working with Maria and Pico and Asim and Lucas. They were all totally different people and personalities, but all fantastic in their own way. And then I jumped onto the set and had those fantastic actors to work with. So it's been quite a year, I have to say."www.imdb.com/name/nm1918877/?ref_=tt_ov_dr www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Actually, awareness doesn't help. We are on the campaign to produce a desire for that transformation. Information is useless unless it's empowering. And of course, it has to be factual. If it's not factual, then it's going to be found out, and it also has to be relevant because otherwise, it's irrelevant. But if it's just relevant, it actually may just be counterproductive because if people see it as relevant but not empowering, they will use their brain to fight it. So that's why I think awareness campaigns don't work. We can only work on motivation, helping people to find a greater desire to get there, to say, yeah, that's what I want. A sense of agency that they say I can do something about it. Also, a sense of curiosity because we really don't know how to get there eventually.So, it takes a bit more than just awareness and that's what we learned a bit painfully, obviously, over the last 30 years or painfully because in the beginning we just thought, Oh, why don't people just measure how many planets we have compared to how many we use? And once they see the number, it would be very obvious to them. So we were the first to start to - and still are I think - the main accounting approach to compare directly how big human activities are compared to what the planet can renew.”Mathis Wackernagel is Co-founder and President of Global Footprint Network. He created the Ecological Footprint with Professor William Rees at the University of British Columbia as part of his Ph.D. in community and regional planning. Mathis also earned a mechanical engineering degree from the Swiss Federal Institute of Technology. Mathis has worked on sustainability with governments, corporations and international NGOs on six continents and has lectured at more than 100 universities. Mathis has authored and contributed to more than 100 peer-reviewed papers, numerous articles, reports and various books on sustainability that focus on embracing resource limits and developing metrics for sustainability. Mathis’ awards include the 2018 World Sustainability Award, the 2015 IAIA Global Environment Award, being a 2014 ISSP Sustainability Hall of Fame Inductee, the 2013 Prix Nature Swisscanto, 2012 Blue Planet Prize, 2012 Binding Prize for Nature Conservation, the 2012 Kenneth E. Boulding Memorial Award of the International Society for Ecological Economics, the 2011 Zayed International Prize for the Environment (jointly awarded with UNEP). He was also selected as number 19 on the en(rich) list identifying the 100 top inspirational individuals whose contributions enrich paths to sustainable futures.www.footprintnetwork.orgwww.footprintnetwork.org/toolswww.overshootday.org/power-of-possibility/www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Mathis Wackernagel is Co-founder and President of Global Footprint Network. He created the Ecological Footprint with Professor William Rees at the University of British Columbia as part of his Ph.D. in community and regional planning. Mathis also earned a mechanical engineering degree from the Swiss Federal Institute of Technology. Mathis has worked on sustainability with governments, corporations and international NGOs on six continents and has lectured at more than 100 universities. Mathis has authored and contributed to more than 100 peer-reviewed papers, numerous articles, reports and various books on sustainability that focus on embracing resource limits and developing metrics for sustainability. Mathis’ awards include the 2018 World Sustainability Award, the 2015 IAIA Global Environment Award, being a 2014 ISSP Sustainability Hall of Fame Inductee, the 2013 Prix Nature Swisscanto, 2012 Blue Planet Prize, 2012 Binding Prize for Nature Conservation, the 2012 Kenneth E. Boulding Memorial Award of the International Society for Ecological Economics, the 2011 Zayed International Prize for the Environment (jointly awarded with UNEP). He was also selected as number 19 on the en(rich) list identifying the 100 top inspirational individuals whose contributions enrich paths to sustainable futures."Actually, awareness doesn't help. We are on the campaign to produce a desire for that transformation. Information is useless unless it's empowering. And of course, it has to be factual. If it's not factual, then it's going to be found out, and it also has to be relevant because otherwise, it's irrelevant. But if it's just relevant, it actually may just be counterproductive because if people see it as relevant but not empowering, they will use their brain to fight it. So that's why I think awareness campaigns don't work. We can only work on motivation, helping people to find a greater desire to get there, to say, yeah, that's what I want. A sense of agency that they say I can do something about it. Also, a sense of curiosity because we really don't know how to get there eventually.So, it takes a bit more than just awareness and that's what we learned a bit painfully, obviously, over the last 30 years or painfully because in the beginning we just thought, Oh, why don't people just measure how many planets we have compared to how many we use? And once they see the number, it would be very obvious to them. So we were the first to start to - and still are I think - the main accounting approach to compare directly how big human activities are compared to what the planet can renew.”www.footprintnetwork.orgwww.footprintnetwork.org/toolswww.overshootday.org/power-of-possibility/www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

“Don’t you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We’re Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie’s Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Sam Levy studied film in Paris with French New Wave director Eric Rohmer and began his career as an apprentice to legendary cinematographer Harris Savides. Sam first gained recognition as a cinematographer when he photographed Wendy and Lucy for director Kelly Reichardt - voted “One of the Best 25 Films of the 21st Century” by The New York Times. He went on to shoot Frances Ha, Mistress America and While We’re Young for director Noah Baumbach, Changers and Frank Ocean's Blonded for Spike Jonze, Sermon on The Mount for Jerrod Carmichael, Maggie’s Plan for Rebecca Miller and Green Porno for Isabella Rossellini. Sam also photographed Lady Bird for writer/director Greta Gerwig - nominated for 5 Academy Awards including Best Picture and winner of The Golden Globe for Best Picture. Other new films include Mayday, which he also produced, Confess, Fletch, and She Came to Me.“Don’t you think maybe they are the same thing? Love and attention?"–Lady Bird, written and directed by Greta Gerwig "I really love that line in the script. It's an incredible script that Greta Gerwig wrote. It's not obvious, that sentiment that she says. I think that's why she has to point it out to the Lady Bird character, but I think if we're lucky in our lives, we can choose the path that we want to go down, whether it's something creative or in the arts or something else. And I think if you're lucky, you can spend your life or your career following something you really love or spending time following the path, whether it's a hobby or your career. And spending that time paying the attention that the craft or the hobby or the creative pursuit wants."https://samlevydp.comwww.imdb.com/name/nm1240085/ www.instagram.com/samlevydp/ www.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

"If someone comes to me, and they say, 'Oh, I have a new brand. It's a startup.' First of all, I have to like the person, they have to like me. It's a two way street. And that's the most important thing with anyone in life, not just work. In life, why do we make friends with who we make friends with? They are relationships. And if you connect with someone, magic will happen. If you don't connect with someone, and someone doesn't understand or have the same aesthetic or a similar way of thinking – you have to have something in common with someone. And if you have those qualities, which I look for, honesty and loyalty, and they're genuine, and you just know if you're going to get on with someone or not.”Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She’s a Founding Member of NeueHouse where she moderates talks.https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastPhoto: Oberon in conversation with artist and fashion designer Jason Wu at NeueHouse

Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She’s a Founding Member of NeueHouse where she moderates talks."If someone comes to me, and they say, 'Oh, I have a new brand. It's a startup.' First of all, I have to like the person, they have to like me. It's a two way street. And that's the most important thing with anyone in life, not just work. In life, why do we make friends with who we make friends with? They are relationships. And if you connect with someone, magic will happen. If you don't connect with someone, and someone doesn't understand or have the same aesthetic or a similar way of thinking – you have to have something in common with someone. And if you have those qualities, which I look for, honesty and loyalty, and they're genuine, and you just know if you're going to get on with someone or not.”https://myyoungauntie.comwww.instagram.com/myyoungauntieprwww.neuehouse.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"In some ways, our insistence on dominating is actually destroying us.""It definitely is destroying us. It definitely destroys ecosystems. And I think part of the reason that this story of cooperation among living things appeals to me so much. I mean, in my book Sweet in Tooth and Claw, I look at the work of lots of scientists who studying how nature works and discovering all these incredible connections among living things that certainly help them thrive and help ecosystems thrive.But I think it's this story of cooperation is important in terms of the story that we tell ourselves about nature, and seeing as how we are part of nature, it's important that we see ourselves as possibly a partner instead of a destroyer. I think that we have held onto the perspective that nature is all about competition and conflict. And when we shift that, when we look at nature as this vast web of interconnection and cooperation, and of course competition and conflict in there obviously in some places. But when we look at this vast web of cooperation and collaboration, I think that it changes our view. It changes our view of what's possible.You know, instead of us trying to make order out of chaos, largely out of the chaos that we've created, we can instead look at the world as being held together and look for the places where the connections have been snapped, where the connections have been broken, and where we can roll back some of the damage that we've done and help those connections heal.”Kristin Ohlson is the author of Sweet in Tooth and Claw: Stories of Generosity and Cooperation in the Natural World. Her other books include The Soil Will Save Us: How Scientists, Farmers and Foodies are Healing the Soil to Save the Planet, and Kabul Beauty School: An American Woman Goes Behind the Veil. Olson appears in the award-winning documentary film Kiss The Ground, speaking about the connection between soil and climate. Her work has appeared in the New York Times, Smithsonian, Discover, New Scientist, Orion, American Archeology, and has also been anthologized in Best American Science Writing, and Best American Food Writing.www.kristinohlson.comwww.patagonia.com/stories/sweet-in-tooth-and-claw/story-123959.html www.oneplanetpodcast.orgwww.creativeprocess.infoInstagram @creativeprocesspodcast

Kristin Ohlson is the author of Sweet in Tooth and Claw: Stories of Generosity and Cooperation in the Natural World. Her other books include The Soil Will Save Us: How Scientists, Farmers and Foodies are Healing the Soil to Save the Planet, and Kabul Beauty School: An American Woman Goes Behind the Veil. Olson appears in the award-winning documentary film Kiss The Ground, speaking about the connection between soil and climate. Her work has appeared in the New York Times, Smithsonian, Discover, New Scientist, Orion, American Archeology, and has also been anthologized in Best American Science Writing, and Best American Food Writing."In some ways, our insistence on dominating is actually destroying us.""It definitely is destroying us. It definitely destroys ecosystems. And I think part of the reason that this story of cooperation among living things appeals to me so much. I mean, in my book Sweet in Tooth and Claw, I look at the work of lots of scientists who studying how nature works and discovering all these incredible connections among living things that certainly help them thrive and help ecosystems thrive.But I think it's this story of cooperation is important in terms of the story that we tell ourselves about nature, and seeing as how we are part of nature, it's important that we see ourselves as possibly a partner instead of a destroyer. I think that we have held onto the perspective that nature is all about competition and conflict. And when we shift that, when we look at nature as this vast web of interconnection and cooperation, and of course competition and conflict in there obviously in some places. But when we look at this vast web of cooperation and collaboration, I think that it changes our view. It changes our view of what's possible.You know, instead of us trying to make order out of chaos, largely out of the chaos that we've created, we can instead look at the world as being held together and look for the places where the connections have been snapped, where the connections have been broken, and where we can roll back some of the damage that we've done and help those connections heal.”www.kristinohlson.comwww.patagonia.com/stories/sweet-in-tooth-and-claw/story-123959.html www.oneplanetpodcast.orgwww.creativeprocess.infoInstagram @creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city’s most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass’ ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass’"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city’s most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass’ ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson’s “Oedipus Rex”Philip Glass’"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' Goldwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And  I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women’s Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome.IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage: The Dancers, Acrylic on canvas, Gloria Pacis

Gloria Pacis is a painter dividing her time between New York City and Hoboken, where she has her studio. She received her BFA from the University of Washington in 1976. She credits her years working as a set designer and scene artist for the dramatic, character-based elements of her paintings. She has participated in exhibitions at public institutions and universities, including Wing Luke Museum, Mana Contemporary, University of Washington, Henry Art Gallery, Monroe Arts Centre, Seattle University, Act Theatreand Seattle Center Art Museum, where her work was chosen to showcase International Women’s Day. She has designed sets for many leading theatres, including notable productions of A Christmas Carol, Hamlet, The Doctors Dilemma, Hedda Gabler, and Salome."I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And  I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing."IG @gloriapaciswww.artofgloriapacis.comwww.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"The circularity, of course, has existed in nature for a long time. Actually, nature's circularity is by evolution. There is no plan, there is no liability, and there are no preferences. It's simply the cycles such as marine tides, CO2, and water cycles, plants and animals, and basically by evolution,  the best solution wins. Also, there is no waste. Dead material becomes food for other animals or plants. Now, early mankind survived by depending on these local natural resources sharing a non-monetary chaotic symbiosis dominated by nature, then poverty or necessity-based society changed when humankind used science to overcome shortages of everything. In other words, the Anthropocene. With nuclear energy, petrochemicals, metal alloys, we became independent from nature, but we overlooked the fact that these new manmade anthropogenic resources or synthetic resources were unknown to nature, so nature could not deal with them. And that means that we, humankind, has to take responsibility for it."Walter R. Stahel is the Founder-Director of the Product-Life Institute (Switzerland), the oldest established consultancy in Europe devoted to developing sustainable strategies and policies. He is Senior Research Fellow at the Circular Economy Research Centre, Ecole des Ponts Business School and Visiting Professor in the Department of Engineering and Physical Sciences, University of Surrey. He is also a full member of the Club of Rome. He was awarded degrees of Doctor honoris causa by the University of Surrey, l’Université de Montréal, and the 2020 Thornton Medal of the Institute of Materials, Minerals and Mining. He is the author of The Circular Economy: A User’s Guide.www.product-life.orgwww.routledge.com/The-Circular-Economy-A-Users-Guide/Stahel/p/book/9780367200176www.oneplanetpodcast.orgwww.creativeprocess.info Instagram @creativeprocesspodcast

Walter R. Stahel is the Founder-Director of the Product-Life Institute (Switzerland), the oldest established consultancy in Europe devoted to developing sustainable strategies and policies. He is Senior Research Fellow at the Circular Economy Research Centre, Ecole des Ponts Business School and Visiting Professor in the Department of Engineering and Physical Sciences, University of Surrey. He is also a full member of the Club of Rome. He was awarded degrees of Doctor honoris causa by the University of Surrey, l’Université de Montréal, and the 2020 Thornton Medal of the Institute of Materials, Minerals and Mining. He is the author of The Circular Economy: A User’s Guide."The circularity, of course, has existed in nature for a long time. Actually, nature's circularity is by evolution. There is no plan, there is no liability, and there are no preferences. It's simply the cycles such as marine tides, CO2, and water cycles, plants and animals, and basically by evolution,  the best solution wins. Also, there is no waste. Dead material becomes food for other animals or plants. Now, early mankind survived by depending on these local natural resources sharing a non-monetary chaotic symbiosis dominated by nature, then poverty or necessity-based society changed when humankind used science to overcome shortages of everything. In other words, the Anthropocene. With nuclear energy, petrochemicals, metal alloys, we became independent from nature, but we overlooked the fact that these new manmade anthropogenic resources or synthetic resources were unknown to nature, so nature could not deal with them. And that means that we, humankind, has to take responsibility for it."www.product-life.orgwww.routledge.com/The-Circular-Economy-A-Users-Guide/Stahel/p/book/9780367200176www.oneplanetpodcast.orgwww.creativeprocess.info Instagram @creativeprocesspodcast

"We're really talking about principled rebels. And when we talk about insubordination, we're talking about most of us live in these social hierarchies, and there's the idea, this started in the military and still goes on, where if someone at a lower rank questions or challenges a command or a norm that someone of a higher rank, that's considered an act of insubordination. And one of the main problems of that, I think anyone who's listening can acknowledge, is it depends on the quality of the idea of the person who's raising the question.I just realized there was this whole body of literature on minority influence that no one had put together into a book for the general public, and considering the racial reckoning that occurred during COVID-19, the extra attention to diversity, to disadvantaged groups, every moment of society, it just feels like it's more and more relevant of what I've been working on. If you don't have the numbers, if you lack status or you lack power, the way to be persuasive towards a group is much different than if you do have the title or are socially attractive in that group."Todd B. Kashdan, Ph.D., is professor of psychology at George Mason University, and a leading authority on well-being, curiosity, courage, and resilience. He has published more than 220 scientific articles, his work has been cited more than 35,000 times, and he received the American Psychological Association’s Award for Distinguished Scientific Early Career Contributions to Psychology. He is the author of several books, including The Art of Insubordination: How to Dissent and Defy Effectively, Curious? and The Upside of Your Dark Side, and has been translated into more than fifteen languages. His research is featured regularly in The New York Times, The Atlantic, and Time, and his writing has appeared in the Harvard Business Review, National Geographic, and other publications. He is a keynote speaker and consultant for organizations as diverse as Microsoft, Mercedes-Benz, Prudential, General Mills, The United States Department of Defense, and World Bank Group. https://toddkashdan.comwww.penguinrandomhouse.com/books/690674/the-art-of-insubordination-by-todd-b-kashdan-phd/www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

Todd B. Kashdan, Ph.D., is professor of psychology at George Mason University, and a leading authority on well-being, curiosity, courage, and resilience. He has published more than 220 scientific articles, his work has been cited more than 35,000 times, and he received the American Psychological Association’s Award for Distinguished Scientific Early Career Contributions to Psychology. He is the author of several books, including The Art of Insubordination: How to Dissent and Defy Effectively, Curious? and The Upside of Your Dark Side, and has been translated into more than fifteen languages. His research is featured regularly in The New York Times, The Atlantic, and Time, and his writing has appeared in the Harvard Business Review, National Geographic, and other publications. He is a keynote speaker and consultant for organizations as diverse as Microsoft, Mercedes-Benz, Prudential, General Mills, The United States Department of Defense, and World Bank Group. "We're really talking about principled rebels. And when we talk about insubordination, we're talking about most of us live in these social hierarchies, and there's the idea, this started in the military and still goes on, where if someone at a lower rank questions or challenges a command or a norm that someone of a higher rank, that's considered an act of insubordination. And one of the main problems of that, I think anyone who's listening can acknowledge, is it depends on the quality of the idea of the person who's raising the question.I just realized there was this whole body of literature on minority influence that no one had put together into a book for the general public, and considering the racial reckoning that occurred during COVID-19, the extra attention to diversity, to disadvantaged groups, every moment of society, it just feels like it's more and more relevant of what I've been working on. If you don't have the numbers, if you lack status or you lack power, the way to be persuasive towards a group is much different than if you do have the title or are socially attractive in that group."https://toddkashdan.comwww.penguinrandomhouse.com/books/690674/the-art-of-insubordination-by-todd-b-kashdan-phd/www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"First of all, yes, I need to know what I will be climbing, whether it's on rocks or whether it's on buildings. And then there is physical preparation. And regarding the mindset, it's more something that became a bit automatic over the years because I have been free soloing for almost 50 years. So it is pretty much my whole life. So that means that for me, being mentally ready, it's kind of simple. It's almost always the same mental process, meaning, I can be afraid before an ascent, but I know myself actually very well. And I know that once I am starting to climb, I feel fine. I put my fear aside, and I'm just climbing.Most people don't know that actually, my background is on rock. It's not on buildings. What I did on rocks free soloing is much more impressive than what I did on buildings.”Alain Robert is a renowned rock climber and urban climber. Known as "the French Spider-Man” or "the Human Spider," Robert is famous for his free solo climbing, scaling skyscrapers using no climbing equipment except for a small bag of chalk and a pair of climbing shoes. Some of his most notable ascents include the Burj Khalifa, the Eiffel Tower, and the Sydney Opera House, as well as other of the world's tallest skyscrapers. He is also a motivational speaker and the author of With Bare Hands: The True Story of Alain Robert, the Real-life Spiderman.www.alainrobert.comwww.instagram.com/alainrobertofficial/?hl=frwww.blacksmithbooks.com/books/with-bare-hands-the-true-story-of-alain-robert-the-real-life-spiderman/www.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage courtesy of alainrobert.com

Alain Robert is a renowned rock climber and urban climber. Known as "the French Spider-Man” or "the Human Spider," Robert is famous for his free solo climbing, scaling skyscrapers using no climbing equipment except for a small bag of chalk and a pair of climbing shoes. Some of his most notable ascents include the Burj Khalifa, the Eiffel Tower, and the Sydney Opera House, as well as other of the world's tallest skyscrapers. He is also a motivational speaker and the author of With Bare Hands: The True Story of Alain Robert, the Real-life Spiderman."First of all, yes, I need to know what I will be climbing, whether it's on rocks or whether it's on buildings. And then there is physical preparation. And regarding the mindset, it's more something that became a bit automatic over the years because I have been free soloing for almost 50 years. So it is pretty much my whole life. So that means that for me, being mentally ready, it's kind of simple. It's almost always the same mental process, meaning, I can be afraid before an ascent, but I know myself actually very well. And I know that once I am starting to climb, I feel fine. I put my fear aside, and I'm just climbing.Most people don't know that actually, my background is on rock. It's not on buildings. What I did on rocks free soloing is much more impressive than what I did on buildings."www.alainrobert.comwww.instagram.com/alainrobertofficial/?hl=frwww.blacksmithbooks.com/books/with-bare-hands-the-true-story-of-alain-robert-the-real-life-spiderman/www.creativeprocess.infowww.oneplanetpodcast.orgInstagram @creativeprocesspodcastImage courtesy of alainrobert.com

"You can criticize many things in the United States, but there are taboos, and the number one taboo is that you cannot criticize Capitalism. That is equated with disloyalty. The first project of Democracy at Work is to reopen the critical analysis of capitalism, and the second is to offer a critique of traditional Socialism with its emphasis on the government coming in and doing things that offset the failure of the private system.This story about Capitalism being wonderful, this story is fading. You can’t do that anymore. The Right Wing cannot rally its troops around Capitalism. That’s why it doesn’t do it anymore. It rallies the troops around being hateful towards immigrants. It rallies the troops around “fake elections,” around the right to buy a gun, and around White Supremacists. Those issues can get some support, but “Let’s get together for Capitalism!” That is bad. They can’t do anything with that. They have to sneak Capitalism in behind those other issues because otherwise, they have no mass political support."Richard D. Wolff is Founder of Democracy at Work and host of the show Economic Update. Professor of Economics Emeritus, University of Massachusetts, Amherst where he taught economics from 1973 to 2008. He is currently a Visiting Professor in the Graduate Program in International Affairs of the New School University, New York City. Earlier, he taught economics at Yale University (1967-1969) and at the City College of the City University of New York (1969-1973). In 1994, he was a Visiting Professor of Economics at the University of Paris (France), I (Sorbonne). Wolff was also a regular lecturer at the Brecht Forum in New York City. He is the author of The Sickness is the System: When Capitalism Fails to Save Us from Pandemics or Itself.www.rdwolff.comwww.democracyatwork.infowww.creativeprocess.infowww.oneplanetpodcast.org

Richard D. Wolff is Founder of Democracy at Work and host of the show Economic Update. Professor of Economics Emeritus, University of Massachusetts, Amherst where he taught economics from 1973 to 2008. He is currently a Visiting Professor in the Graduate Program in International Affairs of the New School University, New York City. He taught economics at Yale University (1967-1969) and at the City College of the City University of New York (1969-1973). In 1994, he was a Visiting Professor of Economics at the University of Paris (France), I (Sorbonne). Wolff was also a regular lecturer at the Brecht Forum in New York City. He is the author of The Sickness is the System: When Capitalism Fails to Save Us from Pandemics or Itself."You can criticize many things in the United States, but there are taboos, and the number one taboo is that you cannot criticize Capitalism. That is equated with disloyalty. The first project of Democracy at Work is to reopen the critical analysis of capitalism, and the second is to offer a critique of traditional Socialism with its emphasis on the government coming in and doing things that offset the failure of the private system.This story about Capitalism being wonderful, this story is fading. You can’t do that anymore. The Right Wing cannot rally its troops around Capitalism. That’s why it doesn’t do it anymore. It rallies the troops around being hateful towards immigrants. It rallies the troops around “fake elections,” around the right to buy a gun, and around White Supremacists. Those issues can get some support, but “Let’s get together for Capitalism!” That is bad. They can’t do anything with that. They have to sneak Capitalism in behind those other issues because otherwise, they have no mass political support."www.rdwolff.comwww.democracyatwork.infowww.creativeprocess.infowww.oneplanetpodcast.org

"I'm an addiction psychiatrist. When I use the word addiction, I'm really talking about having crossed the line from basically healthy use with an occasional slip to somebody who's really caught in the vortex of compulsive overconsumption with consequences and typically needing help from others, whether or not they are professionals, but feeling like, Oh boy, this is unmanageable, as they say in Twelve Steps, "My life has become unmanageable." It's one of the main points of my book, Dopamine Nation that we are living in this addictogenic world where almost all human behaviors and substances have become drugified in one way, right? Social media has drugified human connection. Our food has been drugified by the addition of salt, fat, sugar. Reading is drugified, the way that these genre novels fill this sort of gaping hole of compulsive consumption among their readership, people always wanting more. The Netflix binges, where you get the next episode automatically fills unless you do something to stop it. You know, these are all little ways in which our lives have been engineered to keep us clicking and swiping and eating and smoking and drinking to the detriment of the globe. I mean, 70% of global deaths are due to diseases caused by modifiable risk factors, and the top three are smoking, inactivity, and overeating or diet. So we're literally titillating ourselves to death."Dr. Anna Lembke is professor of psychiatry at Stanford University School of Medicine and chief of the Stanford Addiction Medicine Dual Diagnosis Clinic. A clinician scholar, she has published more than a hundred peer-reviewed papers, book chapters, and commentaries. She sits on the board of several state and national addiction-focused organizations, has testified before various committees in the United States House of Representatives and Senate, keeps an active speaking calendar, and maintains a thriving clinical practice. Dr. Lembke explores how to moderate compulsive overconsumption in a dopamine overloaded world in her NYTimes bestselling book Dopamine Nation: Finding Balance in the Age of Indulgence. Her previous book Drug Dealer, MD – How Doctors Were Duped, Patients Got Hooked, and Why It’s So Hard to Stop was highlighted in the New York Times as one of the top five books to read to understand the opioid epidemic.www.annalembke.comhttps://med.stanford.edu/psychiatry/patient_care/addiction.htmlwww.penguinrandomhouse.com/books/624957/dopamine-nation-by-anna-lembke-md/www.press.jhu.edu/books/title/11360/drug-dealer-mdwww.creativeprocess.infowww.oneplanetpodcast.org

Dr. Anna Lembke is professor of psychiatry at Stanford University School of Medicine and chief of the Stanford Addiction Medicine Dual Diagnosis Clinic. A clinician scholar, she has published more than a hundred peer-reviewed papers, book chapters, and commentaries. She sits on the board of several state and national addiction-focused organizations, has testified before various committees in the United States House of Representatives and Senate, keeps an active speaking calendar, and maintains a thriving clinical practice. Dr. Lembke explores how to moderate compulsive overconsumption in a dopamine overloaded world in her NYTimes bestselling book Dopamine Nation: Finding Balance in the Age of Indulgence. Her previous book Drug Dealer, MD – How Doctors Were Duped, Patients Got Hooked, and Why It’s So Hard to Stop was highlighted in the New York Times as one of the top five books to read to understand the opioid epidemic."I'm an addiction psychiatrist. When I use the word addiction, I'm really talking about having crossed the line from basically healthy use with an occasional slip to somebody who's really caught in the vortex of compulsive overconsumption with consequences and typically needing help from others, whether or not they are professionals, but feeling like, Oh boy, this is unmanageable, as they say in Twelve Steps, "My life has become unmanageable." It's one of the main points of my book, Dopamine Nation that we are living in this addictogenic world where almost all human behaviors and substances have become drugified in one way, right? Social media has drugified human connection. Our food has been drugified by the addition of salt, fat, sugar. Reading is drugified, the way that these genre novels fill this sort of gaping hole of compulsive consumption among their readership, people always wanting more. The Netflix binges, where you get the next episode automatically fills unless you do something to stop it. You know, these are all little ways in which our lives have been engineered to keep us clicking and swiping and eating and smoking and drinking to the detriment of the globe. I mean, 70% of global deaths are due to diseases caused by modifiable risk factors, and the top three are smoking, inactivity, and overeating or diet. So we're literally titillating ourselves to death."www.annalembke.comhttps://med.stanford.edu/psychiatry/patient_care/addiction.htmlwww.penguinrandomhouse.com/books/624957/dopamine-nation-by-anna-lembke-md/www.press.jhu.edu/books/title/11360/drug-dealer-mdwww.creativeprocess.infowww.oneplanetpodcast.org

"Well, I got the idea in 2013 when I was a wee young 23-year-old activist, and I had been studying history at Los Angeles City College, and I took this class on genocide that had a huge impact on me, and it also coincided, just the timing, with the Occupy Wall Street movement. So then two years later in 2013, I was reading The New Jim Crow by Michelle Alexander, and the book is about how mass incarceration is like a modern-day racial caste system. And I just heavily related to the book. I grew up around some impacted people. I had a mentor who was formerly incarcerated named Alexander, who was actually Muhammad Ali's bodyguard.And I just got the idea to do an album, because I was listening to a lot of concept albums like Pink Floyd, The Wall. And it started from there, just a little seed and a spark of just this idea for this one album. And then over time, it just evolved into an EP, and then a record label and a nonprofit. And here we are."Fury Young and BL Shirelle are the powerhouse team behind Die Jim Crow Records, the first non-profit record label in United States history for currently and formerly incarcerated musicians. DJC Records’ mission is to dismantle stereotypes around race and prison in America by amplifying the voices of our artists.   As a pair, Fury Young and BL Shirelle form a perhaps unlikely, but unstoppable duo.  Young is a Jewish New Yorker who has not experienced incarceration. Shirelle is a queer, Black woman from Philadelphia who has been heavily impacted by police violence and incarceration. The two formed an inseparable bond. As friends, musical collaborators and now Co-Executive Directors of Die Jim Crow Records, their leadership and commitment to values of representation, fairness, passion for the cause, and a love for art, are at the core of DJC.www.diejimcrow.comhttp://www.blshirelle.comhttp://www.furyyoung.comwww.creativeprocess.info www.oneplanetpodcast.org

Fury Young and BL Shirelle are the powerhouse team behind Die Jim Crow Records, the first non-profit record label in United States history for currently and formerly incarcerated musicians. DJC Records’ mission is to dismantle stereotypes around race and prison in America by amplifying the voices of our artists.  As a pair, Fury Young and BL Shirelle form a perhaps unlikely, but unstoppable duo.  Young is a Jewish New Yorker who has not experienced incarceration. Shirelle is a queer, Black woman from Philadelphia who has been heavily impacted by police violence and incarceration. The two formed an inseparable bond. As friends, musical collaborators and now Co-Executive Directors of Die Jim Crow Records, their leadership and commitment to values of representation, fairness, passion for the cause, and a love for art, are at the core of DJC."Well, I got the idea in 2013 when I was a wee young 23-year-old activist, and I had been studying history at Los Angeles City College, and I took this class on genocide that had a huge impact on me, and it also coincided, just the timing, with the Occupy Wall Street movement. So then two years later in 2013, I was reading The New Jim Crow by Michelle Alexander, and the book is about how mass incarceration is like a modern-day racial caste system. And I just heavily related to the book. I grew up around some impacted people. I had a mentor who was formerly incarcerated named Alexander, who was actually Muhammad Ali's bodyguard.And I just got the idea to do an album, because I was listening to a lot of concept albums like Pink Floyd, The Wall. And it started from there, just a little seed and a spark of just this idea for this one album. And then over time, it just evolved into an EP, and then a record label and a nonprofit. And here we are."www.diejimcrow.comhttp://www.blshirelle.comhttp://www.furyyoung.comwww.creativeprocess.info www.oneplanetpodcast.org

“What is a Green Amendment? It is language that recognizes the rights of all people to clean water and clean air, a stable climate, and healthy environments, and obligates the government to protect those rights and the natural resources of the state for the benefit of all the people in the state, or if it was a federal green amendment in the United States, and they become obliged to protect those environmental rights and those natural resources for the benefit of both present and future generations, that's functionally what it does. But to help people understand what it accomplishes, a green amendment actually obligates the government to recognize and protect our environmental rights in the same, most powerful way we recognize and protect the other fundamental freedoms we hold dear. Things like the right to free speech, freedom of religion, civil rights, and private property rights. We all know how powerfully they are protected from government overreach and infringement. Well, when we have Green Amendments, now the environment and our environmental rights are added to that list of highest constitutional freedoms and protections."Maya K. van Rossum is the founder of Green Amendments For The Generations, a national nonprofit organization dedicated to inspiring passage of Green Amendments in every state constitution across our nation, and also at the federal level when the time is right. She is an environmental attorney, community organizer, and the Delaware Riverkeeper, leading the regional advocacy organization, the Delaware Riverkeeper Network, for over 30 years. The Delaware Riverkeeper Network works throughout the four states of the Delaware River watershed (NY, NJ, PA & DE) and at the national level using advocacy, science and litigation to protect the Delaware River and its tributaries. She is the Author of The Green Amendment: The People's Fight for a Clean, Safe, and Healthy Environment.www.ForTheGenerations.orgwww.delawareriverkeeper.orghttps://forthegenerations.org/the-green-amendment/https://twitter.com/MayaKvanRossumwww.creativeprocess.infowww.oneplanetpodcast.org

Maya K. van Rossum is the founder of Green Amendments For The Generations, a national nonprofit organization dedicated to inspiring passage of Green Amendments in every state constitution across our nation, and also at the federal level when the time is right. She is an environmental attorney, community organizer, and the Delaware Riverkeeper, leading the regional advocacy organization, the Delaware Riverkeeper Network, for over 30 years. The Delaware Riverkeeper Network works throughout the four states of the Delaware River watershed (NY, NJ, PA & DE) and at the national level using advocacy, science and litigation to protect the Delaware River and its tributaries. She is the Author of The Green Amendment: The People's Fight for a Clean, Safe, and Healthy Environment.“What is a Green Amendment? It is language that recognizes the rights of all people to clean water and clean air, a stable climate, and healthy environments, and obligates the government to protect those rights and the natural resources of the state for the benefit of all the people in the state, or if it was a federal green amendment in the United States, and they become obliged to protect those environmental rights and those natural resources for the benefit of both present and future generations, that's functionally what it does. But to help people understand what it accomplishes, a green amendment actually obligates the government to recognize and protect our environmental rights in the same, most powerful way we recognize and protect the other fundamental freedoms we hold dear. Things like the right to free speech, freedom of religion, civil rights, and private property rights. We all know how powerfully they are protected from government overreach and infringement. Well, when we have Green Amendments, now the environment and our environmental rights are added to that list of highest constitutional freedoms and protections."www.ForTheGenerations.orgwww.delawareriverkeeper.orghttps://forthegenerations.org/the-green-amendment/https://twitter.com/MayaKvanRossumwww.creativeprocess.infowww.oneplanetpodcast.org

"So I have a background in conservation biology and have been a science communicator for well over a decade and a half now, and of course, doing that work you're confronted with climate, environmental reports and studies, which were a consistent part of my emotional baseline, just being aware of the fact that this is not all going well, which every now and then would make me feel low, for sure, in a way that was quite noticeable. But it became much more poignant in my life in 2017 when my partner and I started considering whether or not to have a kid, and I hadn't connected the reproductive part of life to the climate crisis. And all of a sudden this topic was the only thing I could really think about because it became such a dilemma for me personally, as to whether or not I felt comfortable having a child, given what the science says about where we're headed and what the lack of historical action means for the future of any child born to date, even one with privilege and protection from its parental outset. So that then, you know, eco-anxiety and climate anxiety and eco-grief in these terms that we now have as kind of household items that people are familiar with, that we have lots of journalism around, which has especially emerged in the last three years or so.At that time, I didn't have words to describe what I was feeling and I felt very deviant for even questioning whether or not it was okay to have kids in the climate crisis. I didn't really see it reflected. I figured, Okay, this is probably me getting a little bit loopy here, and I ought to do something to bring more perspective into my line of view. And that started me on a research project looking at the psychological impacts of the climate crisis writ large beyond just the reproductive angle, but that was my on-ramp."Britt Wray is the author of Generation Dread: Finding Purpose in an Age of Climate Crisis. She's a writer and broadcaster researching the emotional and psychological impacts of the climate crisis. Born and raised in Toronto, Canada, she is a post-doctoral fellow at Stanford University and the London School of Hygiene and Tropical Medicine, where she investigates the mental health consequences of ecological disruption. She holds a PhD in Science Communication from the University of Copenhagen. Her work has been featured in the New York Times, Washington Post Guardian, and Globe and Mail, among other publications. She has hosted several podcasts, radio, and TV programs with the BBC and CBC, is a TED Resident, and writes Gan Dread, a newsletter about staying sane in the climate crisis. She is also the author of Rise of the Necrofauna: The Science, Ethics, and Risks of De-Extinction.www.brittwray.comwww.penguinrandomhouse.com/books/647141/generation-dread-by-britt-wrayhttps://greystonebooks.com/products/rise-of-the-necrofauna www.oneplanetpodcast.orgwww.creativeprocess.info

Britt Wray is the author of Generation Dread: Finding Purpose in an Age of Climate Crisis. She's a writer and broadcaster researching the emotional and psychological impacts of the climate crisis. Born and raised in Toronto, Canada, she is a post-doctoral fellow at Stanford University and the London School of Hygiene and Tropical Medicine, where she investigates the mental health consequences of ecological disruption. She holds a PhD in Science Communication from the University of Copenhagen. Her work has been featured in the New York Times, Washington Post Guardian, and Globe and Mail, among other publications. She has hosted several podcasts, radio, and TV programs with the BBC and CBC, is a TED Resident, and writes Gan Dread, a newsletter about staying sane in the climate crisis. She is also the author of Rise of the Necrofauna: The Science, Ethics, and Risks of De-Extinction."So I have a background in conservation biology and have been a science communicator for well over a decade and a half now, and of course, doing that work you're confronted with climate, environmental reports and studies, which were a consistent part of my emotional baseline, just being aware of the fact that this is not all going well, which every now and then would make me feel low, for sure, in a way that was quite noticeable. But it became much more poignant in my life in 2017 when my partner and I started considering whether or not to have a kid, and I hadn't connected the reproductive part of life to the climate crisis. And all of a sudden this topic was the only thing I could really think about because it became such a dilemma for me personally, as to whether or not I felt comfortable having a child, given what the science says about where we're headed and what the lack of historical action means for the future of any child born to date, even one with privilege and protection from its parental outset. So that then, you know, eco-anxiety and climate anxiety and eco-grief in these terms that we now have as kind of household items that people are familiar with, that we have lots of journalism around, which has especially emerged in the last three years or so.At that time, I didn't have words to describe what I was feeling and I felt very deviant for even questioning whether or not it was okay to have kids in the climate crisis. I didn't really see it reflected. I figured, Okay, this is probably me getting a little bit loopy here, and I ought to do something to bring more perspective into my line of view. And that started me on a research project looking at the psychological impacts of the climate crisis writ large beyond just the reproductive angle, but that was my on-ramp."www.brittwray.comwww.penguinrandomhouse.com/books/647141/generation-dread-by-britt-wrayhttps://greystonebooks.com/products/rise-of-the-necrofauna www.oneplanetpodcast.orgwww.creativeprocess.info

"I think water is taking a backseat and personally, I feel like water is the messenger that delivers the bad news of climate change to your front door. So in the work that I do, it's heavily intertwined, but it's taking a backseat. There are parts about water that are maybe separate from climate change, and that could be the quality discussions, the infrastructure discussions, although they are somewhat loosely related to climate change and they are impacted by climate change. That's sometimes part of the reason why it gets split off because it's thought of as maybe an infrastructure problem, but you know, the changing extremes, the aridification of the West, the increasing frequency, the increasing droughts, these broad global patterns that I've been talking about, that I've been looking at with my research – that's all climate change. Just 100% climate change, a hundred percent human-driven. And so it does need to be elevated in these climate change discussions.”Jay Famiglietti is a hydrologist, a professor and the Executive Director of the Global Institute for Water Security at the University of Saskatchewan, where he holds the Canada 150 Research Chair in Hydrology and Remote Sensing. He is also the Chief Scientist of the Silicon Valley tech startup, Waterplan. Before moving to Saskatchewan, he served as the Senior Water Scientist at the NASA Jet Propulsion Laboratory at the California Institute of Technology.  From 2013 through 2018, he was appointed  by Governor Jerry Brown to the California State Water Boards. He has appeared on CBS News 60 Minutes, on HBO’s Real Time with Bill Maher, as a featured expert in water documentaries including Day Zero and Last Call at the Oasis, and across a host of international news media. He is the host of the podcast What About Water?https://jayfamiglietti.comWhat About Water? podcast with Jay FamigliettiTwitter @WhatAboutWaterGIWS https://water.usask.cawww.waterplan.comwww.oneplanetpodcast.orgwww.creativeprocess.info

Jay Famiglietti is a hydrologist, a professor and the Executive Director of the Global Institute for Water Security at the University of Saskatchewan, where he holds the Canada 150 Research Chair in Hydrology and Remote Sensing. He is also the Chief Scientist of the Silicon Valley tech startup, Waterplan. Before moving to Saskatchewan, he served as the Senior Water Scientist at the NASA Jet Propulsion Laboratory at the California Institute of Technology.  From 2013 through 2018, he was appointed  by Governor Jerry Brown to the California State Water Boards. He has appeared on CBS News 60 Minutes, on HBO’s Real Time with Bill Maher, as a featured expert in water documentaries including Day Zero and Last Call at the Oasis, and across a host of international news media. He is the host of the podcast What About Water?"I think water is taking a backseat and personally, I feel like water is the messenger that delivers the bad news of climate change to your front door. So in the work that I do, it's heavily intertwined, but it's taking a backseat. There are parts about water that are maybe separate from climate change, and that could be the quality discussions, the infrastructure discussions, although they are somewhat loosely related to climate change and they are impacted by climate change. That's sometimes part of the reason why it gets split off because it's thought of as maybe an infrastructure problem, but you know, the changing extremes, the aridification of the West, the increasing frequency, the increasing droughts, these broad global patterns that I've been talking about, that I've been looking at with my research – that's all climate change. Just 100% climate change, a hundred percent human-driven. And so it does need to be elevated in these climate change discussions.”https://jayfamiglietti.comWhat About Water? podcast with Jay FamigliettiTwitter @WhatAboutWaterGIWS https://water.usask.cawww.waterplan.comwww.oneplanetpodcast.orgwww.creativeprocess.info

“I live my life embodying the teaching my grandmother instilled in me – that no matter which lens I walked on, I had to learn how to build relationships with the land and the Indigenous peoples whose land I reside on to become a welcome guest. As a displaced Indigenous woman, my longing to return to my ancestral homelands will always be there, and this is why I continue to support my communities in the diaspora. However, my relationships are not only with my community, but also the Indigenous communities whose land I am displaced on, and this is the foundation of my work while residing in the Pacific Northwest. I strongly believe that in order to start healing Indigenous landscapes, everyone must understand their positionality as either settlers, unwanted guests, or welcomed guests, and that is ultimately determined by the Indigenous communities whose land you currently reside on or occupy. This teaching has also helped me envision my goals in life. Every day I get closer to becoming an ancestor because life is not guaranteed but rather a gift we are granted from our ancestors who are now in the spiritual world.”Dr. Jessica Hernandez (Binnizá & Maya Ch’orti’) is a transnational Indigenous scholar, scientist, and community advocate based in the Pacific Northwest. She has an interdisciplinary academic background ranging from marine sciences to environmental physics. She advocates for climate, energy, and environmental justice through her scientific and community work. Her book Fresh Banana Leaves: Healing Indigenous Landscapes through Indigenous Science breaks down why western conservationism isn’t working–and offers Indigenous models informed by case studies, personal stories, and family histories that center the voices of Latin American women and land protectors. In 2022, she was named by Forbes as one of the 100 most powerful women of Central America. She holds appointments at Sustainable Seattle, City of Seattle's Urban Forestry Commission, and the International Mayan League. Fresh Banana Leaves received the Bruce Piasecki and Andrea Masters Award on Business and Society Writing (2022).www.jessicabhernandez.comwww.penguinrandomhouse.com/books/675699/fresh-banana-leaves-by-jessica-hernandez/ www.oneplanetpodcast.org www.creativeprocess.info

Dr. Jessica Hernandez (Binnizá & Maya Ch’orti’) is a transnational Indigenous scholar, scientist, and community advocate based in the Pacific Northwest. She has an interdisciplinary academic background ranging from marine sciences to environmental physics. She advocates for climate, energy, and environmental justice through her scientific and community work. Her book Fresh Banana Leaves: Healing Indigenous Landscapes through Indigenous Science breaks down why western conservationism isn’t working–and offers Indigenous models informed by case studies, personal stories, and family histories that center the voices of Latin American women and land protectors. In 2022, she was named by Forbes as one of the 100 most powerful women of Central America. She holds appointments at Sustainable Seattle, City of Seattle's Urban Forestry Commission, and the International Mayan League. Fresh Banana Leaves received the Bruce Piasecki and Andrea Masters Award on Business and Society Writing (2022).“I live my life embodying the teaching my grandmother instilled in me – that no matter which lens I walked on, I had to learn how to build relationships with the land and the Indigenous peoples whose land I reside on to become a welcome guest. As a displaced Indigenous woman, my longing to return to my ancestral homelands will always be there, and this is why I continue to support my communities in the diaspora. However, my relationships are not only with my community, but also the Indigenous communities whose land I am displaced on, and this is the foundation of my work while residing in the Pacific Northwest. I strongly believe that in order to start healing Indigenous landscapes, everyone must understand their positionality as either settlers, unwanted guests, or welcomed guests, and that is ultimately determined by the Indigenous communities whose land you currently reside on or occupy. This teaching has also helped me envision my goals in life. Every day I get closer to becoming an ancestor because life is not guaranteed but rather a gift we are granted from our ancestors who are now in the spiritual world.”www.jessicabhernandez.comwww.penguinrandomhouse.com/books/675699/fresh-banana-leaves-by-jessica-hernandez/ www.oneplanetpodcast.org www.creativeprocess.info

"Essentially, what the thesis of the book is that science is really about finding simple solutions. And I guess one of the other themes of the book is that life appears like a scientist. It finds the simplest solutions to problems, and that's because there's a mechanism in natural selection, whereby stuff that is unnecessary gets removed by mutations. We lose stuff that is no longer useful for us. Like tails, for example, our ancestors had tails, and we don't because natural selection tends to go for simple solutions, and that's really what's made natural selection so successful, and it's also what makes science so successful too." Johnjoe McFadden is the author of Life is Simple, How Occam’s Razor Set Science Free and Shapes the Universe. He obtained his PhD at Imperial College London and went on to work on human genetic diseases and then infectious diseases, at the University of Surrey. Professor McFadden has specialised in examining the genetics of microbes such as the agents of tuberculosis and meningitis. His other books are Quantum Evolution: Life in the Multiverse, and Life on the Edge: The Coming of Age of Quantum Biology (co-authored with Jim Al-Khalili). He has published more than 100 articles in scientific journals on a wide range of subjects and lectures around the world. His present post is Associate Dean (International) and Professor of Molecular Genetics at the University of Surrey.www.surrey.ac.uk/people/johnjoe-mcfaddenhttps://johnjoemcfadden.co.ukwww.basicbooks.com/titles/johnjoe-mcfadden/life-is-simple/9781549112119www.creativeprocess.infowww.oneplanetpodcast.org

Johnjoe McFadden is the author of Life is Simple, How Occam’s Razor Set Science Free and Shapes the Universe. He obtained his PhD at Imperial College London and went on to work on human genetic diseases and then infectious diseases, at the University of Surrey. Professor McFadden has specialised in examining the genetics of microbes such as the agents of tuberculosis and meningitis. His other books are Quantum Evolution: Life in the Multiverse, and Life on the Edge: The Coming of Age of Quantum Biology (co-authored with Jim Al-Khalili). He has published more than 100 articles in scientific journals on a wide range of subjects and lectures around the world. His present post is Associate Dean (International) and Professor of Molecular Genetics at the University of Surrey."Essentially, what the thesis of the book is that science is really about finding simple solutions. And I guess one of the other themes of the book is that life appears like a scientist. It finds the simplest solutions to problems, and that's because there's a mechanism in natural selection, whereby stuff that is unnecessary gets removed by mutations. We lose stuff that is no longer useful for us. Like tails, for example, our ancestors had tails, and we don't because natural selection tends to go for simple solutions, and that's really what's made natural selection so successful, and it's also what makes science so successful too." www.surrey.ac.uk/people/johnjoe-mcfaddenhttps://johnjoemcfadden.co.ukwww.basicbooks.com/titles/johnjoe-mcfadden/life-is-simple/9781549112119www.creativeprocess.infowww.oneplanetpodcast.org

"Scott [Kid Cudi] is the most beautiful, kind, goodhearted man, but also he's brilliant. He's a generator of ideas. I feel like by being next to him, your role is to take all of these concepts that he's crafting and ideating and bring them to fruition, so it's a really beautiful gift where you feel like you're paired with an artist who is the source of so much. Scott was also really important to me in a lot of ways from our very beginning.""So the animated series Entergalactic tells the story of a black modern love story in New York City. It's simple in its core. Jabari, the character Scott plays, is a graffiti artist, and Cosmic Comics has decided to option his character and turn it into a comic book. So he's at this point in his life where he is moving into the loft apartment of his dreams, everything seems to be working for him when he meets Meadow, who's his neighbor. And she is this amazing woman, photographer, coolest cat on the planet. And essentially this show follows their meet-cute and their love story and the will they-won’t they of if they'll end up together. So there's something very warm in its aesthetic. But what's so interesting is that the love story is very nostalgic. It's, it just hearkens back to what a romance feels like.”Karina Manashil is the President of Mad Solar Productions. She began her career in the mailroom at WME (William Morris Endeavor) where she became a talent agent. She represented notable clients including Scott Mescudi, known by his stage name, Kid Cudi, and built her career taking talent into new arenas.In 2020, she partnered with Mescudi and Dennis Cummings to launch Mad Solar, which is backed by BRON Studios. Manashil then went on to Executive Produce SXSW fan-favorite X and its sequel, Pearl, directed by Ti West. Manashil is an Executive Producer on the Netflix animated series Entergalactic directed by Fletcher Moules. Entergalactic was created by Kid Cudi and features voiceover from Jessica Williams and Timothée Chalamet. It was released alongside its album of the same name from Kid Cudi on September 30th. Manashil is a native of Los Angeles and graduated from Chapman University with a BFA in Film Production.Manashil www.imdb.com/name/nm3556462/?ref_=nv_sr_srsg_0 www.kidcudi.comMad Solar https://www.imdb.com/search/title/?companies=co0831164 Entergalactic www.netflix.com/title/81053303Pearl www.imdb.com/title/tt18925334/X www.imdb.com/title/tt13560574/?ref_=tt_trv_trvwww.creativeprocess.infowww.oneplanetpodcast.org