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

How can computational language help decode the mysteries of nature and the universe? What is ChatGPT doing and why does it work? How will AI affect education, the arts and society?Stephen Wolfram is a computer scientist, mathematician, and theoretical physicist. He is the founder and CEO of Wolfram Research, the creator of Mathematica, Wolfram|Alpha, and the Wolfram Language. He received his PhD in theoretical physics at Caltech by the age of 20 and in 1981, became the youngest recipient of a MacArthur Fellowship. Wolfram authored A New Kind of Science and launched the Wolfram Physics Project. He has pioneered computational thinking and has been responsible for many discoveries, inventions and innovations in science, technology and business.“I think as there is more automation, there is more kind of emphasis on this question of our choice. The story of the development of things tends to be what do humans decide that they care about? In what direction do they want to go? What kind of art do they want to make? What kinds of things do they want to think about? There is in the computational universe of all possibilities, there is sort of infinite creativity. There's an infinite collection of possibilities, but it's something that's a matter of human choice, which of these infinite things do we actually choose to pursue? There's all these different possibilities out there. But our kind of challenge is to decide in which direction we want to go and then to let our automated systems pursue those particular directions.”www.stephenwolfram.comwww.wolfram.comwww.wolframalpha.comwww.wolframscience.com/nks/www.amazon.com/dp/1579550088/ref=nosim?tag=turingmachi08-20www.wolframphysics.orgwww.wolfram-media.com/products/what-is-chatgpt-doing-and-why-does-it-work/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Is consciousness an illusion? Is it just a complex set of cognitive processes without a central, subjective experience? How can we better integrate philosophy with everyday life and the arts?Keith Frankish is an Honorary Professor of Philosophy at the University of Sheffield, a Visiting Research Fellow with The Open University, and an Adjunct Professor with the Brain and Mind Programme in Neurosciences at the University of Crete. Frankish mainly works in the philosophy of mind and has published widely about topics such as human consciousness and cognition. Profoundly inspired by Daniel Dennett, Frankish is best known for defending an “illusionist” view of consciousness. He is also editor of Illusionism as a Theory of Consciousness and co-edits, in addition to others, The Cambridge Handbook of Cognitive Science.“There is magic everywhere. There's wonder everywhere. There's wondrous complexity that is so complex, so difficult to conceptualize, to grasp, to articulate that it might as well be magic for all intents and purposes, but we can gradually start to unpick how the tricks are done, how nature learned to do these wonderful tricks. And that's the wonder of science, gradually learning what's happening behind the scenes and how these marvelous effects are produced.I'm probably best known for my work on consciousness. My view about this is often caricatured, I think, as a kind of heartless, materialist one, because I'm resistant to all forms of dualism about the mind. I think that's a very unhelpful way of thinking.Some people think that I do that because I have a sort of crass materialist attitude to the world, that there's only things you can measure and weigh and bump into and everything else is just nonsense and fancy and different. What I like about the sort of view I have is that it represents us as fully part of the world, fully part of the same world. We're not sealed off into little private mental bubbles, Cartesian theaters, where all the real action is happening in here, not out there. No, I think we're much more engaged with the world… Another one of my heroes is Daniel Dennett's great friend, Nicholas Humphrey, who has a wonderfully rich range of experience. He's been described as a scientific humanist. What he does is he knows his science, including cognitive neuroscience and psychology, but he's also steeped in literature, art, music, and painting, and he brings all this together in his wonderful book on consciousness Soul Dust, published in 2011, suggests the idea that the soul is actually made of dust, which is a fantastic concept.”www.keithfrankish.comwww.cambridge.org/core/books/cambridge-handbook-of-cognitive-science/F9996E61AF5E8C0B096EBFED57596B42www.imprint.co.uk/product/illusionismwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“We and all living beings thrive by being actors in the planet’s regeneration, a civilizational goal that should commence and never cease. We practiced degeneration as a species and it brought us to the threshold of an unimaginable crisis. To reverse global warming, we need to reverse global degeneration.”Can we really end the climate crisis in one generation? What kind of bold collective action, technologies, and nature-based solutions would it take to do it?Paul Hawken is a renowned environmentalist, entrepreneur, author, and activist committed to sustainability and transforming the business-environment relationship. A leading voice in the environmental movement, he has founded successful eco-friendly businesses, authored influential works on commerce and ecology, and advised global leaders on economic and environmental policies. As the founder of Project Regeneration and Project Drawdown, Paul leads efforts to identify and model solutions to reverse global warming, showcasing actionable strategies. His pioneering work in corporate ecological reform continues to shape a sustainable future. He is the author of eight books, including Regeneration: Ending the Climate Crisis in One Generation.https://regeneration.orghttps://paulhawken.comhttps://drawdown.orghttps://regeneration.org/nexuswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Can we really end the climate crisis in one generation? What kind of bold collective action, technologies, and nature-based solutions would it take to do it?Paul Hawken is a renowned environmentalist, entrepreneur, author, and activist committed to sustainability and transforming the business-environment relationship. A leading voice in the environmental movement, he has founded successful eco-friendly businesses, authored influential works on commerce and ecology, and advised global leaders on economic and environmental policies. As the founder of Project Regeneration and Project Drawdown, Paul leads efforts to identify and model solutions to reverse global warming, showcasing actionable strategies. His pioneering work in corporate ecological reform continues to shape a sustainable future. He is the author of eight books, including Regeneration: Ending the Climate Crisis in One Generation.“We and all living beings thrive by being actors in the planet’s regeneration, a civilizational goal that should commence and never cease. We practiced degeneration as a species and it brought us to the threshold of an unimaginable crisis. To reverse global warming, we need to reverse global degeneration.”https://regeneration.orghttps://paulhawken.comhttps://drawdown.orghttps://regeneration.org/nexuswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Living in California, I've just come to accept the unsettledness of this era we're moving into. And I think that's really how I see the future. You know, we're living in an era of disruption, and there are others I talk to and write about in the book who also muse about the possibility of a more nomadic future. That maybe home isn't a permanent place with deep roots but is a transient place with shallow roots or two places that you alternate between. In addition to a lot of other dramatic changes that the book is about, a change in our sense of home and our sense of place is a part of this story.”Abrahm Lustgarten is an investigative reporter, author, and filmmaker whose work focuses on human adaptation to climate change. His 2010 Frontline documentary The Spill, which investigated BP’s company culture, was nominated for an Emmy. His 2015 longform series Killing the Colorado, about the draining of the Colorado river, was nominated for a Pulitzer Prize. Lustgarten is a senior reporter at ProPublica, and contributes to publications like The New York Times Magazine and The Atlantic. His research on climate migration influenced President Biden’s creation of a climate migration study group. This is also the topic of his newly published book, On The Move: The Overheating Earth and the Uprooting of America in which he explores how climate change is uprooting American lives.https://abrahm.comhttps://us.macmillan.com/books/9780374171735/onthemovewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

An estimated one in two people will experience degrading environmental conditions this century and will be faced with the difficult question of whether to leave their homes. Will you be among those who migrate in response to climate change? If so, where will you go?Abrahm Lustgarten is an investigative reporter, author, and filmmaker whose work focuses on human adaptation to climate change. His 2010 Frontline documentary The Spill, which investigated BP’s company culture, was nominated for an Emmy. His 2015 longform series Killing the Colorado, about the draining of the Colorado river, was nominated for a Pulitzer Prize. Lustgarten is a senior reporter at ProPublica, and contributes to publications like The New York Times Magazine and The Atlantic. His research on climate migration influenced President Biden’s creation of a climate migration study group. This is also the topic of his newly published book, On The Move: The Overheating Earth and the Uprooting of America in which he explores how climate change is uprooting American lives.“Living in California, I've just come to accept the unsettledness of this era we're moving into. And I think that's really how I see the future. You know, we're living in an era of disruption, and there are others I talk to and write about in the book who also muse about the possibility of a more nomadic future. That maybe home isn't a permanent place with deep roots but is a transient place with shallow roots or two places that you alternate between. In addition to a lot of other dramatic changes that the book is about, a change in our sense of home and our sense of place is a part of this story.”https://abrahm.comhttps://us.macmillan.com/books/9780374171735/onthemovewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“One of the things I think about a lot is this. I vividly remember the desire throughout pretty much most of my twenties and certainly my teen years to be a famous artist and win big awards. And when you dig down into what you actually want from that, it's connection. The teen brain, in particular, is extremely geared toward connection and gets different brain chemical payouts for different things than adults. So certainly, when I think of like teenagers, I think of that drive for connection and fitting in and being accepted is so strong. And that was a part of my artistic output or desire as well was like, okay, if I write, you know, something world-changing, like then it could be like a really well-regarded composer and get that respect. Or if I go more of the songwriting and film route, I can be beloved or have people love my music and have this emotional experience with my music. There were all these dreams that I had that I think largely boiled down to just wanting to be accepted. And you can get that outside of your career and outside of the arts.”How can we learn to flourish because of who we are, not in spite of it? What is the sensory experience of the world for people with autism and ADHD? How can music help heal trauma and foster identity?Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.http://mattiamauree.comhttps://studio.com/mattiahttps://mattiamauree.com/love-your-brainhttps://www.audhdflourishing.com/hellowww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can we learn to flourish because of who we are, not in spite of it? What is the sensory experience of the world for people with autism and ADHD? How can music help heal trauma and foster identity?Mattia Maurée is an interdisciplinary composer whose work centers around themes of perception, body, sensation, trauma, and resilience. Their scores for critically acclaimed films have been played in 13 countries. Their poems have been featured in Boston City Hall as part of the Mayor's Poetry Program, Guerrilla Opera, and Arc Poetry Magazine. Mattia composes and performs on violin, voice, and piano, and has taught music for over 20 years. They have received a Master's of Music in Composition at New England Conservatory and a Bachelor's of Music from St. Olaf College. They also are an AUDHD coach, host the AuDHD Flourishing podcast and help other neurodivergent folks heal and find their creative flow in their course Love Your Brain.“One of the things I think about a lot is this. I vividly remember the desire throughout pretty much most of my twenties and certainly my teen years to be a famous artist and win big awards. And when you dig down into what you actually want from that, it's connection. The teen brain, in particular, is extremely geared toward connection and gets different brain chemical payouts for different things than adults. So certainly, when I think of like teenagers, I think of that drive for connection and fitting in and being accepted is so strong. And that was a part of my artistic output or desire as well was like, okay, if I write, you know, something world-changing, like then it could be like a really well-regarded composer and get that respect. Or if I go more of the songwriting and film route, I can be beloved or have people love my music and have this emotional experience with my music. There were all these dreams that I had that I think largely boiled down to just wanting to be accepted. And you can get that outside of your career and outside of the arts.”http://mattiamauree.comhttps://studio.com/mattiahttps://mattiamauree.com/love-your-brainhttps://www.audhdflourishing.com/hellowww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I call myself an apocalyptic optimist. In other words, I do believe there is hope to save ourselves from the climate crisis that we have caused. However, I also believe that saving ourselves will only be possible with a mass mobilization that is driven by the pain and suffering of climate shocks around the world. A generalized sense of extreme risk can lead to peaceful and less-peaceful mass mobilizations at the levels needed to stimulate an AnthroShift. Only a global risk event (or numerous smaller events that are seen as threatening social and economic centers of power) will motivate the kind of massive social change that is needed. In other words, without a risk pivot—be it driven by social or environmental change—an AnthroShift that is large enough to respond adequately to the climate crisis and open a large enough window of opportunity postshock is improbable. At this point, it is impossible to predict if such a shock will come from ecological disaster, war, pandemic, or another unforeseen risk. What is certain, though, is that without such a shock that motivates an AnthroShift large enough to reorient all the sectors of society to respond meaningfully to the climate crisis, it is hard to envision the world achieving the levels of climate action needed. Instead, the best we can hope for is incremental change that does not disrupt the dominant nodes of political and economic power; such incremental change has the potential to reduce the gravity of the crisis, but it will not stop the coming climate crisis.”–  Saving Ourselves: From Climate Shocks to Climate ActionDana R. Fisher is the Director of the Center for Environment, Community, & Equity and Professor in the School of International Service at American University. Fisher’s research focuses on questions related to democracy, civic engagement, activism, and climate politics. Current projects include studying political elites’ responses to climate change, and the ways federal service corps programs in the US are integrating climate into their work. She is a self-described climate-apocalyptic optimist and co-developed the framework of AnthroShift to explain how social actors are reconfigured in the aftermath of widespread perceptions and experiences of risk. Her seventh book is Saving Ourselves: From Climate Shocks to Climate Action.https://danarfisher.comhttps://cece.american.eduwww.acc.govwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can we make the radical social changes needed to address the climate crisis? What kind of large ecological disaster or mass mobilization in the streets needs to take place before we take meaningful climate action?Dana R. Fisher is the Director of the Center for Environment, Community, & Equity and Professor in the School of International Service at American University. Fisher’s research focuses on questions related to democracy, civic engagement, activism, and climate politics. Current projects include studying political elites’ responses to climate change, and the ways federal service corps programs in the US are integrating climate into their work. She is a self-described climate-apocalyptic optimist and co-developed the framework of AnthroShift to explain how social actors are reconfigured in the aftermath of widespread perceptions and experiences of risk. Her seventh book is Saving Ourselves: From Climate Shocks to Climate Action.“I call myself an apocalyptic optimist. In other words, I do believe there is hope to save ourselves from the climate crisis that we have caused. However, I also believe that saving ourselves will only be possible with a mass mobilization that is driven by the pain and suffering of climate shocks around the world. A generalized sense of extreme risk can lead to peaceful and less-peaceful mass mobilizations at the levels needed to stimulate an AnthroShift. Only a global risk event (or numerous smaller events that are seen as threatening social and economic centers of power) will motivate the kind of massive social change that is needed. In other words, without a risk pivot—be it driven by social or environmental change—an AnthroShift that is large enough to respond adequately to the climate crisis and open a large enough window of opportunity postshock is improbable. At this point, it is impossible to predict if such a shock will come from ecological disaster, war, pandemic, or another unforeseen risk. What is certain, though, is that without such a shock that motivates an AnthroShift large enough to reorient all the sectors of society to respond meaningfully to the climate crisis, it is hard to envision the world achieving the levels of climate action needed. Instead, the best we can hope for is incremental change that does not disrupt the dominant nodes of political and economic power; such incremental change has the potential to reduce the gravity of the crisis, but it will not stop the coming climate crisis.”–  Saving Ourselves: From Climate Shocks to Climate Actionhttps://danarfisher.comhttps://cece.american.eduwww.acc.govwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastCredit Sarah Fillman from FillmanFoto, 2023

“There’s a lot of greenwashing that's going on these days. It is great marketing. And that was really the reason why I wrote this book. I had started to see the patterns. You can start to tell them the companies that are genuinely doing it versus the companies that are just talking about it. So that was one indicator, you know, a company that would send out a press release about their goals and what they anticipated to do in the next 5 to 10 years was very different from companies who had said, you know what, this is what we've achieved. Regenerative started coming into the lexicon, the term in 2017, 2018. And regenerative means to regenerate, means to bring life into something. To sustain means to keep the status quo. And regenerative looks at things from a very holistic lens. You know, it's like if you're going to run a regenerative farm, it's all the different components of the farm and the ecosystem ideally come within the ecosystem.”Esha Chhabra has written for national and international publications over the last 15 years, focusing on global development, the environment, and the intersection of business and impact. Her work has been featured in The New York Times, The Economist, The Guardian, and other publications. She is the author of Working to Restore: Harnessing the Power of Business to Heal the Earth.www.eshachhabra.comwww.beacon.org/Working-to-Restore-P2081.aspxwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is regenerative business? How can we create a business mindset that addresses social, economic and environmental issues?Esha Chhabra has written for national and international publications over the last 15 years, focusing on global development, the environment, and the intersection of business and impact. Her work has been featured in The New York Times, The Economist, The Guardian, and other publications. She is the author of Working to Restore: Harnessing the Power of Business to Heal the Earth.“There’s a lot of greenwashing that's going on these days. It is great marketing. And that was really the reason why I wrote this book. I had started to see the patterns. You can start to tell them the companies that are genuinely doing it versus the companies that are just talking about it. So that was one indicator, you know, a company that would send out a press release about their goals and what they anticipated to do in the next 5 to 10 years was very different from companies who had said, you know what, this is what we've achieved. Regenerative started coming into the lexicon, the term in 2017, 2018. And regenerative means to regenerate, means to bring life into something. To sustain means to keep the status quo. And regenerative looks at things from a very holistic lens. You know, it's like if you're going to run a regenerative farm, it's all the different components of the farm and the ecosystem ideally come within the ecosystem.”www.eshachhabra.comwww.beacon.org/Working-to-Restore-P2081.aspxwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I'd like to focus more on the immediate harms that the kinds of AI technologies we have today might pose. With language models, the kind of technology that powers ChatGPT and other chatbots, there are harms that might result from regular use of these systems, and then there are harms that might result from malicious use. Regular use would be how you and I might use ChatGPT and other chatbots to do ordinary things. There is a concern that these systems might reproduce and amplify, for example, racist or sexist biases, or spread misinformation. These systems are known to, as researchers put it, “hallucinate” in some cases, making up facts or false citations. And then there are the harms from malicious use, which might result from some bad actors using the systems for nefarious purposes. That would include disinformation on a mass scale. You could imagine a bad actor using language models to automate the creation of fake news and propaganda to try to manipulate voters, for example. And this takes us into the medium term future, because we're not quite there, but another concern would be language models providing dangerous, potentially illegal information that is not readily available on the internet for anyone to access. As they get better over time, there is a concern that in the wrong hands, these systems might become quite powerful weapons, at least indirectly, and so people have been trying to mitigate these potential harms.”Dr. Raphaël Millière is Assistant Professor in Philosophy of AI at Macquarie University in Sydney, Australia. His research primarily explores the theoretical foundations and inner workings of AI systems based on deep learning, such as large language models. He investigates whether these systems can exhibit human-like cognitive capacities, drawing on theories and methods from cognitive science. He is also interested in how insights from studying AI might shed new light on human cognition. Ultimately, his work aims to advance our understanding of both artificial and natural intelligence.https://raphaelmilliere.comhttps://researchers.mq.edu.au/en/persons/raphael-millierewww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can we ensure that AI is aligned with human values? What can AI teach us about human cognition and creativity?Dr. Raphaël Millière is Assistant Professor in Philosophy of AI at Macquarie University in Sydney, Australia. His research primarily explores the theoretical foundations and inner workings of AI systems based on deep learning, such as large language models. He investigates whether these systems can exhibit human-like cognitive capacities, drawing on theories and methods from cognitive science. He is also interested in how insights from studying AI might shed new light on human cognition. Ultimately, his work aims to advance our understanding of both artificial and natural intelligence.“I'd like to focus more on the immediate harms that the kinds of AI technologies we have today might pose. With language models, the kind of technology that powers ChatGPT and other chatbots, there are harms that might result from regular use of these systems, and then there are harms that might result from malicious use. Regular use would be how you and I might use ChatGPT and other chatbots to do ordinary things. There is a concern that these systems might reproduce and amplify, for example, racist or sexist biases, or spread misinformation. These systems are known to, as researchers put it, “hallucinate” in some cases, making up facts or false citations. And then there are the harms from malicious use, which might result from some bad actors using the systems for nefarious purposes. That would include disinformation on a mass scale. You could imagine a bad actor using language models to automate the creation of fake news and propaganda to try to manipulate voters, for example. And this takes us into the medium term future, because we're not quite there, but another concern would be language models providing dangerous, potentially illegal information that is not readily available on the internet for anyone to access. As they get better over time, there is a concern that in the wrong hands, these systems might become quite powerful weapons, at least indirectly, and so people have been trying to mitigate these potential harms.”https://raphaelmilliere.comhttps://researchers.mq.edu.au/en/persons/raphael-milliere“I'd like to focus more on the immediate harms that the kinds of AI technologies we have today might pose. With language models, the kind of technology that powers ChatGPT and other chatbots, there are harms that might result from regular use of these systems, and then there are harms that might result from malicious use. Regular use would be how you and I might use ChatGPT and other chatbots to do ordinary things. There is a concern that these systems might reproduce and amplify, for example, racist or sexist biases, or spread misinformation. These systems are known to, as researchers put it, “hallucinate” in some cases, making up facts or false citations. And then there are the harms from malicious use, which might result from some bad actors using the systems for nefarious purposes. That would include disinformation on a mass scale. You could imagine a bad actor using language models to automate the creation of fake news and propaganda to try to manipulate voters, for example. And this takes us into the medium term future, because we're not quite there, but another concern would be language models providing dangerous, potentially illegal information that is not readily available on the internet for anyone to access. As they get better over time, there is a concern that in the wrong hands, these systems might become quite powerful weapons, at least indirectly, and so people have been trying to mitigate these potential harms.”www.creativeprocess.infowww.oneplanetpodca

“Bookselling captured my imagination and my heart as soon as I started working at the bookstore because I could see the potential for this great, amazing community-oriented work. Of course, it's a thrill to be around books, to meet authors, to read all this stuff, and to spend all day with people who love books, but what I think I really fell in love with was the sense of community, the people behind it, and the way a bookstore can really be an engine for positive social change within its community and in a broader sense as well. My whole nonfiction book project started with a tweet thread. It was about how every bookseller has to be prepared to have this discussion: a customer comes in, and they're like, this book is 50 percent off on Amazon. Why should I buy it here? So, I don't think about it quite as withholding from Amazon as much as contributing to these local community-oriented businesses. The thing that unites my poetry and the nonfiction writing is my main obsession as a writer. It's the question of, how do you live meaningfully in late capitalism? As corporations and global capitalist forces take over the world, what does it mean to try to have a meaningful human life? I think the proliferation of objects might reflect that. A lot of what we do in this world is collect objects, and regardless of whether it's good or bad, you build a nest. I think that in Picture Window in particular, I wanted to write about the domestic in a way that I hadn't written in so far. And then the pandemic happened, so I was forced into this weird, uneasy, claustrophobic domesticity. When your attention is so focused within your own home and within your own family, every object in your house takes on a new resonance. So, when a tennis ball that you've never seen somehow shows up in your house, that's weird. It's poetic. It feels dreamlike.”Danny Caine is the author of the poetry collections Continental Breakfast, El Dorado Freddy's, Flavortown, and Picture Window, as well as the books How to Protect Bookstores and Why and How to Resist Amazon and Why. His poetry has appeared in The Slowdown, Lit Hub, Diagram, HAD, and Barrelhouse.  He's a co-owner of The Raven Bookstore, Publisher's Weekly's 2022 Bookstore of the Year. www.dannycaine.com www.ravenbookstore.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the future of literature in the age of generative AI? How can bookstores build community and be engines for positive social change? What does it mean to try to have a meaningful human life?Danny Caine is the author of the poetry collections Continental Breakfast, El Dorado Freddy's, Flavortown, and Picture Window, as well as the books How to Protect Bookstores and Why and How to Resist Amazon and Why. His poetry has appeared in The Slowdown, Lit Hub, Diagram, HAD, and Barrelhouse.  He's a co-owner of The Raven Bookstore, Publisher's Weekly's 2022 Bookstore of the Year. “Bookselling captured my imagination and my heart as soon as I started working at the bookstore because I could see the potential for this great, amazing community-oriented work. Of course, it's a thrill to be around books, to meet authors, to read all this stuff, and to spend all day with people who love books, but what I think I really fell in love with was the sense of community, the people behind it, and the way a bookstore can really be an engine for positive social change within its community and in a broader sense as well. My whole nonfiction book project started with a tweet thread. It was about how every bookseller has to be prepared to have this discussion: a customer comes in, and they're like, this book is 50 percent off on Amazon. Why should I buy it here? So, I don't think about it quite as withholding from Amazon as much as contributing to these local community-oriented businesses. The thing that unites my poetry and the nonfiction writing is my main obsession as a writer. It's the question of, how do you live meaningfully in late capitalism? As corporations and global capitalist forces take over the world, what does it mean to try to have a meaningful human life? I think the proliferation of objects might reflect that. A lot of what we do in this world is collect objects, and regardless of whether it's good or bad, you build a nest. I think that in Picture Window in particular, I wanted to write about the domestic in a way that I hadn't written in so far. And then the pandemic happened, so I was forced into this weird, uneasy, claustrophobic domesticity. When your attention is so focused within your own home and within your own family, every object in your house takes on a new resonance. So, when a tennis ball that you've never seen somehow shows up in your house, that's weird. It's poetic. It feels dreamlike.”www.dannycaine.com www.ravenbookstore.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“It gets back to this core question. I just wish I was a young scientist going into this because that's the question to answer: Why AI comes out with what it does. That's the burning question. It's like it's bigger than the origin of the universe to me as a scientist, and here's the reason why. The origin of the universe, it happened. That's why we're here. It's almost like a historical question asking why it happened. The AI future is not a historical question. It's a now and future question.I'm a huge optimist for AI, actually. I see it as part of that process of climbing its own mountain. It could do wonders for so many areas of science, medicine. When the car came out, the car initially is a disaster. But you fast forward, and it was the key to so many advances in society. I think it's exactly the same as AI. The big challenge is to understand why it works. AI existed for years, but it was useless. Nothing useful, nothing useful, nothing useful. And then maybe last year or something, now it's really useful. There seemed to be some kind of jump in its ability, almost like a shock wave. We're trying to develop an understanding of how AI operates in terms of these shockwave jumps. Revealing how AI works will help society understand what it can and can't do and therefore remove some of this dark fear of being taken over. If you don't understand how AI works, how can you govern it? To get effective governance, you need to understand how AI works because otherwise you don't know what you're going to regulate.”How can physics help solve messy, real world problems? How can we embrace the possibilities of AI while limiting existential risk and abuse by bad actors?Neil Johnson is a physics professor at George Washington University. His new initiative in Complexity and Data Science at the Dynamic Online Networks Lab combines cross-disciplinary fundamental research with data science to attack complex real-world problems. His research interests lie in the broad area of Complex Systems and ‘many-body’ out-of-equilibrium systems of collections of objects, ranging from crowds of particles to crowds of people and from environments as distinct as quantum information processing in nanostructures to the online world of collective behavior on social media. https://physics.columbian.gwu.edu/neil-johnson https://donlab.columbian.gwu.eduwww.creativeprocess.infowww.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

How can physics help solve messy, real world problems? How can we embrace the possibilities of AI while limiting existential risk and abuse by bad actors?Neil Johnson is a physics professor at George Washington University. His new initiative in Complexity and Data Science at the Dynamic Online Networks Lab combines cross-disciplinary fundamental research with data science to attack complex real-world problems. His research interests lie in the broad area of Complex Systems and ‘many-body’ out-of-equilibrium systems of collections of objects, ranging from crowds of particles to crowds of people and from environments as distinct as quantum information processing in nanostructures to the online world of collective behavior on social media.“It gets back to this core question. I just wish I was a young scientist going into this because that's the question to answer: Why AI comes out with what it does. That's the burning question. It's like it's bigger than the origin of the universe to me as a scientist, and here's the reason why. The origin of the universe, it happened. That's why we're here. It's almost like a historical question asking why it happened. The AI future is not a historical question. It's a now and future question.I'm a huge optimist for AI, actually. I see it as part of that process of climbing its own mountain. It could do wonders for so many areas of science, medicine. When the car came out, the car initially is a disaster. But you fast forward, and it was the key to so many advances in society. I think it's exactly the same as AI. The big challenge is to understand why it works. AI existed for years, but it was useless. Nothing useful, nothing useful, nothing useful. And then maybe last year or something, now it's really useful. There seemed to be some kind of jump in its ability, almost like a shock wave. We're trying to develop an understanding of how AI operates in terms of these shockwave jumps. Revealing how AI works will help society understand what it can and can't do and therefore remove some of this dark fear of being taken over. If you don't understand how AI works, how can you govern it? To get effective governance, you need to understand how AI works because otherwise you don't know what you're going to regulate.”https://physics.columbian.gwu.edu/neil-johnsonhttps://donlab.columbian.gwu.eduwww.creativeprocess.infowww.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“The creation of roads is this process that's sort of innate to all beings. You know, we're all sort of inclined to create and follow trails. We just do it at a much vaster and more permanent and destructive scale. I think we need to reconceive how we think about roads in some ways, right? I mean, we think about roads, certainly here in the U. S., as these symbols of movement and mobility and freedom, right? There's so much about the romance of the open road and so much of our popular culture going back to the mid-20th century when the interstate highway systems were built and writers like Jack Kerouac were singing the praises of the open highway. And certainly, roads play that role. I like driving. The iconic Western American road trip is kind of this wonderful experience, but you know, I think the purpose of this book is to say: Yes, roads are a source of human mobility and freedom, but they're doing precisely the opposite for basically all other forms of life, right? They're curtailing animal movement and mobility and freedom, both by killing them directly in the form of roadkill, but also by creating these kinds of impenetrable walls of traffic that prevent animals from moving around the landscape and accessing big swaths of their habitat. Right? So, that's kind of the mental reconfiguration we have to go through, which is to recognize that, hey, roads aren't just forms of mobility and freedom for us. They're also preventing that mobility in basically all other life forms.”Ben Goldfarb is a conservation journalist. He is the author of Crossings: How Road Ecology Is Shaping The Future of Our Planet, named one of the best books of 2023 by the New York Times, and Eager: The Surprising, Secret Life of Beavers and Why They Matter, winner of the 2019 PEN/E.O. Wilson Literary Science Writing Award.www.bengoldfarb.comhttps://wwnorton.com/books/9781324005896www.chelseagreen.com/product/eager-paperbackwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Every year, humanity's footprint casts a deadly shadow over our skies and landscapes, claiming the lives of billions of birds and other wildlife. What is road ecology? How are our roads driving certain species towards extinction? And what can we do about it?Ben Goldfarb is a conservation journalist. He is the author of Crossings: How Road Ecology Is Shaping The Future of Our Planet, named one of the best books of 2023 by the New York Times, and Eager: The Surprising, Secret Life of Beavers and Why They Matter, winner of the 2019 PEN/E.O. Wilson Literary Science Writing Award.“The creation of roads is this process that's sort of innate to all beings. You know, we're all sort of inclined to create and follow trails. We just do it at a much vaster and more permanent and destructive scale. I think we need to reconceive how we think about roads in some ways, right? I mean, we think about roads, certainly here in the U. S., as these symbols of movement and mobility and freedom, right? There's so much about the romance of the open road and so much of our popular culture going back to the mid-20th century when the interstate highway systems were built and writers like Jack Kerouac were singing the praises of the open highway. And certainly, roads play that role. I like driving. The iconic Western American road trip is kind of this wonderful experience, but you know, I think the purpose of this book is to say: Yes, roads are a source of human mobility and freedom, but they're doing precisely the opposite for basically all other forms of life, right? They're curtailing animal movement and mobility and freedom, both by killing them directly in the form of roadkill, but also by creating these kinds of impenetrable walls of traffic that prevent animals from moving around the landscape and accessing big swaths of their habitat. Right? So, that's kind of the mental reconfiguration we have to go through, which is to recognize that, hey, roads aren't just forms of mobility and freedom for us. They're also preventing that mobility in basically all other life forms.”www.bengoldfarb.comhttps://wwnorton.com/books/9781324005896www.chelseagreen.com/product/eager-paperbackwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Philosophy is both an academic discipline and also something that everybody does. Everybody has to have reflective views about what's significant. They also have to justify to themselves why it's significant or important. The nature of justice itself, and the various opinions that have been written about in philosophy about justice, can get to a very high level. So there's this unusual connection between philosophy and human life. We've inherited from the Middle Ages, this incredible tradition that's now developed into a chance for young people to spend four or five years, in a way, released from the pressures of life. The idea to pursue your ideas a little further in these four years you have, exempt from the pressures of social life, allows philosophy to have a kind of position unique in the academy. In confronting what the best minds in the history of the world have had to say about these issues, the hope is that they provide for the people who are privileged enough to confront philosophy a better and more thoughtful approach to these fundamental questions that everybody has to confront.”What is the importance of philosophy in the 21st century as we enter a post-truth world? How can we reintroduce meaning and uphold moral principles in our world shaken by crises? And what does philosophy teach us about living in harmony with the natural world?Robert Pippin is the Evelyn Stefansson Nef Distinguished Service Professor at the University of Chicago where he teaches in the College, Committee on Social Thought, and Department of Philosophy. Pippin is widely acclaimed for his scholarship in German idealism as well as later German philosophy, including publications such as Modernism as a Philosophical Problem, and Hegel’s Idealism. In keeping with his interdisciplinary interests, Pippin’s book Henry James and Modern Moral Life explores the intersections between philosophy and literature. Pippin’s most recent published book is The Culmination: Heidegger, German Idealism, and the Fate of Philosophy.https://socialsciences.uchicago.edu/directory/Robert-Pippinhttps://press.uchicago.edu/ucp/books/book/chicago/C/bo208042246.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the importance of philosophy in the 21st century as we enter a post-truth world? How can we reintroduce meaning and uphold moral principles in our world shaken by crises? And what does philosophy teach us about living in harmony with the natural world?Robert Pippin is the Evelyn Stefansson Nef Distinguished Service Professor at the University of Chicago where he teaches in the College, Committee on Social Thought, and Department of Philosophy. Pippin is widely acclaimed for his scholarship in German idealism as well as later German philosophy, including publications such as Modernism as a Philosophical Problem, and Hegel’s Idealism. In keeping with his interdisciplinary interests, Pippin’s book Henry James and Modern Moral Life explores the intersections between philosophy and literature. Pippin’s most recent published book is The Culmination: Heidegger, German Idealism, and the Fate of Philosophy.“Philosophy is both an academic discipline and also something that everybody does. Everybody has to have reflective views about what's significant. They also have to justify to themselves why it's significant or important. The nature of justice itself, and the various opinions that have been written about in philosophy about justice, can get to a very high level. So there's this unusual connection between philosophy and human life. We've inherited from the Middle Ages, this incredible tradition that's now developed into a chance for young people to spend four or five years, in a way, released from the pressures of life. The idea to pursue your ideas a little further in these four years you have, exempt from the pressures of social life, allows philosophy to have a kind of position unique in the academy. In confronting what the best minds in the history of the world have had to say about these issues, the hope is that they provide for the people who are privileged enough to confront philosophy a better and more thoughtful approach to these fundamental questions that everybody has to confront.”https://socialsciences.uchicago.edu/directory/Robert-Pippinhttps://press.uchicago.edu/ucp/books/book/chicago/C/bo208042246.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“We've got four billion years of biological accidents that created all of the intricate aspects of everything about life, including consciousness. And it's about what's going on in each of those cells at the time that allows it to be connected to everything else and for the information to be understood as it's being exchanged between those things with their multifaceted, deep, complex processing.”Joseph LeDoux is a Professor of Neural Science at New York University at NYU and was Director of the Emotional Brain Institute. His research primarily focuses on survival circuits, including their impacts on emotions, such as fear and anxiety. He has written a number of books in this field, including The Four Realms of Existence: A New Theory of Being Human, The Emotional Brain, Synaptic Self, Anxious, and The Deep History of Ourselves. LeDoux is also the lead singer and songwriter of the band The Amygdaloids. www.joseph-ledoux.comwww.cns.nyu.edu/ebihttps://amygdaloids.netwww.hup.harvard.edu/books/9780674261259www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How does the brain process emotions? How are emotional memories formed and stored in the brain, and how do they influence behavior, perception, and decision-making? How does music help us understand our emotions, memories, and the nature of consciousness?Joseph LeDoux is a Professor of Neural Science at New York University at NYU and was Director of the Emotional Brain Institute. His research primarily focuses on survival circuits, including their impacts on emotions, such as fear and anxiety. He has written a number of books in this field, including The Four Realms of Existence: A New Theory of Being Human, The Emotional Brain, Synaptic Self, Anxious, and The Deep History of Ourselves. LeDoux is also the lead singer and songwriter of the band The Amygdaloids. “We've got four billion years of biological accidents that created all of the intricate aspects of everything about life, including consciousness. And it's about what's going on in each of those cells at the time that allows it to be connected to everything else and for the information to be understood as it's being exchanged between those things with their multifaceted, deep, complex processing.”www.joseph-ledoux.comwww.cns.nyu.edu/ebihttps://amygdaloids.netwww.hup.harvard.edu/books/9780674261259www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMusic courtesy of Joseph LeDoux

It is said that people never die until the last person says their name. In memory of the writer and director Paul Auster, who passed away this week, we're sharing this conversation we had back in 2017 after the publication of his novel 4 3 2 1. Auster reflects on his body of work, life, and creative process.Paul Auster was the bestselling author of Winter Journal, Sunset Park, Invisible, The Book of Illusions, and The New York Trilogy, among many other works. He has been awarded the Prince of Asturias Award for Literature, the Prix Médicis étranger, an Independent Spirit Award, and the Premio Napoli. He is a member of the American Academy of Arts and Letters, the American Academy of Arts and Sciences, and is a Commandeur de l'Ordre des Arts et des Lettres. He has also penned several screenplays for films such as Smoke (1995), as well as Lulu on the Bridge (1998) and The Inner Life of Martin Frost (2007), which he also directed.“But what happens is a space is created. And maybe it’s the only space of its kind in the world in which two absolute strangers can meet each other on terms of absolute intimacy. I think this is what is at the heart of the experience and why once you become a reader that you want to repeat that experience, that very deep total communication with that invisible stranger who has written the book that you’re holding in your hands. And that’s why I think, in spite of everything, novels are not going to stop being written, no matter what the circumstances. We need stories. We’re all human beings, and it’s stories from the moment we’re able to talk.”We apologize for the quality of the recording since it was not originally meant to be aired as a podcast. Portrait of Paul Auster by Mia Funk, inspired by his novel 4 3 2 1.www.penguinrandomhouse.com/authors/1045/paul-austerwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“If you look at meditation, and you strip away the belief system, you find that essentially every meditation is attention training. It might be bringing your mind back to a mantra; some sound, or to your breath, or to a particular attentional stance. I like mindfulness of breathing, where you pay full attention to your in-breath, and to your out-breath, and then the next breath, the in-breath, and the out-breath. At some point, your mind is going to wander off. That's the way our minds are wired. But here's the key: When you notice your mind has wandered and you bring it back to the point of focus—to the next breath, for example—that's the moment of mindfulness. Attention training of this kind is really a beautiful avenue into the optimal state, where you're fully focused on what you're doing. And in this state, which is one of high creativity, people experience themselves as part of a web of connection. The connection may be to the artists who have gone before you, whose work you imbibe and build on, or the writers whose thoughts you're building on, or the people who are doing this with you, in whatever context that might be. Thich Nhat Hanh calls this interbeing; being fully connected and interdependent. I remember a dialogue from years ago, in the 80s, with the Dalai Lama and a group of psychologists, where he said: In my languages, Tibetan and Sanskrit, the word for compassion implies for yourself as well as for others. In English, it only focuses on others. He said, you need a new word in the English language—self compassion. Today, there's a rather robust field of research on that, but the Dalai Lama saw that gap way before, because he realized that our view of compassion didn't include first taking care of ourselves.”Daniel Goleman is an American psychologist, author, and science journalist. Before becoming an author, Goleman was a science reporter for the New York Times for 12 years, covering psychology and the human brain. In 1995, Goleman published Emotional Intelligence, a New York Times bestseller. In his newly published book Optimal, Daniel Goleman discusses how people can enter an optimal state of high performance without facing symptoms of burnout in the workplace.www.danielgoleman.infowww.harpercollins.com/products/optimal-daniel-golemancary-cherniss?variant=41046795288610www.penguinrandomhouse.com/books/69105/emotional-intelligence-by-daniel-goleman/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can we enhance our emotional intelligence and avoid burnout in a changing world? How can we regain focus and perform in an optimal state? What do we mean by ecological intelligence?Daniel Goleman is an American psychologist, author, and science journalist. Before becoming an author, Goleman was a science reporter for the New York Times for 12 years, covering psychology and the human brain. In 1995, Goleman published Emotional Intelligence, a New York Times bestseller. In his newly published book Optimal, Daniel Goleman discusses how people can enter an optimal state of high performance without facing symptoms of burnout in the workplace.“If you look at meditation, and you strip away the belief system, you find that essentially every meditation is attention training. It might be bringing your mind back to a mantra; some sound, or to your breath, or to a particular attentional stance. I like mindfulness of breathing, where you pay full attention to your in-breath, and to your out-breath, and then the next breath, the in-breath, and the out-breath. At some point, your mind is going to wander off. That's the way our minds are wired. But here's the key: When you notice your mind has wandered and you bring it back to the point of focus—to the next breath, for example—that's the moment of mindfulness. Attention training of this kind is really a beautiful avenue into the optimal state, where you're fully focused on what you're doing. And in this state, which is one of high creativity, people experience themselves as part of a web of connection. The connection may be to the artists who have gone before you, whose work you imbibe and build on, or the writers whose thoughts you're building on, or the people who are doing this with you, in whatever context that might be. Thich Nhat Hanh calls this interbeing; being fully connected and interdependent. I remember a dialogue from years ago, in the 80s, with the Dalai Lama and a group of psychologists, where he said: In my languages, Tibetan and Sanskrit, the word for compassion implies for yourself as well as for others. In English, it only focuses on others. He said, you need a new word in the English language—self compassion. Today, there's a rather robust field of research on that, but the Dalai Lama saw that gap way before, because he realized that our view of compassion didn't include first taking care of ourselves.”www.danielgoleman.infowww.harpercollins.com/products/optimal-daniel-golemancary-cherniss?variant=41046795288610www.penguinrandomhouse.com/books/69105/emotional-intelligence-by-daniel-goleman/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“The Wandering is a choose your own adventure novel, and the reader is situated in the shoes of this brown woman from the Global South. She's 27 and in a way, she is stuck with her life. She aspires to be middle class, but her job doesn't allow her to achieve this social mobility. In her condition, she makes a deal with a devil, a reference to the story of Faust and Mephistopheles, finally getting a pair of red shoes that will take her anywhere. But that means she will never be able to find home—that's the curse of the shoes. The title in Indonesian is Gentayanga, which is a word used to describe ghosts who exist in a liminal state. This is a metaphor for people who travel. I came up with the idea for this novel in 2009 when I was an Indonesian international student studying for my PHD in New York. When I went back to Jakarta, I felt like I was not at home, but New York wasn't my home either, so there's a feeling of being neither here nor there. I wanted to capture the sense of being everywhere, which is liberating, but also the sense of displacement.”Intan Paramaditha is a writer and an academic. Her novel The Wandering (Harvill Secker/ Penguin Random House UK), translated from the Indonesian language by Stephen J. Epstein, was nominated for the Stella Prize in Australia and awarded the Tempo Best Literary Fiction in Indonesia, English PEN Translates Award, and PEN/ Heim Translation Fund Grant from PEN America. She is the author of the short story collection Apple and Knife, the editor of Deviant Disciples: Indonesian Women Poets, part of the Translating Feminisms series of Tilted Axis Press and the co-editor of The Routledge Companion to Asian Cinemas (forthcoming 2024). Her essay, “On the Complicated Questions Around Writing About Travel,” was selected for The Best American Travel Writing 2021. She holds a Ph.D. from New York University and teaches media and film studies at Macquarie University, Sydney.https://intanparamaditha.com www.penguinrandomhouse.ca/books/626055/the-wandering-by-intan-paramaditha/9781787301184www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How are writing and travel vehicles for understanding? How can we expand the literary canon to include other voices, other cultures, other experiences of the world?Intan Paramaditha is a writer and an academic. Her novel The Wandering (Harvill Secker/ Penguin Random House UK), translated from the Indonesian language by Stephen J. Epstein, was nominated for the Stella Prize in Australia and awarded the Tempo Best Literary Fiction in Indonesia, English PEN Translates Award, and PEN/ Heim Translation Fund Grant from PEN America. She is the author of the short story collection Apple and Knife, the editor of Deviant Disciples: Indonesian Women Poets, part of the Translating Feminisms series of Tilted Axis Press and the co-editor of The Routledge Companion to Asian Cinemas (forthcoming 2024). Her essay, “On the Complicated Questions Around Writing About Travel,” was selected for The Best American Travel Writing 2021. She holds a Ph.D. from New York University and teaches media and film studies at Macquarie University, Sydney.“The Wandering is a choose your own adventure novel, and the reader is situated in the shoes of this brown woman from the Global South. She's 27 and in a way, she is stuck with her life. She aspires to be middle class, but her job doesn't allow her to achieve this social mobility. In her condition, she makes a deal with a devil, a reference to the story of Faust and Mephistopheles, finally getting a pair of red shoes that will take her anywhere. But that means she will never be able to find home—that's the curse of the shoes. The title in Indonesian is Gentayanga, which is a word used to describe ghosts who exist in a liminal state. This is a metaphor for people who travel. I came up with the idea for this novel in 2009 when I was an Indonesian international student studying for my PHD in New York. When I went back to Jakarta, I felt like I was not at home, but New York wasn't my home either, so there's a feeling of being neither here nor there. I wanted to capture the sense of being everywhere, which is liberating, but also the sense of displacement.”https://intanparamaditha.com www.penguinrandomhouse.ca/books/626055/the-wandering-by-intan-paramaditha/9781787301184www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Environmentalists, writers, artists, activists, and public policy makers explore the interconnectedness of living beings and ecosystems. They highlight the importance of conservation, promote climate education, advocate for sustainable development, and underscore the vital role of creative and educational communities in driving positive change.00:00 "The Conditional" by U.S. Poet Laureate Ada Limón01:27 The Secret Language of Animals: Ingrid Newkirk, President of PETA03:03 A Love Letter to the Living World: Carl Safina, Ecologist & Author04:11 Exploring the Mysteries of Soil and Coral Reefs: Merlin Sheldrake, Biologist, Author of Entangled Life04:47 Exploring Coral Reefs: Richard Vevers, Founder of The Ocean Agency05:56 The Importance of Climate Education: Kathleen Rogers, President of EarthDay.org07:02 The Timeless Wisdom of Turtles: Sy Montomery, Naturalist & Author07:38 Optimism in the Face of Environmental Challenges: Richard Vevers08:32 Urban Solutions for a Sustainable Future: Paula Pinho, Director, Just Transition, Consumers, Energy Efficiency & Innovation, European Commission08:57 The Circular Economy: Walter Stahel, Founder & Director of the Product-Life Institute09:39 The Power of Speaking Out for Sustainability: Paula Pinho10:16 Empowering the Next Generation Through Education: Jeffrey Sachs, President of the UN Sustainable Development Solutions Networkwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastwww.maxrichtermusic.comhttps://studiorichtermahr.comMax Richter’s music featured in this episode are “On the Nature of Daylight” from The Blue Notebooks, “Path 19: Yet Frailest” from Sleep.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How is being an artist different than a machine that is programmed to perform a set of actions? How can we stop thinking about artworks as objects, and start thinking about them as triggers for experiences? In this conversation with Max Cooper, we discuss the beauty and chaos of nature and the exploration of technology music and consciousness.Max Cooper is a musician with a PhD in computational biology. He integrates electronic music with immersive video projections inspired by scientific exploration. His latest project, Seme, commissioned by the Salzburg Easter Festival, merges Italian musical heritage with contemporary techniques, was also performed at the Barbican in London. He supplied music for a video narrated by Greta Thunberg and Pope Francis for COP26.In 2016, Cooper founded Mesh, a platform to explore the intersection of music, science and art. His Observatory art-house installation is on display at Kings Cross until May 1st.“As technology becomes more dominant, the arts become ever more important for us to stay in touch the things that the sciences can't tackle. What it's actually like to be a person? What's actually important? We can have this endless progress inside this capitalist machine for greater wealth and longer life and more happiness, according to some metric. Or we can try and quantify society and push it forward. Ultimately, we all have to decide what's important to us as humans, and we need the arts to help with that. So, I think what's important really is just exposing ourselves to as many different ideas as we can, being open-minded, and trying to learn about all facets of life so that we can understand each other as well. And the arts is an essential part of that.”https://maxcooper.nethttps://osterfestspiele.at/en/programme/2024/electro-2024https://meshmeshmesh.netwww.kingscross.co.uk/event/the-observatoryThe music featured on this episode was Palestrina Sicut, Cardano Circles, Fibonacci Sequence, Scarlatti K141. Music is from Seme and is courtesy of Max Cooper.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I want to be wowed by the world. I want to gaze at it in awe and wonder. And I think when we take a step back and begin to appreciate the complexity of the interactions around us. We're taking note of a very porous between the self and the rest of the world. We are literally observing our enmeshment in our environment. And it's that kind of a reference frameshift that I think is going to help us move out of some of the darkness. My mother is an artist, and I think growing up surrounded by her practice exposed me to the creative process and is probably that which afforded me a certain sympathy for those tools and those modes of exploring the world later in life."Clayton Page Aldern is an award winning neuroscientist turned environmental journalist whose work has appeared in The Atlantic, The Guardian, The Economist, and Grist, where he is a senior data reporter. A Rhodes Scholar, he holds a Master's in Neuroscience and a Master's in Public Policy from the University of Oxford. He is also a research affiliate at the Center for Studies in Demography and Ecology at the University of Washington. He is the author of The Weight of Nature: How a Changing Climate Changes Our Minds, Brains, and Bodies, which explores the neurobiological impacts of rapid environmental change.https://claytonaldern.comwww.penguinrandomhouse.com/books/717097/the-weight-of-nature-by-clayton-page-aldern https://csde.washington.edu www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How does a changing climate affect our minds, brains and bodies?Clayton Page Aldern is an award winning neuroscientist turned environmental journalist whose work has appeared in The Atlantic, The Guardian, The Economist, and Grist, where he is a senior data reporter. A Rhodes Scholar, he holds a Master's in Neuroscience and a Master's in Public Policy from the University of Oxford. He is also a research affiliate at the Center for Studies in Demography and Ecology at the University of Washington. He is the author of The Weight of Nature: How a Changing Climate Changes Our Minds, Brains, and Bodies, which explores the neurobiological impacts of rapid environmental change."I want to be wowed by the world. I want to gaze at it in awe and wonder. And I think when we take a step back and begin to appreciate the complexity of the interactions around us. We're taking note of a very porous between the self and the rest of the world. We are literally observing our enmeshment in our environment. And it's that kind of a reference frameshift that I think is going to help us move out of some of the darkness. My mother is an artist, and I think growing up surrounded by her practice exposed me to the creative process and is probably that which afforded me a certain sympathy for those tools and those modes of exploring the world later in life."https://claytonaldern.comwww.penguinrandomhouse.com/books/717097/the-weight-of-nature-by-clayton-page-aldern https://csde.washington.edu www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"Right from the beginning, in talking with Park Chan-wook, we wanted this sort of multiplicity of narrative voices and devices. In a way, it's about how the story, in this case of the Vietnam War, has been told, what the expected story is, at least, for American viewers, which they may mainly know through the movies and through visual representations. And it's how our lead character, The Captain, who is writing the story, who has divided loyalties. How can we capture the contradictions within that story? And we tried to make that complexity part of the actual fabric of the show."Don McKellar is a highly accomplished writer, director, and actor. He has written films including Roadkill, Highway 61, Dance Me Outside, The Red Violin, and Blindness. He won the Prix de la Jeunesse at the 1988 Cannes Film Festival for his directorial debut, Last Night, which he also wrote and starred in. He is an eight-time Genie Award nominee and a two-time winner.He wrote the book for the acclaimed musical The Drowsy Chaperone, for which he received a Tony Award. Most recently, Don served as writer, executive producer, and co-showrunner on The Sympathizer, a television adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel of the same name. The series was co-created with Park Chan-wook.www.imdb.com/name/nm0001528/mediaviewer/rm2411273728/?ref_=nm_ov_phwww.imdb.com/title/tt14404618/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%20sympawww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastPhoto courtesy of HBO

What are the stories we tell ourselves to justify our actions in times of war? How can the arts convey complexity and foster understanding?Don McKellar is a highly accomplished writer, director, and actor. He has written films including Roadkill, Highway 61, Dance Me Outside, The Red Violin, and Blindness. He won the Prix de la Jeunesse at the 1988 Cannes Film Festival for his directorial debut, Last Night, which he also wrote and starred in. He is an eight-time Genie Award nominee and a two-time winner.He wrote the book for the acclaimed musical The Drowsy Chaperone, for which he received a Tony Award. Most recently, Don served as writer, executive producer, and co-showrunner on The Sympathizer, a television adaptation of Viet Thanh Nguyen's Pulitzer Prize-winning novel of the same name. The series was co-created with Park Chan-wook."Right from the beginning, in talking with Park Chan-wook, we wanted this sort of multiplicity of narrative voices and devices. In a way, it's about how the story, in this case of the Vietnam War, has been told, what the expected story is, at least, for American viewers, which they may mainly know through the movies and through visual representations. And it's how our lead character, The Captain, who is writing the story, who has divided loyalties. How can we capture the contradictions within that story? And we tried to make that complexity part of the actual fabric of the show."www.imdb.com/name/nm0001528/mediaviewer/rm2411273728/?ref_=nm_ov_phwww.imdb.com/title/tt14404618/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%20sympawww.creativeprocess.infowww.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastPhotos courtesy of HBOSusan Downey, Robert Downey Jr., Don McKellarRobert Downey Jr. in The Sympathizer, photo by Beth Dubber/HBOHoa Xuande in The Sympathizer, photo by Hopper Stone/HBO

"We ended on such a cliffhanger with Isaac presenting the wrench at the police station to Jeff Daniels' character. It allowed us to sort of start from a place of what's going to happen next? And I think because what is drawn in the novel and because of what Danny brought into the original script of the first season and all the ideas he brought in. The biggest thing we talked about was the relationship between Del Harris and Grace Poe and what is the ambiguity there? And I think when, when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it and then they go, Oh, he's a monster, or she's a monster. And then you just have this sort of a good and bad guy, good and bad woman narrative that is oversimplified all too often in our culture.""It felt to me like a lot of the drive of season two is about payback. There are people who feel they're owed things. They want payback. There are people who feel like they have to get back at people because they've been wronged in some way. In a way, every character has something, some way that they're trying to right the wrong that was done to them or that they did in the first season. Jeff Daniel's character, Del Harris, is really driven by trying to right what he sees as wrongs that he did in the first season. And he's staying a little bit away from Grace because he doesn't know how much to blame her or how much were his own decisions or how much she kind of drove him to do things. So that was fun to explore."Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders. www.imdb.com/name/nm0001246www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What role do the families we’re born into or the traumas we experience shape the people we become? Do good deeds offset bad deeds? How can the arts increase our capacity for empathy, understanding, and kindness?Dan Futterman is creator, executive producer, and writer of Amazon Prime's American Rust, the acclaimed crime drama starring Jeff Daniels, Maura Tierney, and David Alvarez. Previously, Dan has written screenplays for Capote, Foxcatcher, In Treatment, and Gracepoint. He served as executive producer on The Looming Tower. Dan is also an actor, director, and two-time Oscar nominee.Adam Rapp is the executive producer and writer of American Rust. He has written plays, films, and series, including Red Light Winter, The Sound Inside, In Treatment, Blackbird, The Looming Tower, and Dexter: New Blood. His latest novel is Wolf at the Table. He recently wrote the book for the new Broadway musical, The Outsiders."We ended on such a cliffhanger with Isaac presenting the wrench at the police station to Jeff Daniels' character. It allowed us to sort of start from a place of what's going to happen next? And I think because what is drawn in the novel and because of what Danny brought into the original script of the first season and all the ideas he brought in. The biggest thing we talked about was the relationship between Del Harris and Grace Poe and what is the ambiguity there? And I think when, when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it and then they go, Oh, he's a monster, or she's a monster. And then you just have this sort of a good and bad guy, good and bad woman narrative that is oversimplified all too often in our culture.""It felt to me like a lot of the drive of season two is about payback. There are people who feel they're owed things. They want payback. There are people who feel like they have to get back at people because they've been wronged in some way. In a way, every character has something, some way that they're trying to right the wrong that was done to them or that they did in the first season. Jeff Daniel's character, Del Harris, is really driven by trying to right what he sees as wrongs that he did in the first season. And he's staying a little bit away from Grace because he doesn't know how much to blame her or how much were his own decisions or how much she kind of drove him to do things. So that was fun to explore."www.imdb.com/name/nm0001246www.imdb.com/name/nm1452688/?ref_=fn_al_nm_1www.imdb.com/title/tt1532495/ https://outsidersmusical.com/ www.hachettebookgroup.com/titles/adam-rapp/wolf-at-the-table/9780316434164/?lens=little-brownwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“The idea of a kind of inert world that is simply there for our pleasure, enjoyment, and exploitation has proved to be catastrophically mistaken because we see it with flooding, we see it with forest fires. We see it with acidification of the oceans. We see it with the continuing rise in temperatures that the world itself, the more-than-human world is fighting back. It has taken on its own agency. And therefore, the idea of a pyramid, a hierarchy, is no longer operative.”Michael Cronin is an Irish academic specialist in culture, travel literature, translation studies, and the Irish language. He has taught in universities in France and Ireland and has held visiting research fellowships to universities in Canada, Belgium, Peru, France, and Egypt. He's a fellow of Trinity College Dublin, an elected member of the Royal Irish Academy, and a senior researcher in the Trinity Centre for Literary and Cultural Translation. He is the current holder of the Chair of French (est. 1776) at TCD. He is the author of Eco-Travel: Journeying in the Age of the Anthropocene, Eco-Translation: Translation and Ecology in the Age of the Anthropocene, and other books.www.tcd.ie/French/people/michaelcronin.phpwww.cambridge.org/core/books/ecotravel/24263DF8E2E021915FEF4F937F146D25www.routledge.com/Eco-Translation-Translation-and-Ecology-in-the-Age-of-the-Anthropocene/Cronin/p/book/9781138916845www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How has tourism and writing about travel contributed to the ecological degradation of the planet?How does language influence perception and our relationship to the more-than-human world?Michael Cronin is an Irish academic specialist in culture, travel literature, translation studies, and the Irish language. He has taught in universities in France and Ireland and has held visiting research fellowships to universities in Canada, Belgium, Peru, France, and Egypt. He's a fellow of Trinity College Dublin, an elected member of the Royal Irish Academy, and a senior researcher in the Trinity Centre for Literary and Cultural Translation. He is the current holder of the Chair of French (est. 1776) at TCD. He is the author of Eco-Travel: Journeying in the Age of the Anthropocene, Eco-Translation: Translation and Ecology in the Age of the Anthropocene, and other books.“The idea of a kind of inert world that is simply there for our pleasure, enjoyment, and exploitation has proved to be catastrophically mistaken because we see it with flooding, we see it with forest fires. We see it with acidification of the oceans. We see it with the continuing rise in temperatures that the world itself, the more-than-human world is fighting back. It has taken on its own agency. And therefore, the idea of a pyramid, a hierarchy, is no longer operative.”www.tcd.ie/French/people/michaelcronin.phpwww.cambridge.org/core/books/ecotravel/24263DF8E2E021915FEF4F937F146D25www.routledge.com/Eco-Translation-Translation-and-Ecology-in-the-Age-of-the-Anthropocene/Cronin/p/book/9781138916845www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."Dustin O’Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola’s Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry’s “Into Me You See” from her album Witness and appears on Leonard Cohen’s 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon.https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O’Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What will happen when Artificial General Intelligence arrives? What is the nature of consciousness? How are music and creativity pathways for reconnecting us to our humanity and the natural world?Dustin O’Halloran is a pianist and composer and member of the band A Winged Victory for the Sullen. Winner of a 2015 Emmy Award for his main title theme to Amazon's comedy drama Transparent, he was also nominated for an Oscar, a Golden Globe, and a BAFTA for his score for Lion, written in collaboration with Volker Bertelmann (aka Hauschka). He has composed for Wayne McGregor (The Royal Ballet, London), Sofia Coppola’s Marie Antoinette, Ammonite starring Kate Winslet, and The Essex Serpent starring Claire Danes. He produced Katy Perry’s “Into Me You See” from her album Witness and appears on Leonard Cohen’s 2019 posthumous album Thanks For The Dance. With six solo albums under his name, his latest album 1 0 0 1, which explores ideas of technology, humanity and mind-body dualism, is available on Deutsche Grammophon."The album 1 0 0 1 is really like a journey from our connection with nature to where we are now, in this moment where we're playing with technology. We're almost in this hybrid space, not fully understanding where it's going. And it's very deep in our subconscious and probably much greater than we realize. And it sort of ends in this space where the consciousness of what we're creating, it's going to be very separate from us. And I believe that's kind of where it's heading – the idea of losing humanity, losing touch with nature and becoming outside of something that we have created."https://dustinohalloran.com/www.deutschegrammophon.com/en/artists/dustin-o-halloranwww.imdb.com/name/nm0641169/bio/?ref_=nm_ov_bio_smMusic courtesy of Dustin O’Halloran and Deutsche Grammophonwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"That idea of planting seeds for future generations came from the Tusculan Disputations. There’s something especially empowering about Cicero. And it's very striking that Thomas Jefferson and John Adams and so many in the Founding Era viewed this manual about overcoming grief as the definition for achieving happiness. And I think it's because it's a philosophy of self-mastery, self-improvement, and self-empowerment.I was moved to organize the book according to 12 virtues by noting the incredible synchronicity that both Ben Franklin and Thomas Jefferson made lists of 12 or 13 virtues for achieving happiness. And then, of course, I wanted to tell the stories through people because that's the best way to relate to and attempt to practice self-mastery and see how people achieved it in their own lives."Jeffrey Rosen is President and CEO of the National Constitution Center, where he hosts We the People, a weekly podcast of constitutional debate. He is also a professor of law at the George Washington University Law School and a contributing editor at The Atlantic. Rosen is a graduate of Harvard College, Oxford University, and Yale Law School. He is the author of seven previous books, including the New York Times bestseller Conversations with RBG: Justice Ruth Bader Ginsburg on Life, Love, Liberty, and Law. His essays and commentaries have appeared in The New York Times Magazine; on NPR; in The New Republic, where he was the legal affairs editor; and in The New Yorker, where he has been a staff writer. His latest book is The Pursuit of Happiness: How Classical Writers on Virtue Inspired the Lives of the Founders and Defined America.https://constitutioncenter.org/about/board-of-trustees/jeffrey-rosenwww.simonandschuster.com/books/The-Pursuit-of-Happiness/Jeffrey-Rosen/9781668002476https://constitutioncenter.org/news-debate/podcastswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is the true meaning of the pursuit of happiness? What can we learn from the Founding Fathers about achieving harmony, balance, tranquility, self-mastery, and pursuing the public good?Jeffrey Rosen is President and CEO of the National Constitution Center, where he hosts We the People, a weekly podcast of constitutional debate. He is also a professor of law at the George Washington University Law School and a contributing editor at The Atlantic. Rosen is a graduate of Harvard College, Oxford University, and Yale Law School. He is the author of seven previous books, including the New York Times bestseller Conversations with RBG: Justice Ruth Bader Ginsburg on Life, Love, Liberty, and Law. His essays and commentaries have appeared in The New York Times Magazine; on NPR; in The New Republic, where he was the legal affairs editor; and in The New Yorker, where he has been a staff writer. His latest book is The Pursuit of Happiness: How Classical Writers on Virtue Inspired the Lives of the Founders and Defined America."That idea of planting seeds for future generations came from the Tusculan Disputations. There’s something especially empowering about Cicero. And it's very striking that Thomas Jefferson and John Adams and so many in the Founding Era viewed this manual about overcoming grief as the definition for achieving happiness. And I think it's because it's a philosophy of self-mastery, self-improvement, and self-empowerment.I was moved to organize the book according to 12 virtues by noting the incredible synchronicity that both Ben Franklin and Thomas Jefferson made lists of 12 or 13 virtues for achieving happiness. And then, of course, I wanted to tell the stories through people because that's the best way to relate to and attempt to practice self-mastery and see how people achieved it in their own lives."https://constitutioncenter.org/about/board-of-trustees/jeffrey-rosenwww.simonandschuster.com/books/The-Pursuit-of-Happiness/Jeffrey-Rosen/9781668002476https://constitutioncenter.org/news-debate/podcastswww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. The awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures).https://www.itaobrien.com/https://www.itaobrien.com/intimacy-on-set-guidelines.htmlhttps://www.imdb.com/name/nm1357677/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can intimate scenes be brought to the screen in ways that respect the emotional well-being and privacy of the artists themselves? How do we make sure that we can create a story about abuse without anyone being abused in the process?Ita O’Brien is the UK’s leading Intimacy Coordinator, founder of Intimacy on Set (and author of the Intimacy On Set Guidelines). Her company, set up in 2018 provides services to TV, film, and theatre when dealing with intimacy, and is a SAG-Aftra accredited training provider of Intimacy Practitioners. Intimacy on Set has supported numerous high-profile film and TV productions including Normal People & Conversations With Friends (BBC3/Hulu), Sex Education 1&2 (Netflix), I May Destroy You (BBC/HBO), It’s A Sin (Channel 4), (Neal Street Prods / Searchlight Pictures)."For years, people spoke about how awkward or embarrassing it was to perform the intimate content. And what they're speaking about is feeling horrible. If something's awkward, that squirm, that ring in the body, it feels embarrassing. That's actually an emotion that is not professional. That is not allowing the actor to stay feeling listened to, heard, empowered, autonomous. And so that they can just get on without any of those concerns and do their job to their best ability. And that's the awareness that we brought. So, we're saying, it is not suitable in our workplace for anybody to feel harassed or abused. The awareness in the industry, with acknowledging the injury from all those who came forward around the Weinstein allegations is the injury of when someone's coerced into doing something or that their career being threatened is emotional, psychological injury. It's really clear if you've got a stunt and someone's going to be jumping from roof to roof, they might fall down the cracks and break an ankle. Of course, the producers need to mitigate that risk and put in place everything so that the risk that you can perceive might happen is mitigated."https://www.itaobrien.com/https://www.itaobrien.com/intimacy-on-set-guidelines.htmlhttps://www.imdb.com/name/nm1357677/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The other big hard problem in philosophy is time. And I felt, you know, who better to lead me in this exploration than turtles, who live in some cases for centuries, who've been around...they arose with dinosaurs, yet they survived the asteroid impact. They are the embodiment of patience and wisdom. It's wonderful having an animal recognize you and be interested in you really acknowledges the animal in me. And that's the oldest, most sacred part of me, as far as I'm concerned."Author Sy Montgomery and illustrator Matt Patterson are naturalists, adventurers, and creative collaborators. Montgomery has published over thirty acclaimed nonfiction books for adults and children and received numerous honors, including lifetime achievement awards from the Humane Society and the New England Booksellers Association.Patterson’s illustrations have been featured in several books and magazines, such as Yankee Magazine and Fine Art Connoisseur. He is the recipient of Roger Tory Peterson Wild American Art Award, National Outdoor Book Award for Nature and the Environment, and other honors. Most recently, Patterson provided illustrations for Freshwater Fish of the Northeast.Their joint books are Of Time and Turtles: Mending the World, Shell by Shattered Shell and The Book of the Turtle. Montgomery’s other books include The Soul of an Octopus, The Hawk’s Way and The Secrets of the Octopus (published in conjunction with a National Geographic TV series).www.mpattersonart.comhttps://symontgomery.comwww.harpercollins.com/products/of-time-and-turtles-sy-montgomery?variant=41003864817698www.harpercollins.com/products/the-book-of-turtles-sy-montgomery?variant=40695888609314https://press.uchicago.edu/ucp/books/book/distributed/F/bo215806915.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What can turtles teach us about time, patience, and wisdom? What can we learn about the mysteries of consciousness by observing animals? How can we open our senses and embrace the interconnectedness of all life on Earth?Author Sy Montgomery and illustrator Matt Patterson are naturalists, adventurers, and creative collaborators. Montgomery has published over thirty acclaimed nonfiction books for adults and children and received numerous honors, including lifetime achievement awards from the Humane Society and the New England Booksellers Association.Patterson’s illustrations have been featured in several books and magazines, such as Yankee Magazine and Fine Art Connoisseur. He is the recipient of Roger Tory Peterson Wild American Art Award, National Outdoor Book Award for Nature and the Environment, and other honors. Most recently, Patterson provided illustrations for Freshwater Fish of the Northeast.Their joint books are Of Time and Turtles: Mending the World, Shell by Shattered Shell and The Book of the Turtle. Montgomery’s other books include The Soul of an Octopus, The Hawk’s Way and The Secrets of the Octopus (published in conjunction with a National Geographic TV series)."The other big hard problem in philosophy is time. And I felt, you know, who better to lead me in this exploration than turtles, who live in some cases for centuries, who've been around...they arose with dinosaurs, yet they survived the asteroid impact. They are the embodiment of patience and wisdom. It's wonderful having an animal recognize you and be interested in you really acknowledges the animal in me. And that's the oldest, most sacred part of me, as far as I'm concerned."www.mpattersonart.comhttps://symontgomery.comwww.harpercollins.com/products/of-time-and-turtles-sy-montgomery?variant=41003864817698www.harpercollins.com/products/the-book-of-turtles-sy-montgomery?variant=40695888609314https://press.uchicago.edu/ucp/books/book/distributed/F/bo215806915.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"If you want to check in and get some clarity on what you believe, I tell people, well, just write something really honest and emotionally naked and read it back to yourself, and you'll see a lot of what you believe, think, fear, regret, desire, etc.We always reveal ourselves in our work. The truth is, I identify far more with those on the outside than on the inside. And even though from the outside it looks like I'm on the inside – you know, I'm a successful author, professor, white, privileged, educated, straight male from the United States – you can't get more privileged than that in a patriarchal, misogynistic, racist society. But I don't identify with those people. And I don't know if it's because of my youth or just how I am in the world. When you read that passage from Ghost Dogs back to me about my hatred of all those things. That hatred for those kinds of injustices has never left me. In fact, they've just grown sharper."Andre Dubus III’s nine books include the New York Times’ bestsellers House of Sand and Fog, The Garden of Last Days, and his memoir, Townie. His work has been included in The Best American Essays and The Best Spiritual Writing anthologies. His novel, House of Sand and Fog was a finalist for the National Book Award and was made into an Academy Award-nominated film starring Ben Kingsley and Jennifer Connelly. His most recent books are the novel, Such Kindness and a collection of personal essays, Ghost Dogs: On Killers and Kin. Dubus has been a finalist for the National Book Award, and has been awarded a Guggenheim Fellowship, The National Magazine Award for Fiction, two Pushcart Prizes, and is a recipient of an American Academy of Arts and Letters Award in Literature. His books are published in over twenty-five languages, and he teaches at the University of Massachusetts Lowell. www.andredubus.comwww.andredubus.com/ghost-dogswww.andredubus.com/house-of-sand-and-fogwww.andredubus.com/such-kindnesswww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast