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

William McDonough is a globally recognized leader in sustainable design and development. He has written and lectured extensively on design as the first signal of human intention. He co-authored Cradle to Cradle: Remaking the Way We Make Things, which is celebrating its 20th anniversary this year. McDonough advises leaders on ESG strategies through McDonough Innovation, is an architect with William McDonough + Partners, and provides product assessments through MBDC, the creators of the Cradle to Cradle Certified™ Products Program.  He has been active with the World Economic Forum for 25 years and served as the inaugural chair of their Meta-Council on the Circular Economy. He recently articulated the Circular Carbon Economy, a framework for carbon management, and presented the concept at COP25 and at 2020 G20 workshops. McDonough has co-founded not-for-profit organizations, including Fashion for Good, GreenBlue, Sustainable Packaging Coalition, and the Cradle to Cradle Products Innovation Institute. He has been on the faculty of Stanford University (2004-present) and is a Distinguished Research Professor at King Abdullah University of Science and Technology (KAUST) focused on Circular Carbon Economy. Time magazine recognized him as a “Hero for the Planet,” noting: “His utopianism is grounded in a unified philosophy that—in demonstrable and practical ways—is changing the design of the world," and in 2019 Fortune magazine named him #24 of the World's 50 Greatest Leaders.· https://mcdonough.com· mcdonoughpartners.com· https://mcdonoughpartners.com/projects · www.oneplanetpodcast.org · www.creativeprocess.info©DuHun Photography

“It’s basically a seed bank of genetic and metabolic diversity. The Earth’s entire microbiome is just a tremendous treasure trove of history, evolution, and diversity. So I would say we have no idea what’s in a lot of that diversity. It's like the dark matter of the universe. People call it the dark matter of the microbiome, and we're still figuring out what that matter does. We know that they're tremendously diverse. The sequencing revolution that happened over the last 20 or 30 years has made it possible to measure the diversity, but we don't know what that diversity is really doing or how to harness it if we need it. So would be wise not to disrespect it.”Dr. Steven Allison is a Professor of Ecology at the University of California, Irvine. He holds a PhD in Biological Sciences from Stanford University. As part of the University of California’s Carbon Neutrality Initiative, Dr. Allison was named the UC Irvine Climate Action Champion in 2016. He teaches ecosystem ecology and directs the Ridge to Reef Graduate Training Program, an interdisciplinary program focused on skills development for students pursuing careers in environmental fields. His research addresses the resilience of microbial communities to drought and the effect of rapid climate change on carbon losses from southern California ecosystems. Dr. Allison is a Fellow of the American Association for the Advancement of Science and Editor-in-Chief at the interdisciplinary journal Elementa: Science of the Anthropocene. Since 2021, he has served as a member of the Green Ribbon Environmental Committee for the City of Irvine and director of UC Irvine’s Newkirk Center for Science and Society.· allisonlab.bio.uci.edu/· newkirkcenter.uci.edu· https://online.ucpress.edu/elementa · www.oneplanetpodcast.org · www.creativeprocess.info· www.ted.com/talks/steven_allison_earth_s_original_inhabitants_and_their_role_in_combating_climate_change?language=en

Dr. Steven Allison is a Professor of Ecology at the University of California, Irvine. He holds a PhD in Biological Sciences from Stanford University. As part of the University of California’s Carbon Neutrality Initiative, Dr. Allison was named the UC Irvine Climate Action Champion in 2016. He teaches ecosystem ecology and directs the Ridge to Reef Graduate Training Program, an interdisciplinary program focused on skills development for students pursuing careers in environmental fields. His research addresses the resilience of microbial communities to drought and the effect of rapid climate change on carbon losses from southern California ecosystems. Dr. Allison is a Fellow of the American Association for the Advancement of Science and Editor-in-Chief at the interdisciplinary journal Elementa: Science of the Anthropocene. Since 2021, he has served as a member of the Green Ribbon Environmental Committee for the City of Irvine and director of UC Irvine’s Newkirk Center for Science and Society.· allisonlab.bio.uci.edu/· newkirkcenter.uci.edu· https://online.ucpress.edu/elementa · www.oneplanetpodcast.org · www.creativeprocess.info· www.ted.com/talks/steven_allison_earth_s_original_inhabitants_and_their_role_in_combating_climate_change?language=en

Yves Winkin is Distinguished Emeritus Professor at the University of Liège and Honorary Professor at the Conservatoire national des arts et métiers. He proposed an "anthropology of communication" based on an ethnographic approach. He was deputy director of the École normale supérieure de Lyon, director of the French Institute of Education and director of the musée des Arts et Métiers. He is the author of several books, most recently Réinventer les musées? www.arts-et-metiers.netwww.creativeprocess.infowww.cairn.info/publications-de-Yves-Winkin--37080.htm

Yves Winkin is Distinguished Emeritus Professor at the University of Liège and Honorary Professor at the Conservatoire national des arts et métiers. He proposed an "anthropology of communication" based on an ethnographic approach. He was deputy director of the École normale supérieure de Lyon, director of the French Institute of Education and director of the musée des Arts et Métiers. He is the author of several books, most recently Réinventer les musées?www.arts-et-metiers.netwww.creativeprocess.infowww.cairn.info/publications-de-Yves-Winkin--37080.htm

Gabrielle Selz is the author of Unstill Life: A Daughter’s Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. She is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press.Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. In 1969, Thalia selected the original tenants for Westbeth, the largest artists housing project in the country, and the family then moved to live alongside artists like Diane Arbus and Merce Cunningham. Introduced to Sam Francis as a child, her interest in his life, career and what motivated his extraordinary contributions, expanded while she was researching and writing Unstill Life.Selz has contributed to The New Yorker, The New York Times, More Magazine, The Rumpus and the L.A. Times. Her fiction has appeared in Fiction Magazine and her art criticism in Art Papers, Hyperallergic and Newsday and the Huffington Post. She is a past recipient of the New York Foundation for the Arts Fellowship in Nonfiction and is a Moth Story Slam Winner. · gabrielleselz.com · www.creativeprocess.info

Gabrielle Selz is the author of Unstill Life: A Daughter’s Memoir of Art and Love in the Age of Abstraction, published by W.W. Norton in 2014. Unstill Life received the best memoir of the year award from the American Society of Journalists and Authors (ASJA) and was chosen as one of the best books of the year by both the San Francisco Chronicle and Berkeleyside. Selz holds a special interest in the intersection of memory, history, cultural criticism, and art. As a child, she bounced between the bohemian art worlds of New York and Berkeley, California. Her father, Peter Selz, was the Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York, before he founded the Berkeley Art Museum and Pacific Film Archive. Her mother, Thalia Selz, was a writer and the founding editor of Story Quarterly. Gabrielle is currently writing Light on Fire: The Art and Life of Sam Francis to be published by U.C Press. · gabrielleselz.com · www.creativeprocess.info

"It's always difficult to avoid charges of being nostalgic if we talk about going back to things. Back to the past or forward to the past, but there are principles that existed in preindustrial/early industrial cities and which were overturned by key technological inventions of the late 19th and early 20th century, particularly the railway, the motorcar, of course, the internal combustion engine on which it’s based and which led to the vast expansion of towns and cities and, crucially, suburbanization where people who could afford it moved out of the more polluted densely populated inner areas into low density, better lifestyle-oriented suburbs and even beyond the suburbs into surrounding rural areas and were able to commute in by fast means to their workplace in the city, but the result of that is what we now face as the challenge of unsustainability. And as you rightly say, the key feature that still characterizes many European cities today–London, Paris, Berlin, many others, is the idea that they are composed ultimately of a series of–in London they like to call them villages–neighborhoods and areas that have multiple land uses and dense social networks of interaction within a small area. That principle, what is now called by Anne Hidalgo, the mayor of Paris, and being popularized more widely by the C40 Cities Climate Leadership Network and others as the 15 or 20 Minute City or 15 or 20 Minute Neighbourhood. The idea underpinning it is that a higher proportion of the goods and services, the activities, the social interactions that we need are obtainable within a 1 1/2 to 2 km radius of one's home, which means a far higher proportion of one's individual trips or multiple purpose journeys can be done on foot and by bicycle, therefore, you use your vehicle if you have one more sparingly. You use the bus or minibusses to reach slightly more distant places, and then you have transport interchanges is where you connect with the metro system or the best rapid transit or the railway to reach other parts of large cities or indeed for inner-city journeys. And that is what is now becoming the new best practice in terms of urban planning redesign both of existing urban areas to try to revitalize inner-city areas, other areas that are depressed and in need of economic regeneration and principles on the basis of which we need to design new areas, whether they are on the outskirts of bigger cities or in the context of middle and low-income countries designing entirely new cities which are going to be built over the coming 20 or 30 years and which, in terms of the number of people who live in them and the number of hectares or square kilometers that they will cover of the earth’s surface, will be equivalent to that built between the beginning of urbanization and the present day. It's a staggering thought, but if you think about it that way, it highlights the importance of new build, new design, it hhaccording to our latest understanding of sound sustainability principles."David Simon is Professor of Development Geography and Director for External Engagement in the School of Life Sciences and the Environment, Royal Holloway, University of London. He was also Director of Mistra Urban Futures, Gothenburg, Sweden from 2014–2019. A former Rhodes Scholar, he specialises in cities, climate change and sustainability, and the relationships between theory, policy and practice, on all of which he has published extensively. At Mistra Urban Futures, he led the pioneering methodological research on comparative transdisciplinary co-production. His extensive experience includes sub-Saharan Africa, South and Southeast Asia, the UK, Sweden and USA. From 2020-21, served as a Commissioner on the international Commission on Sustainable Agricultural Intensification (CoSAI), 2020-21. His most recent books as author, ed

David Simon is Professor of Development Geography and Director for External Engagement in the School of Life Sciences and the Environment, Royal Holloway, University of London. He was also Director of Mistra Urban Futures, Gothenburg, Sweden from 2014–2019. A former Rhodes Scholar, he specialises in cities, climate change and sustainability, and the relationships between theory, policy and practice, on all of which he has published extensively. At Mistra Urban Futures, he led the pioneering methodological research on comparative transdisciplinary co-production. His extensive experience includes sub-Saharan Africa, South and Southeast Asia, the UK, Sweden and USA. From 2020-21, served as a Commissioner on the international Commission on Sustainable Agricultural Intensification (CoSAI), 2020-21. His most recent books as author, editor or co-editor are Rethinking Sustainable Cities: Accessible, green and fair (Policy Press, 2016), Urban Planet (Cambridge Univ Press, 2018), Holocaust Escapees and Global Development: Hidden histories (Zed Books, 2019), Key Thinkers on Development (2nd edn, Routledge, 2019), Comparative Urban Research from Theory to Practice: Co-production for sustainability (Policy Press, 2020), and Transdisciplinary Knowledge Co-production for Sustainable Cities: a Guide (Practical Action Publishing, 2021).pure.royalholloway.ac.uk/portal/en/persons/david-simon(69b08a6c-d133-4157-b1f2-eb0036b4d6e6).htmlbristoluniversitypress.co.uk/journals/global-social-challenges-journalwww.oneplanetpodcast.orgwww.creativeprocess.info

“I would say that I write liminal fantasy. I write surrealist work and literary fiction. I write horror. Horror is probably the genre that speaks to me the most. I feel horror is the genre that I feel the most affinity towards. For me, that is the sweet spot where the beautiful and the grotesque meet each other. It's very interesting to me, and I think encouraging people to look at certain ideas that are horrifying, making them beautiful and interesting, that intersection of beauty and pain, humor and darkness, it’s the most interesting place.”Carmen Maria Machado is the author of the bestselling memoir In the Dream House and the award-winning short story collection Her Body and Other Parties. She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award, and the National Book Critics Circle's John Leonard Prize. In 2018, the New York Times listed Her Body and Other Parties as a member of "The New Vanguard," one of "15 remarkable books by women that are shaping the way we read and write fiction in the 21st century."· carmenmariamachado.com · www.creativeprocess.info · www.oneplanetpodcast.org

Carmen Maria Machado is the author of the bestselling memoir In the Dream House and the award-winning short story collection Her Body and Other Parties. She has been a finalist for the National Book Award and the winner of the Bard Fiction Prize, the Lambda Literary Award for Lesbian Fiction, the Lambda Literary Award for LGBTQ Nonfiction, the Brooklyn Public Library Literature Prize, the Shirley Jackson Award, and the National Book Critics Circle's John Leonard Prize. In 2018, the New York Times listed Her Body and Other Parties as a member of "The New Vanguard," one of "15 remarkable books by women that are shaping the way we read and write fiction in the 21st century."· carmenmariamachado.com · www.creativeprocess.info · www.oneplanetpodcast.org

Actor, producer, writer and director, Joe Mantegna began his career on the stage with the 1969 musical Hair. He later earned a Tony Award for portraying Richard Roma in the first American production of David Mamet's play Glengarry Glen Ross, the first of many collaborations with Mamet.Mantegna has appeared in Three Amigos, The Godfather Part III, Forget Paris, and Up Close & Personal and other films. From 2007 to 2020 he starred in the CBS TV series Criminal Minds as FBI Supervisory Special Agent David Rossi. Since 1991, he’s had a recurring role on The Simpsons as mob boss Fat Tony. He earned Emmy Award nominations three miniseries: The Last Don, The Rat Pack, and The Starter Wife. He’s executive produced for various films and TV movies, including Corduroy, Hoods, and Lakeboat, which he also directed.

Actor, producer, writer and director, Joe Mantegna began his career on the stage with the 1969 musical Hair. He later earned a Tony Award for portraying Richard Roma in the first American production of David Mamet's play Glengarry Glen Ross, the first of many collaborations with Mamet.Mantegna has appeared in Three Amigos, The Godfather Part III, Forget Paris, and Up Close & Personal and other films. From 2007 to 2020 he starred in the CBS TV series Criminal Minds as FBI Supervisory Special Agent David Rossi. Since 1991, he’s had a recurring role on The Simpsons as mob boss Fat Tony. He earned Emmy Award nominations three miniseries: The Last Don, The Rat Pack, and The Starter Wife. He’s executive produced for various films and TV movies, including Corduroy, Hoods, and Lakeboat, which he also directed.www.joemantegna.com · www.creativeprocess.info

Howard A. Rodman is a screenwriter, author and educator. His novels include The Great Eastern and Destiny Express. As a screenwriter, Rodman wrote Savage Grace, with Julianne Moore and Eddie Redmayne, nominated for Best Screenplay at the 2009 Spirit Awards, and AUGUST, starring Josh Hartnett and David Bowie. He also wrote Joe Gould’s Secret, the opening night film of the Sundance Film Festival, based on the memoir by iconic New Yorker writer Joseph Mitchell. He is the past president of the Writers Guild of America West; professor of screenwriting at USC's School of Cinematic Arts; a member of the National Film Preservation Board; and an artistic director of the Sundance Screenwriting Labs. howardrodman.com/www.creativeprocess.info

Howard A. Rodman is a screenwriter, author and educator. His novels include The Great Eastern and Destiny Express. As a screenwriter, Rodman wrote Savage Grace, with Julianne Moore and Eddie Redmayne, nominated for Best Screenplay at the 2009 Spirit Awards, and AUGUST, starring Josh Hartnett and David Bowie. He also wrote Joe Gould’s Secret, the opening night film of the Sundance Film Festival, based on the memoir by iconic New Yorker writer Joseph Mitchell. He is the past president of the Writers Guild of America West; professor of screenwriting at USC's School of Cinematic Arts; a member of the National Film Preservation Board; and an artistic director of the Sundance Screenwriting Labs. howardrodman.com/www.creativeprocess.info

James McDaniel is an actor and director best known for his award winning performances on NYPD Blue, Detroit 187, and Edge of America. When he’s not acting in front of the camera you can find James on and off-Broadway starring in works like Before it Hits Home, August Wilson’s Joe Turners Come and Gone, and most recently A Soldier’s Play. James also created the role Paul, in Six Degrees of Separation, setting the stage for future Black actors like Will Smith, who reprised the role in 1993. His television credits include Orange is the New Black, Madame Secretary, and most recently, Hysteria, streaming on Amazon Prime. Other film credits include The Battle for Bunker Hill, Steel City, and Malcolm X, amongst many others.www.creativeprocess.info

James McDaniel is an actor and director best known for his award winning performances on NYPD Blue, Detroit 187, and Edge of America. When he’s not acting in front of the camera you can find James on and off-Broadway starring in works like Before it Hits Home, August Wilson’s Joe Turners Come and Gone, and most recently A Soldier’s Play. James also created the role Paul, in Six Degrees of Separation, setting the stage for future Black actors like Will Smith, who reprised the role in 1993. His television credits include Orange is the New Black, Madame Secretary, and most recently, Hysteria, streaming on Amazon Prime. Other film credits include The Battle for Bunker Hill, Steel City, and Malcolm X, amongst many others.

“What is societal progress? I think the last 70 years, clearly, in the post World War II period, we have been thinking of economic growth and have been equating that with societal progress. To an extent of course that's right. To an extent, we need this economic growth to lift people out of poverty. We’ve kind of lost the reasoning. We have been following only this economic growth paradigm measured by the GDP, the Gross domestic product and we have forgotten that it measures many things, but it doesn't actually measure progress. It doesn't measure how healthy people are, how educated they are, how clean the environment is, how safe it is, how secure it is. Interestingly, even Simon Kuznets who conceptualized GDP knew this, but it somehow happened. I’m not saying the GDP is a measure we shouldn't be using, it has its values clearly, but it shouldn't be the only measure that we are focusing on. There are some countries and some cities also who have set alternative or additional goals. I feel that there was a time around 5 to 10 years ago when a lot of people were talking about this. There were a lot of initiatives and I feel that it's still there. Bhutan is mentioned a lot as a country with an alternative framework to measure progress, namely the gross national happiness, which is very much built on these indicators that cover what I've just said. Education, healthcare, housing, security, and community. So it's clearly also about making people understand that we're not asking anyone to lead a life that's worse than the life that they've been leading before. It’s just changing to a much fuller realization of what is actually good for you. And it's a difficult position because who are we to tell people what's good for them, but to the extent, we can measure that. We can measure burnout rates. We can measure mental health issues. We can measure addictions to mobile phones. It’s something where we really need to do a lot to transform those mindsets and, in the end, understand that sustainability is about making their lives better and not worse.”Alice Schmidt is a global sustainability advisor who has worked in 30 countries on 4 continents with 70+ organisations of all shapes and sizes. She has a deep passion for creating opportunities and win-wins across the social, environmental and economic spheres. Many of her experiences are highlighted in the new book “The Sustainability Puzzle: How Systems Thinking, Climate Action, Circularity and Social Transformation Can Improve Health, Wealth and Wellbeing for All”. · www.aliceschmidt.at · www.sustainability-puzzle.org · www.oneplanetpodcast.org · www.creativeprocess.info

Alice Schmidt is a global sustainability advisor who has worked in 30 countries on 4 continents with 70+ organisations of all shapes and sizes. She has a deep passion for creating opportunities and win-wins across the social, environmental and economic spheres. Many of her experiences are highlighted in the new book “The Sustainability Puzzle: How Systems Thinking, Climate Action, Circularity and Social Transformation Can Improve Health, Wealth and Wellbeing for All”. · www.aliceschmidt.at · www.sustainability-puzzle.org · www.oneplanetpodcast.org · www.creativeprocess.info

Film editor Alan Edward Bell has cut three of The Hunger Games series. He also edited (500) Days of Summer, Water for Elephants, Red Sparrow, The Dark Tower, The Amazing Spiderman, and other films. A former competitive rock-climber and guide, Alan transitioned to editing after spending time around film people while taking them on climbing expeditions. That his editing often pushes the boundaries of what is technically possible is more amazing when you consider he is self-taught. After years in Hollywood, Bell now lives and edits from his studio in New Hampshire, where he also practices silversmithing.www.creativeprocess.info

Film editor Alan Edward Bell has cut three of The Hunger Games series. He also edited (500) Days of Summer, Water for Elephants, Red Sparrow, The Dark Tower, The Amazing Spiderman, and other films. A former competitive rock-climber and guide, Alan transitioned to editing after spending time around film people while taking them on climbing expeditions. That his editing often pushes the boundaries of what is technically possible is more amazing when you consider he is self-taught. After years in Hollywood, Bell now lives and edits from his studio in New Hampshire, where he also practices silversmithing.www.creativeprocess.info

“I do feel that we are infinite choice makers. You make millions of choices all the time. Make the right choice and if you make the wrong choice, understand that mistakes are great teachers. Learn from that and move on. I do have this sense of responsibility of passing something on a love of dance history that really informs my process. Speaking in old language in a new way with a contemporary accent. Something so wonderful about dance and the arts is that you never stop learning. It is like always just this long process, and I continue. Students teach me every day. It is such a gift. It is probably the most important thing I can think of. Especially when I think of two things. In terms of history, the humanities show us how we were, why we were, and while we were...But then I also think about the future. What are we doing now? What seeds are we planting to inform the future?...And I said it earlier about making sense out of a chaotic universe where bad things happen to good people. Arts will help you figure that out.”Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University’s Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden’s Danstation Theatre and France’s EXIT Festival. Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night’s Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L’Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons’ production of My Life with Albertine; Shakespeare in the Park’s As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran’s work has appeared on Broadway in James Joyce’s The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre’s studio company, Denmark’s Upper Cut Company, Sweden’s Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance Bessie Award for his performance in Secret Pastures. A graduate of New York University’s Tisch School of the Arts, Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden’s Danstation Theatre and France’s EXIT Festival.Current and recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night’s Dream for The Shakespeare Theater, the twentieth anniversary production of Nixon in China and Street Scene at Opera Theater of St. Louis; choreography for the New York City Opera productions of L’Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons’ production of My Life with Albertine; Shakespeare in the Park’s As You Like It. He recently made his Metropolitan Opera debut choreographing Romeo and Juliette. Curran’s work has appeared on Broadway in James Joyce’s The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. He has created works for Trinity Irish Dance Company, American Ballet Theatre’s studio company, Denmark’s Upper Cut Company, Sweden’s Skanes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy, as well as for numerous college and university dance departments.· www.seancurrancompany.com· tisch.nyu.edu/about/directory/dance/109207637.html· www.creativeprocess.info· www.oneplanetpodcast.org

“It's kind of a scary thought. We've got these PFAS (per- and polyfluoroalkyl substances), you hear them now referred to as forever chemicals because these chemicals–none of these existed on the planet prior to World War II–they're fairly recent invention and they have this unique chemical structure that makes them incredibly useful in a lot of different products, manufacturing operations, but also that same chemical structure makes them incredibly persistent and incredibly difficult to break down once they get out into the environment, into the natural world, into our soil, into our water. They simply, many of them, particularly the ones with eight or more carbons in their structure, don't break down under natural conditions. Or it may take thousands or millions of years for those chemicals to start breaking down. But not only that. Once they get into us, they get into people, they tend to accumulate in our blood and build up over time. They not only persist, they bioaccumulate. Unfortunately, as the science has slowly been revealed to the world about what these chemicals can do, we are seeing that they can have all kinds of toxic effects And unfortunately, we’re finding that those things can happen at lower and lower dose levels.”“I can't speak highly enough of Mark Ruffalo and what he was able to accomplish with the film. He just did an amazing job. He reached out to me after reading the story that appeared in The New York Times Magazine back in 2016 about this situation down in West Virginia along the Ohio River and was really shocked when he read about it because it was really highlighting an environmental contamination problem that had potentially nationwide, if not worldwide implications but that he had never heard of, and you know he was active in the environmental arena and active in water issues and was surprised that he had not heard of this before and really wanted to find a way to help bring the story out to a wider audience so that we could hopefully start seeing some change in the way type of situations not only develop but how we deal with them. He was able to team up with the folks at Participant Media, who, if you go on their website, and see the types of films they've produced are just incredible filmmakers. Teamed up with Todd Haynes who is an incredible director, and just a terrific cast. Anne Hathaway, Tim Robbins and others.  Really they were very dedicated to making sure they did the story and brought it to film in the right way, to show what really happened, not only legally and scientifically, but also to real people. What kind of impact these situations have on real people in real communities. What these people went through for 20 years in this community waiting for this process to unfold. So I think they did a tremendous job in taking a very complicated story that involves a lot of science and a lot of law and conveying it in a way that really impresses upon people why this is a story that matters to all of us and why this is a story that really is one that hopefully is inspiring because, as we discussed, it shows that things can be changed. Things that look impossible can be overcome.”Rob Bilott is a partner in the Cincinnati and Northern Kentucky offices of the law firm, Taft Stettinius & Hollister LLP, where he has practiced in the Environmental and Litigation Practice Groups for over 31 years. During that time, Rob has handled and led some of the most novel and complex cases in the country involving damage from exposure to per- and polyfluoroalkyl substances (“PFAS”), including the first individual, class action, mass tort, and multi-district litigation proceedings involving PFAS, recovering over $1 billion for clients impacted by the chemicals. In 2017, Rob received the Right Livelihood Award, known as the “Alternative Nobel Prize,” for his decades of work on behalf of those injured by PFAS chemical contamina

Rob Bilott is a partner in the Cincinnati and Northern Kentucky offices of the law firm, Taft Stettinius & Hollister LLP, where he has practiced in the Environmental and Litigation Practice Groups for over 31 years. During that time, Rob has handled and led some of the most novel and complex cases in the country involving damage from exposure to per- and polyfluoroalkyl substances (“PFAS”), including the first individual, class action, mass tort, and multi-district litigation proceedings involving PFAS, recovering over $1 billion for clients impacted by the chemicals. In 2017, Rob received the Right Livelihood Award, known as the “Alternative Nobel Prize,” for his decades of work on behalf of those injured by PFAS chemical contamination.  Rob is the author of the book, “Exposure: Poisoned Water, Corporate Greed, and One Lawyer’s Twenty-Year Battle Against DuPont,” and his story is the inspiration for the 2019 motion picture, “Dark Waters,” starring Mark Ruffalo as Rob.  Rob’s story and work is also featured in the documentary, “The Devil We Know.”  Rob is a 1987 graduate of New College in Sarasota, Florida and a 1990 graduate of the Ohio State University Moritz College of Law. Rob also serves on the Boards of Less Cancer and Green Umbrella and is frequently invited to provide keynote lectures and talks at law schools, universities, colleges, communities and other organizations all over the world.  Rob is a fellow in the Right Livelihood College, a Lecturer at the Yale School of Public Health, Department of Environmental Health Sciences, and an Honorary Professor at the National University of Cordoba in Argentina.  Rob also has received Honorary Doctorate Degrees from both Ohio State University and New College. · www.taftlaw.com · www.oneplanetpodcast.org · www.creativeprocess.info

Michael Maren is a journalist, filmmaker and former aid worker. He’s written scripts for HBO, Sony Pictures, and many independent producers. His film, A Short History of Decay was a funny and moving examination of a writer Bryan Greenberg visiting his ailing parents, played by Linda Lavin and Harris Yulin. His forthcoming film is an adaptation of Chris Belden’s novel Shriver. It’s a comedy set at a writers conference and stars Michael Shannon, Kate Hudson, Don Johnson, and Zach Braff. Maren has taught screenwriting at Wesleyan University, Provincetown Fine Arts Work Center, Taos Summer Writers’ Workshop, and co-directs the Sirenland Writers Conference. He created the film screening/discussion series Under the Influence: Writers on Film. · michaelmaren.com · www.creativeprocess.info

Michael Maren is a journalist, filmmaker and former aid worker. He’s written scripts for HBO, Sony Pictures, and many independent producers. His film, A Short History of Decay was a funny and moving examination of a writer Bryan Greenberg visiting his ailing parents, played by Linda Lavin and Harris Yulin. His forthcoming film is an adaptation of Chris Belden’s novel Shriver. It’s a comedy set at a writers conference and stars Michael Shannon, Kate Hudson, Don Johnson, and Zach Braff. Maren has taught screenwriting at Wesleyan University, Provincetown Fine Arts Work Center, Taos Summer Writers’ Workshop, and co-directs the Sirenland Writers Conference. He created the film screening/discussion series Under the Influence: Writers on Film. · michaelmaren.com · www.creativeprocess.info

“We all have things to learn when it comes to these diversity-related issues or issues of identity. We have so much to learn. Just because, let's say, you’re a person of color, it doesn't necessarily mean that you are going to be accepting of transgender individuals. You might have some real hangups. Or you could be transgender and have some hangups around people of color, all around the spectrum. You can be a woman who doesn't support women. You can be a woman who doesn't support women trans-women. There are all of these kinds of things that I think we have to be open to, and we have to be open to learning and also open to making mistakes because sometimes people are going to make mistakes around these issues. And this just goes back to the whole benefit of diversity. So one of the reasons why I feel that I benefit so much from the people that I work with is because they are so diverse in many ways, and they are open to talking and interacting and making sure that you're up to speed.” Marybeth Gasman is the Samuel DeWitt Proctor Endowed Chair, a Distinguished Professor, and Associate Dean for Research at Rutgers University. Her areas of expertise include U.S. history, HBCUs, racism, philanthropy, and leadership. She is the author or editor of 30 books, including Envisioning Black Colleges (Johns Hopkins University Press, 2007), Educating a Diverse Nation (Harvard University Press, 2015), Making Black Scientists (Harvard University Press, 2019), and Doing the Right Thing: How to End Systemic Racism in Faculty Hiring (Princeton University, 2022). She is Executive Director of Samuel DeWitt Proctor Institute for Leadership, Equity, & Justice & Rutgers Center for Minority Serving Institutions. · www.marybethgasman.net· Samuel DeWitt Proctor Institute for Leadership, Equity, & Justice & Rutgers Center for Minority Serving Institutions: https://proctor.gse.rutgers.edu/

Marybeth Gasman is the Samuel DeWitt Proctor Endowed Chair, a Distinguished Professor, and Associate Dean for Research at Rutgers University. Her areas of expertise include U.S. history, HBCUs, racism, philanthropy, and leadership. She is the author or editor of 30 books, including Envisioning Black Colleges (Johns Hopkins University Press, 2007), Educating a Diverse Nation (Harvard University Press, 2015), Making Black Scientists (Harvard University Press, 2019), and Doing the Right Thing: How to End Systemic Racism in Faculty Hiring (Princeton University, 2022). She is Executive Director of Samuel DeWitt Proctor Institute for Leadership, Equity, & Justice & Rutgers Center for Minority Serving Institutions. · www.marybethgasman.net· Samuel DeWitt Proctor Institute for Leadership, Equity, & Justice & Rutgers Center for Minority Serving Institutions: https://proctor.gse.rutgers.edu/

“I think humans really need to feel valued and loved. The question is where do you get your value from? And I try to get my value from–faith plays a big part of my life, but not everyone has that way of thinking about the world, so I'm not going to major on that, but that's only part of it, the sense that I believe there's a God who thinks I'm of worth, but it's more than that.  I believe that my closest friends and my family think I'm of worth. That's it. That will do. And if 100 or 1,000 people think I'm an idiot, that’s a bit annoying, but it's not totally the end of the world. And they’re not going to think about it after a week because they’re going to have other things to think about. And so I think that's probably made me more comfortable in saying that if I do stand up and it’s a disaster, it doesn't matter that much. If I start a charity and it fails, and I have started things that fell apart, it's not the end of the world.”Jon Yates is Executive Director of the Youth Endowment Fund, a £200 million charitable fund focused on integrating young people into society. After graduating from the University of Oxford, he started his career as a community worker in the London Borough of Newham, before joining McKinsey and Company, where he advised charities, companies and government on strategy and organisational development. He has co-founded a series of charities and initiatives including The Challenge and More in Common aimed at improving life chances and understanding. These programmes now reach 1 in 6 Britons in their lifetime.· www.youthendowmentfund.org.uk · www.creativeprocess.info · www.oneplanetpodcast.org

Jon Yates is Executive Director of the Youth Endowment Fund, a £200 million charitable fund focused on integrating young people into society. After graduating from the University of Oxford, he started his career as a community worker in the London Borough of Newham, before joining McKinsey and Company, where he advised charities, companies and government on strategy and organisational development. He has co-founded a series of charities and initiatives including The Challenge and More in Common aimed at improving life chances and understanding. These programmes now reach 1 in 6 Britons in their lifetime.· www.youthendowmentfund.org.uk · www.creativeprocess.info · www.oneplanetpodcast.org

Doug Wright is an award winning playwright whose plays include I am My Own Wife, for which he won a Tony Award and Pulitzer Prize, Posterity, and Quills, for which he won an Obie Award. He has written books for the Tony-nominated musical Grey Gardens, the Drama Desk nomination “Hands on a hardbody”, The Little Mermaid, and War Paint. He adapted and directed August Strindberg’s Creditors for the La Jolla Playhouse in 2009.  Films include the screen adaptation of Quills, which won a Paul Selvin Award and WGA award, and production rewrites for director Rob Marshall, Steven Spielberg and others. He is Fmr. President of The Dramatists Guild and on the Board of The New York Theater Workshop. He has taught or guest lectured at the Yale Drama School, Princeton University, Julliard and NYU.  He lives in New York with his husband, singer-songwriter David Clement.· www.dramatistsguild.com· www.creativeprocess.info

“What we deal with more in the second season is how your online persona and your real-life persona sometimes can't help but be at odds with one another. In the first episode back we get into how women are treated, how women in relationships are treated online. In a later episode, we deal with how women are or are not allowed to express their anger online as content creators. So it’s something we talked a lot about in the room. That fracturing of self, that even in a goofy show that's very lighthearted and entertaining, it’s something that we do discuss and try to sneak little tidbits in there.”Ali Schouten is a showrunner, executive producer, and writer who is quickly establishing herself as a creative on the rise as her formidable talent and artistic versatility continue to make waves.     Schouten currently serves as the showrunner and executive producer of the wildly successful iCarly revival for Paramount+, which set 10 years later, features Miranda Cosgrove reprising her iconic role. The series was renewed for a second season and will return on April 8th after swiftly becoming one of the streaming service’s top acquisition drivers, ranking among their most streamed titles since the series’ debut. The series, which holds an impressive rating of 100% on Rotten Tomatoes, continues to receive praise for its modernized and inclusive approach from audiences and critics alike, with Variety applauding its ability to “straddl[e] the line between childhood nostalgia and newfound maturity”.  This follows her role as co-executive producer on the Latinx-led family series from Disney+, Diary of a Future President, created by Ilana Peña and executive produced by Gina Rodriguez. Schouten also served as a supervising producer on the Netflix holiday miniseries, MERRY HAPPY WHATEVER, starring Dennis Quaid, Bridgit Mendler, Brent Morin, and Ashley Tisdale. Additional credits include serving as consulting producer and writer on the CBS All Access series NO ACTIVITY, supervising producer and writer on the Hulu series ALL NIGHT, and co-producer and writer on the NBC series CHAMPIONS from Mindy Kaling and Charlie Grandy. Schouten also served as an executive story editor and writer on the hit ABC Family series, YOUNG AND HUNGRY, in addition to the Verizon go90's series, RELATIONSHIP STATUS, for which she received a Daytime Emmy Award nomination for ‘Outstanding Writing in a Digital Drama Series’.· www.paramountplus.com/shows/icarly-2021· www.creativeprocess.info

Ali Schouten is a showrunner, executive producer, and writer who is quickly establishing herself as a creative on the rise as her formidable talent and artistic versatility continue to make waves.Schouten currently serves as the showrunner and executive producer of the wildly successful iCarly revival for Paramount+, which set 10 years later, features Miranda Cosgrove reprising her iconic role. The series was renewed for a second season and will return on April 8th after swiftly becoming one of the streaming service’s top acquisition drivers, ranking among their most streamed titles since the series’ debut. The series, which holds an impressive rating of 100% on Rotten Tomatoes, continues to receive praise for its modernized and inclusive approach from audiences and critics alike, with Variety applauding its ability to “straddl[e] the line between childhood nostalgia and newfound maturity”. This follows her role as co-executive producer on the Latinx-led family series from Disney+, Diary of a Future President, created by Ilana Peña and executive produced by Gina Rodriguez. Schouten also served as a supervising producer on the Netflix holiday miniseries, MERRY HAPPY WHATEVER, starring Dennis Quaid, Bridgit Mendler, Brent Morin, and Ashley Tisdale.Additional credits include serving as consulting producer and writer on the CBS All Access series NO ACTIVITY, supervising producer and writer on the Hulu series ALL NIGHT, and co-producer and writer on the NBC series CHAMPIONS from Mindy Kaling and Charlie Grandy. Schouten also served as an executive story editor and writer on the hit ABC Family series, YOUNG AND HUNGRY, in addition to the Verizon go90's series, RELATIONSHIP STATUS, for which she received a Daytime Emmy Award nomination for ‘Outstanding Writing in a Digital Drama Series’.· www.paramountplus.com/shows/icarly-2021· www.creativeprocess.info

Stuart Dryburgh is a British born, New York based cinematographer. His credits include ‘The Great Wall’, ‘The Secret Life of Walter Mitty’, ‘Bridget Jones’ Diary’, ‘The Piano’ (AAN 1994) and ‘An Angel at my Table’. Stuart Dryburgh was born in the UK in 1952, and migrated with his family to New Zealand in 1961, where he spent most of his childhood and young adult life. He earned a Bachelor of Architecture from Auckland University in 1977. Stuart started out working on early NZ films such as ‘Middle Age Spread’ and ‘Good-Bye Pork Pie’ and ‘Smash Palace’. He was employed as a gaffer from 1979 – 1985, working on many NZ and international feature films and commercials. From 1985 on he has worked only as a cinematographer, at first shooting short films, music videos, and tv commercials. In 1989 he shot the 3 part TV mini series ‘An Angel at my Table’ for director Jane Campion. This led to another Dryburgh/ Campion collaboration, ‘The Piano’. For this film he was nominated for an Academy Award for Best Cinematography in 1994.His next project, ultimately his last in New Zealand for many years, was ‘Once Were Warriors’ with New Zealand director Lee Tamahori. In 1994 Dryburgh shot his first US feature film, the ‘Peres Family’, for director Mira Nair,and moved permanently to the US in 1996. · www.stuartdryburgh.com · www.creativeprocess.info

Stuart Dryburgh is a British born, New York based cinematographer. His credits include ‘The Great Wall’, ‘The Secret Life of Walter Mitty’, ‘Bridget Jones’ Diary’, ‘The Piano’ (AAN 1994) and ‘An Angel at my Table’. Stuart Dryburgh was born in the UK in 1952, and migrated with his family to New Zealand in 1961, where he spent most of his childhood and young adult life. He earned a Bachelor of Architecture from Auckland University in 1977. Stuart started out working on early NZ films such as ‘Middle Age Spread’ and ‘Good-Bye Pork Pie’ and ‘Smash Palace’. He was employed as a gaffer from 1979 – 1985, working on many NZ and international feature films and commercials. From 1985 on he has worked only as a cinematographer, at first shooting short films, music videos, and tv commercials. In 1989 he shot the 3 part TV mini series ‘An Angel at my Table’ for director Jane Campion. This led to another Dryburgh/ Campion collaboration, ‘The Piano’. For this film he was nominated for an Academy Award for Best Cinematography in 1994.His next project, ultimately his last in New Zealand for many years, was ‘Once Were Warriors’ with New Zealand director Lee Tamahori. In 1994 Dryburgh shot his first US feature film, the ‘Peres Family’, for director Mira Nair,and moved permanently to the US in 1996. www.stuartdryburgh.com · www.creativeprocess.info

“Net-zero is a big idea. It’s a big theme. And, unfortunately, what's going up are many ways to look like you're doing net-zero when you're not. So in the ideal world, getting to net-zero means essentially reducing your emissions, and then, where you have residual emissions left, that means you might need to have negative emissions. For example, it's relatively easy to decarbonize the power sector completely, and you can do it quickly and cheaply in most places, but you’re always going to be left with some levels of emissions from agriculture.”Bill Hare is a physicist and climate scientist with 30 years of experience in science, impacts and policy responses to climate change and stratospheric ozone depletion. He is a founder and CEO of Climate Analytics, which was established to synthesize and advance scientific knowledge on climate change and provide state-of-the-art solutions to global and national climate change policy challenges.He was a Lead Author for the Intergovernmental Panel on Climate Change (IPCC) Fourth Assessment Report, for which the IPCC was awarded the Nobel Peace Prize in 2007. Hare has contributed actively to the development of the international climate regime since 1989, including the negotiation of the 1992 UN Framework Convention on Climate Change, the 1997 Kyoto Protocol and the Paris Agreement in 2015. Hare is a graduate of Murdoch University in Western Australia and a visiting scientist at the Potsdam Institute for Climate Impact Research.· https://climateanalytics.org· https://climateactiontracker.org· www.oneplanetpodcast.org

Bill Hare is a physicist and climate scientist with 30 years of experience in science, impacts and policy responses to climate change and stratospheric ozone depletion. He is a founder and CEO of Climate Analytics, which was established to synthesize and advance scientific knowledge on climate change and provide state-of-the-art solutions to global and national climate change policy challenges.He was a Lead Author for the Intergovernmental Panel on Climate Change (IPCC) Fourth Assessment Report, for which the IPCC was awarded the Nobel Peace Prize in 2007. Hare has contributed actively to the development of the international climate regime since 1989, including the negotiation of the 1992 UN Framework Convention on Climate Change, the 1997 Kyoto Protocol and the Paris Agreement in 2015. Hare is a graduate of Murdoch University in Western Australia and a visiting scientist at the Potsdam Institute for Climate Impact Research.· https://climateanalytics.org· https://climateactiontracker.org· www.oneplanetpodcast.org· www.creativeprocess.info

“The political struggle is really hard today and I feel like we haven't been winning, but I think it's important not to think of this as either we win it, or there's catastrophe and that's the end. We win or lose, and there’s this big tidal wave that kills us all. That's not the way the climate crisis is going to play out. It’s going to be a long, slow, attritional crisis punctuated by forms of natural disaster that will decimate populations, but it's also going to be something that people will be impacted by for generations and that people will continue to mobilize around, so I think it's important to keep that in mind.”Ashley Dawson is currently Professor of Postcolonial Studies in the English Department at the Graduate Center, City University of New York (CUNY), and at the College of Staten Island/CUNY. He currently works in the fields of environmental humanities and postcolonial ecocriticism. He is the author of three recent books relating to these fields: People’s Power (O/R, 2020), Extreme Cities (Verso, 2017) and Extinction (O/R, 2016). Other areas of interest of his include the experience and literature of migration, including movement from colonial and postcolonial nations to the former imperial center (Britain in particular), and from rural areas to mega-cities of the global South such as Lagos and Mumbai. · ashleydawson.info · www.centerforthehumanities.org/programming/climate-action-lab · www.oneplanetpodcast.org · www.creativeprocess.info

Ashley Dawson is currently Professor of Postcolonial Studies in the English Department at the Graduate Center, City University of New York (CUNY), and at the College of Staten Island/CUNY. He currently works in the fields of environmental humanities and postcolonial ecocriticism. He is the author of three recent books relating to these fields: People’s Power (O/R, 2020), Extreme Cities (Verso, 2017) and Extinction (O/R, 2016). Other areas of interest of his include the experience and literature of migration, including movement from colonial and postcolonial nations to the former imperial center (Britain in particular), and from rural areas to mega-cities of the global South such as Lagos and Mumbai. · ashleydawson.info· www.centerforthehumanities.org/programming/climate-action-lab · www.oneplanetpodcast.org · www.creativeprocess.info

“The figure in my work is me. The figure in my work is you. It's me placing objects. It’s me putting things together. It’s you standing near it. It’s you in proximity moving back and forth, moving around it. It’s us. One of the reasons I make the things I do the way I make them is because I can't imagine them. I make things that I couldn't draw or even think about clearly. I can only look at them. I enjoy the complexity that I make because I'm striving to see it.”John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

John Powers was born in Chicago. He is a sculptor. After doing an apprenticeship on the West Coast with the sculptor Tom Jay, he moved to New York where he studied at Pratt and Hunter College. His artwork has been shown at MoMA PS1, the Brooklyn Museum, the Bruges Triennial, and PostMasters Gallery, among others. He was recently featured in the New York Times after injuring his hand.· www.johnpowers.us· www.creativeprocess.info

Robert Nathan is an award-winning television producer, screenwriter, journalist, and novelist. Best known for his work on the Law & Order television franchise and his novel The White Tiger. He has worked in politics, broadcast and print journalism, film, and television. Nathan joined the original writing staff of Law & Order, working on three series in the franchise. Nathan’s script for the episode “Manhood,” co-written with Walon Green, holds the franchise’s only Emmy nomination for Outstanding Writing for a Drama Series. He was also on the original staff of the TV series ER and received a Peabody Award. Nathan has received four Emmy nominations, an Edgar Award nomination, the GLAAD Media Award, the Silver Gavel Award, the Shine Award, and a Humanitas Award nomination.www.creativeprocess.info

Robert Nathan is an award-winning television producer, screenwriter, journalist, and novelist. Best known for his work on the Law & Order television franchise and his novel The White Tiger. He has worked in politics, broadcast and print journalism, film, and television. Nathan joined the original writing staff of Law & Order, working on three series in the franchise. Nathan’s script for the episode “Manhood,” co-written with Walon Green, holds the franchise’s only Emmy nomination for Outstanding Writing for a Drama Series. He was also on the original staff of the TV series ER and received a Peabody Award. Nathan has received four Emmy nominations, an Edgar Award nomination, the GLAAD Media Award, the Silver Gavel Award, the Shine Award, and a Humanitas Award nomination.www.creativeprocess.info

“Is this true that we test for fewer than 100 chemicals in water, but in fact, there are thousands that go untested?”“There are thousands just like there are in air, just like there are in food. We sometimes compartmentalize too much. We forget, but what is food? Food is made up of chemicals. And I think we need to be broader in our understanding because, for example, we all have on us and within us our Microbiomes and we think about the GI bacteria and we now know that if people are obese they have very different microbial content in their gut compared to people who are not obese. And we know that a baby born by C-section section has a different position than a baby born vaginally. And we know that these things have impacts. We know that many of the bacteria have the ability for example to metabolize the contaminants as well as things in our food. And we know that you can have a different response depending upon what people are eating.”Dr. Linda Birnbaum is a scientist emeritus and former director of the National institute of Environmental Health Sciences and of the National Toxicology Program. She is also a Scholar in Residence at the Nicholas School of the Environment of Duke University, and an adjunct full professor at Duke, University of North Carolina, and Yale University School of Public Health. She is the author of more than 1000 peer reviewed articles, book chapters, and reports. She is a member of the National Academy of Medicine, has multiple honorary doctorates and awards.  Best of all, now that she is retired after 40 years of government. · sph.unc.edu/adv_profile/linda-birnbaum-phd/ · www.niehs.nih.gov· www.oneplanetpodcast.org · www.creativeprocess.info

Dr. Linda Birnbaum is a scientist emeritus and former director of the National institute of Environmental Health Sciences and of the National Toxicology Program. She is also a Scholar in Residence at the Nicholas School of the Environment of Duke University, and an adjunct full professor at Duke, University of North Carolina, and Yale University School of Public Health. She is the author of more than 1000 peer reviewed articles, book chapters, and reports. She is a member of the National Academy of Medicine, has multiple honorary doctorates and awards.  Best of all, now that she is retired after 40 years of government. · sph.unc.edu/adv_profile/linda-birnbaum-phd/ · www.niehs.nih.gov· www.oneplanetpodcast.org · www.creativeprocess.info

“So, if we study transportation, then we need to study urban development and infrastructure. Suddenly, we need to think about housing. We need to think about the co-location of jobs and shops, and you realize it's all connected.That might be one of the challenges of urban sustainability. It's all connected. So the way we move around is connected to the way we built the city. And I think the intrinsic sustainability or non-sustainability in urban areas seems to be designed in. Especially in the United States where there are just so many places where, if you don't have a car, you're basically stranded. You can't go anywhere. The European model is to have co-located things, and I miss that. I think it has some intrinsic sustainability built-in.”Roland Geyer is a Professor at the Bren School of Environmental Science and Management, University of California at Santa Barbara, and the author of The Business of Less. Since 2000, he has worked with a wide range of governmental organizations, trade associations, and companies on environmental sustainability issues. His overarching goal is to help develop the knowledge, tools, and methods necessary to reduce the environmental impact from industrial production and consumption.· www.rolandgeyer.com· www.oneplanetpodcast.org· www.creativeprocess.info

Roland Geyer is a Professor at the Bren School of Environmental Science and Management, University of California at Santa Barbara, and the author of The Business of Less. Since 2000 he has worked with a wide range of governmental organizations, trade associations, and companies on environmental sustainability issues. His overarching goal is to help develop the knowledge, tools, and methods necessary to reduce the environmental impact from industrial production and consumption.· www.rolandgeyer.com· www.oneplanetpodcast.org· www.creativeprocess.info

David Auburn's plays include Proof (Pulitzer Prize, Tony Award®, New York Drama Critics Circle Award), An Upset and Amateurs (EST Marathons) and Skyscraper. Films include The Girl in the Park (writer/director) and The Lake House. Recent directing credits include A Delicate Balance for BTF. His short plays have been collected in the volume “Fifth Planet and Other Plays” (DPS). His work has been published in Harper’s, New England Review, and Guilt and Pleasure; and he was a contributing editor to the Oxford American Writers Thesaurus. A former Guggenheim Fellow, he lives in New York City.www.creativeprocess.info

“In Edo Japan, basically life was pretty good, and they recycled everything. Everything was reused, upcycled. Waste was considered taboo. A person who was wasting was considered an ugly person. So there is a lot that we could talk about: design, the layout, scale. Buildings were rarely taller than two stories. Very good use of environmental features, microclimates, use of wind for cooling, passive solar heating. Good use of planting, gardens, etc. But regarding cities of the future, I think the main thing is it needs to be a place where people feel like they belong and want to take responsibility.I'm from New Orleans, and I am very interested in the fact that cities and the places we live in teach us. They shape us, as much as we shape them. And New Orleans was a wonderful place to grow up in because you wouldn't have said it was sustainable, but the vernacular traditional architecture was naturally cooler in summers because of the way it was built with high ceilings with deep eaves from the roof, with verandas shaded with lots of breezes and lots of gardens, plus it is full of older buildings. And things become gentle over time.”Azby Brown is a leading authority on Japanese architecture, design, and environmentalism and the author of several groundbreaking books, including Just Enough, Small Spaces, The Japanese Dream House, The Very Small Home, and The Genius of Japanese Carpentry. He is lead researcher for Safecast, a global citizen-science organization that pioneered crowdsourced environmental monitoring. Azby Brown has lived in Japan since 1985.· azbybrown.com · www.safecast.org · www.oneplanetpodcast.org · www.creativeprocess.info