How and when will we transition to a clean energy future? How have wetlands become both crucial carbon sinks and colossal methane emitters in a warming world? What lessons can we learn from non-human animals about living in greater harmony with nature?

Richard Black (Author of The Future of Energy · Fmr. BBC Environment Correspondent · Director of Policy & Strategy · Global Clean Energy Thinktank · Ember) addresses the substantial economic impact of fossil fuel subsidies, noting that the actual costs, when including climate change damages, reach up to six or seven trillion dollars annually, overshadowing the relatively small climate finance provided by Western governments.

Euan Nisbet (Earth Systems Scientist · Royal Holloway University of London) explores the role of methane in the atmosphere, its historical importance in maintaining the planet’s temperature, and its current contribution to global warming. He explains the sources of methane, including natural processes and human activities, and discusses recent trends and challenges tied to rising methane levels.

Julie Pierce (Vice President of Strategy & Planning · Minnesota Power) highlights her company's significant strides in sustainability. She outlines Minnesota Power's decade-long journey towards decarbonization, noting that they have transitioned from a 95% fossil-based portfolio to sourcing 50-60% of their energy from clean sources, including wind, solar, and hydropower.

Arash Abizadeh (Professor of Political Science · McGill University Author ofHobbes and the Two Faces of Ethics · Associate Editor · Free & Equal) reflects on the future we are leaving for the next generations. He underscores the social and political challenges of ensuring that the technologies and resources needed to adapt to climate change are distributed equitably across all societies.

Daniel Susskind(Economist · Oxford & King’s College London · Author of Growth: A Reckoning · A World Without Work) discusses the critical role of technological progress in driving economic growth. He advocates for a shift toward technologies that not only enhance prosperity but also protect the environment and promote social equity.

Ian Robertson(Author of How Confidence Works: The New Science of Self-belief · Co-Director of the Global Brain Health Institute · Co-Leader of The BrainHealth Project) calls for young people to connect with nature and develop mastery over their minds. He envisions a future where individuals can access the joy of being conscious, embodied beings in a healthy, natural world.

Ingrid Newkirk(Founder & President of PETA · People for the Ethical Treatment of Animals) emphasizes the shared traits between humans and other animals, advocating for a compassionate approach to all living beings. She urges listeners to recognize the personhood in animals and to treat them with respect and empathy.

This episode brings together diverse voices discussing critical environmental and ethical issues. From the economic burden of fossil fuel subsidies to the equitable distribution of climate adaptation resources, the importance of technological progress, and the need for the ethical treatment of animals.
To hear more from each guest, listen to their full interviews.

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“So there's something about this flowy synchronousness in nature and us as part of that nature that has been efficient, for example, for the social connectedness of beings. So if I feel more connected to you, I will be more willing to do something for you to collaborate with you and funny enough, we seem to be more coordinated and also solving problems.
This brain-body connection is incredibly important to understand. We don't have one brain for art and one brain for all other life; it's all one. Through the behaviors that we enact, whether good or bad for health, it's all one. We have a say in how our brain activates. One final thing you said about natural spaces: impressive work on the neuroscience of human-nature interaction has shown that when we are among trees, among birds, in nature, there is a biophilic effect. Our body and brain like it, and it manifests in a specific activation pattern in the brain—alpha band activity—and it is a restorative activation pattern. When we are in nature, something in evolution does that when we're there, our brain resets. Restoration means we get rid of toxins; it means that our brain gets this default mode network activation that is so good for resetting us, taking us out of the here and now. If we are in urban landscapes, even if they are very beautiful to look at—architecture, I love it, and we must look at it, and it is awe-inspiring—we do need to make sure to be in nature regularly because otherwise, our body cannot relax.”

Dr. Julia F. Christensen is a Danish neuroscientist and former dancer currently working as a senior scientist at the Max Planck Institute for Empirical Aesthetics in Germany. She studied psychology, human evolution, and neuroscience in France, Spain and the UK. For her postdoctoral training, she worked in international, interdisciplinary research labs at University College London, City, University London and the Warburg Institute, London and was awarded a postdoctoral Newton International Fellowship by the British Academy. Her new book The Pathway to Flow is about the science of flow, why our brain needs it and how to create the right habits in our brain to get it.

https://www.linkedin.com/in/dr-julia-f-christensen-36539a144https://www.instagram.com/dr.julia.f.christensen?igsh=cHZkODgxczJqZmxl

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

How can we show more kindness, respect, and love to the animals we share this planet with? What lessons can we learn from non-human animals about living in greater harmony with nature?

Ingrid Newkirk is the Founder and President of PETA, actively leading the organization and advocating for animal rights. PETA is the largest animal rights organization in the world with more than 9 million members and supporters globally. Under her leadership, PETA has achieved significant victories, such as ending car-crash tests on animals, pushing major fashion brands to go fur-free, influencing Ringling Bros. to become an animal-free circus, and helping pass a law that allows the U.S. Food and Drug Administration to approve new medications without conducting cruel tests on animals. Ingrid has written 14 books and has been featured in major publications like The New Yorker and The Guardian, and was the subject of HBO's documentary I Am an Animal and was named one of Forbes’ “100 Most Powerful Women.” She joined One Planet Podcast to reflect on her 75 years as animal rights advocate.

“They’re not human traits. They’re all shared traits because, of course, we all love. We all love our families, or not. We all grieve if somebody we love disappears or dies. A family dog, perhaps. A grandfather. We all feel loneliness, we all feel joy. We all really value our freedom. And so I think, if anything, looking into the eyes of the animal, even online, you see a person in there. There’s a someone in whatever the shape or the physical properties of that individual are. And that lesson is that I am you. You are me, only different. We are all the same in all the ways that count…Any living being teaches you– Look into my eyes. And there you are, the reflection of yourself. So we need to learn from the animals how to live more gently and consume less and be more thoughtful and look out for each other in this great circle of life.

I think things do change because of agitation. So agitation is vital. I mean, nobody who is in a cause should be there to win a popularity contest, whether you're working for children or the elderly or working for peace animals, it's all against nonviolence, aggression, domination, and needless cruelty and suffering. It's all for respect. So you have to be vigorous. You have to use your voice. You can use it politely, but if people don't listen, at PETA, we escalate. So we always start off with a polite letter, a polite entreaty. We always try to, as I say, do the homework. So we have the options that we put out on the table to say, look, instead of doing this, you could do that, and we will help you transition to that.”
www.peta.org
www.ingridnewkirk.com

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Listen to Part 3 of this Special Series with music courtesy of composer Max Richter.

All voices on this episode are from our interviews for The Creative Process & One Planet Podcast:

PAULA PINHO, Director of Just Transition at the European Commission Directorate-General for Energy

PIA MANCINI, Co-founder/CEO of Open Collective - Chair of DemocracyEarth Foundation, YGL World Economic Forum

JENNIFER MORGAN, Fmr. Executive Director of Greenpeace International, Special Envoy for International Climate Action, German Foreign Ministry

WALTER STAHEL, Architect, Economist, Founding Father of Circular Economy, Founder-Director, Product-Life Institute

MERLIN SHELDRAKE, Biologist & Bestselling Author of Entangled Life: How Fungi Make Our Worlds, Change Our Minds, and Shape Our Futures, Winner of the Wainwright Prize 2021

RON GONEN, Founder & CEO of Closed Loop Partners, Former Deputy Commissioner of Sanitation, Recycling & Sustainability, NYC

MANUELA LUCÁ-DAZIO, Executive Director, Pritzker Architecture Prize, Fmr. Exec. Director of Venice Biennale, Visual Arts & Architecture Dept.

NICHOLAS ROYLE, Co-author of "An Introduction to Literature, Criticism and Theory”, Author of “Mother: A Memoir”

MARK BURGMAN, Director, Centre for Environmental Policy, Imperial College London, Editor-in-Chief, Conservation Biology

MIKE DAVIS, CEO of Global Witness

JAY FAMIGLIETTI, Fmr. Senior Water Scientist at NASA Jet Propulsion Laboratory, Exec. Director, Global Institute for Water Security, Host of "What About Water?" Podcast

BRITT WRAY, Author of “Generation Dread: Finding Purpose in an Age of Climate Crisis”, Researcher Working on Climate Change & Mental Health, Stanford University

RICHARD VEVERS, Founder & CEO of The Ocean Agency

ARMOND COHEN, Executive Director of Clean Air Task Force

BILL HARE, Founder & CEO of Climate Analytics, Physicist, Climate Scientist

DAVID PALUMBO-LIU, Activist, Professor & Author of “Speaking Out of Place: Getting Our Political Voices Back”, Host of Speaking out of Place Podcast

IBRAHIM ALHUSSEINI, Founder & CEO of FullCycle Fund

GAIA VINCE, Science Writer, Broadcaster & Author of “Transcendence” & “Adventures in the Anthropocene”

INGRID NEWKIRK, Founder & President of PETA - People for the Ethical Treatment of Animals

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

www.maxrichtermusic.com
https://studiorichtermahr.com

Max 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.

"And so there's always that element of doubt. It's like, I'm going to tell you a story. I'm going to tell you everything I know, but I don't know everything. And that little area creates a vibration that can run very deep because you can have that about your entire spiritual experience of life where you go on, I think this, I feel this, or I believe this, but I don't, I don't ultimately really know. And if you are very invested, the way Sister Aloysius (the older nun) is in her faith and her worldview and how she operates. For her to admit that she has doubt is an earthquake under the whole culture. And it's something that I think the whole culture has experienced."

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.

www.imdb.com/name/nm0788234

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

John Patrick Shanley is from The Bronx. His plays include Prodigal Son, Outside Mullingar (Tony nomination), Danny and the Deep Blue Sea, Savage in Limbo, Italian-American Reconciliation, Welcome to the Moon, Four Dogs and a Bone, Dirty Story, Defiance, and Beggars in the House of Plenty. His theatrical work is performed extensively across the United States and around the world. For his play, Doubt, he received both the Tony Award and the Pulitzer Prize. In the arena of screenwriting, he has ten films to his credit, most recently Wild Mountain Thyme, with Emily Blunt, Jamie Dornan, and Christopher Walken. His film of Doubt, with Meryl Streep, Philip Seymour Hoffman, Amy Adams, and Viola Davis, which he also directed, was nominated for five Academy Awards, including Best Adapted Screenplay. Other films include Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano (which he also directed), and Live From Baghdad for HBO (Emmy nomination). For his script of Moonstruck he received both the Writers Guild of America Award and an Academy Award for best original screenplay. In 2009, The Writers Guild of America awarded Mr. Shanley the Lifetime Achievement In Writing.

"And so there's always that element of doubt. It's like, I'm going to tell you a story. I'm going to tell you everything I know, but I don't know everything. And that little area creates a vibration that can run very deep because you can have that about your entire spiritual experience of life where you go on, I think this, I feel this, or I believe this, but I don't, I don't ultimately really know. And if you are very invested, the way Sister Aloysius (the older nun) is in her faith and her worldview and how she operates. For her to admit that she has doubt is an earthquake under the whole culture. And it's something that I think the whole culture has experienced."

www.imdb.com/name/nm0788234

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Listen to Part 2 of this Special Series with music courtesy of composer Max Richter.

All voices on this episode are from our interviews for The Creative Process & One Planet Podcast:

MANUELA LUCÁ-DAZIO - Executive Director, Pritzker Architecture Prize - Fmr. Exec. Director of Venice Biennale, Visual Arts & Architecture Dept.

BRITT WRAY - Author of “Generation Dread: Finding Purpose in an Age of Climate Crisis”, Researcher Working on Climate Change & Mental Health, Stanford University

WALTER STAHEL - Architect, Economist, Founding Father of Circular Economy - Founder-Director, Product-Life Institute

MATHIS WACKERNAGEL - Founder & President of the Global Footprint Network - World Sustainability Award Winner

JAY FAMIGLIETTI, Fmr. Senior Water Scientist at NASA Jet Propulsion Laboratory, Exec. Director, Global Institute for Water Security, Host of "What About Water?" Podcast

RICHARD VEVERS - Founder & CEO of The Ocean Agency

ARMOND COHEN - Executive Director of Clean Air Task Force

PAULA PINHO - Director of Just Transition at the European Commission Directorate-General for Energy

MARTIN VON HILDEBRAND - Indigenous Rights Activist - Winner of Right Livelihood & Skoll Awards - Founder of Fundacion Gaia Amazonas, named #40 NGOs of the World by The Global Journal

HAROLD P. SJURSEN - Professor of Philosophy - Science, Technology, the Arts - NYU, Beihang University, East China University

BILL HARE - Founder & CEO of Climate Analytics, Physicist, Climate Scientist

SIR ANDY HAINES - Tyler Prize Award-winner for Environmental Achievement - Professor of Environmental Change & Public Health

LISA JACKSON PULVER - Deputy Vice-Chancellor of University of Sydney's Indigenous Strategy & Services 

Max Richter’s music featured in this episode:

“Spring 1” from The New Four Seasons – Vivaldi Recomposed
Vladimir’s Blues” from The Blue Notebooks
"Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour,

Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

www.maxrichtermusic.com
https://studiorichtermahr.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Today we’re streaming voices of environmentalists, artists, students, and teachers. Enjoy Part 1 of this Special Series with music courtesy of composer Max Richter.

All voices on this episode are from our interviews for The Creative Process & One Planet Podcast:

MAX RICHTER

INGRID NEWKIRK, Founder of PETA

BERTRAND PICCARD, Aviator of 1st Round-the-World Solar-Powered Flight, Explorer, Founder, Solar Impulse Foundation

CARL SAFINA, Ecologist, Founding President of Safina Center

CLAIRE POTTER, Designer, Lecturer, Author of “Welcome to the Circular Economy”

ADA LIMÓN, U.S. Poet Laureate, Host of The Slowdown podcast

CYNTHIA DANIELS, Grammy and Emmy award-winning producer, engineer, composer

JOELLE GERGIS, Lead Author of the IPCC Sixth Assessment Report, Author of “Humanity’s Moment”

KATHLEEN ROGERS, President of EARTHDAY.ORG

ODED GALOR, Author of “The Journey of Humanity”, Founder of Unified Growth Theory

SIR GEOFF MULGAN, Fmr. Chief Executive of Nesta, Fmr, Prime Minister’s Strategy Unit Director & Downing Street’s Head of Policy, Author of “Another World is Possible”

ALAIN ROBERT, Rock & Urban Climber known for Free Solo Climbing 150+ of the World’s Tallest Skyscrapers using no Climbing Equipment

NOAH WILSON-RICH, Co-founder & CEO of The Best Bees Company

CHRIS FUNK, Director of the Climate Hazards Center at UC Santa Barbara, Author of Drought, Flood, Fire: How Climate Change Contributes to Recent Catastrophes

DAVID FARRIER, Author of “Footprints: In Search of Future Fossils”

DR. SUZANNE SIMARD, Professor of Forest Ecology, Author of “Finding the Mother Tree”

PETER SINGER, “Most Influential Living Philosopher”, Author, Founder of The Life You Can Save

JENNIFER MORGAN, Fmr. Executive Director of Greenpeace International, Special Envoy for International Climate Action, German Foreign Ministry

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

www.maxrichtermusic.com
https://studiorichtermahr.com

Max 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.

"I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.

You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.

The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."

Composer Max Richter is known for his ability to translate profound human emotions into music. Max’s record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.

A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.

Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.

He’s the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It’s a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.

www.maxrichtermusic.com

https://studiorichtermahr.com

Photo by William Waterworth

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Max Richter’s music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.

Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

Composer Max Richter is known for his ability to translate profound human emotions into music. Max’s record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.

A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.

Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.

He’s the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It’s a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community.

"I think there's something about our culture which sort of erodes those connections to those experiences. And I think particularly large-scale creative works can allow us to reconnect to them because they feel like alternate realities. So when you go to a Sleep performance, you are entering a kind of different world.

You are, as an audience member, you've made a decision to go into a room with 500 people and be vulnerable, going to sleep with strangers in this kind of altered space, altered state. And it's a kind of community which goes on a journey together. So all of these basic human things are encapsulated in the piece.

The world is very busy, and we tend to get a bit sidetracked by things that are not important. Creativity is a way to reconnect with important things. And I think the kinds of narratives, the kinds of perspectives that we put into the world with creativity can be a way to elevate the gaze a little bit. And it's true that literature is a big part of what I'm about in a way. I love stories, music, literature, visual art… These are ways to experience how another mind encounters the world. And that, for me, is really the most exciting thing about when you are reading a piece of writing by someone or you are seeing a piece of visual art – you are seeing a window into that person's encounter with reality. That person's biography. What things mean to them. And then you can compare notes with that person. How is it that person sees these things, and how do I see these things? And it's a way to understand one another. And I think that's really one of the most important things that creativity does in our world."

www.maxrichtermusic.com

https://studiorichtermahr.com

Photo by William Waterworth

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Max Richter’s music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir’s Blues” from The Blue Notebooks.

Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

00:25 JERICHO BROWN - Pulitzer Prize-Winning Poet, Author of “The Tradition” & “The New Testament”

00:39 JILL HEINERTH - Explorer, Presenter, Author of “Into The Planet: My Life as a Cave Diver”

01:02 ALICE FULTON - Poet - Recipient of MacArthur “Genius”, NEA & Guggenheim Fellowships

01:31 BERTRAND PICCARD - Aviator of 1st Round-the-World Solar-Powered Flight, Explorer, Founder, Solar Impulse Foundation: 1000+ Profitable Climate Solutions

02:31 CHRIS BLACKWELL - Founder of Island Records - Bob Marley, U2, Cat Stevens, Grace Jones, Roxy Music, Amy Winehouse…Author of “The Islander: My Life in Music and Beyond"

03:31 ALICE NOTLEY - Poet & Artist - Academy of American Poets Award Winner

04:08 MIA FUNK - Artist, Writer & Host of The Creative Process reads “In My Dreams"

04:45 MAX STOSSEL - Award-winning Poet, Filmmaker, Speaker - Creator of "Words That Move”

05:04 GERALD FLEMING - Poet, Author of the collections “The Choreographer”, “One”, “Night of Pure Breathing”, among others

05:29 MARGO BERDESHEVSKY - Award-winning Poet - "Kneel Said the Night”,"Before The Drought”, “Between Soul & Stone”

05:56 SAM LEVY - Award-winning Cinematographer of “Lady Bird” “Frances Ha” “While We’re Young” “Confess, Fletch”

06:31 CHAYSE IRVIN - Award-winning Cinematographer - “Blonde" starring Ana de Armas, “Beyonce: Lemonade”, Spike Lee’s “BlacKkKlansman”

06:57 KARINA MANASHIL - President of Mad Solar - Creative Confidante for Kid Cudi - Executive Producer of Netflix’s “Entergalactic”, A24’s “Pearl”, “X”

07:37 CARL SAFINA - Ecologist - Founding President of Safina Center - NYTimes Bestselling Author of “Becoming Wild: How Animal Cultures Raise Families, Create Beauty, and Achieve Peace”, among others

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Flower Duet - Leo Delibes
Creative Commons  Attribution 3.0 Unported  CC BY 3.0
https://creativecommons.org/licenses/by/3.0/
Conducted by Philip Milman https://pmmusic.pro/

“The history of the film Dream is I was contacted by an advertising agency a number of years ago that had a client who was an animation company that wanted to do a short animation on wildlife. So we met and we discussed how long this would be, and what the content would be. And they said, "Choose several species that are impacted right now." And we chose the baby harp seal because Canada in their great wisdom decided to start hunting baby seals again in eastern Canada. A rhino was chosen because, at that time, rhino poaching was the highest level it had ever been in history. I think more than 2,000 rhinos were killed that year just in South Africa alone, not even counting other countries. We chose to the humpback whale because some imbecile within the United States government decided that there were enough humpback whales now that we could start resuming whale hunting in this country. And the pelican was chosen because of the oil spill in the Gulf of Mexico, which had devastating consequences. And we still have those consequences today. The oil is still there. It's just under the sand. It's not like all the oil has been cleaned up. We were very fortunate that that animation was presented at Cannes that year and it won two awards, a Golden Lion and a Silver Lion Award.”

Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.

www.wcff.org
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.

“The history of the film Dream is I was contacted by an advertising agency a number of years ago that had a client who was an animation company that wanted to do a short animation on wildlife. So we met and we discussed how long this would be, and what the content would be. And they said, "Choose several species that are impacted right now." And we chose the baby harp seal because Canada in their great wisdom decided to start hunting baby seals again in eastern Canada. A rhino was chosen because, at that time, rhino poaching was the highest level it had ever been in history. I think more than 2,000 rhinos were killed that year just in South Africa alone, not even counting other countries. We chose to the humpback whale because some imbecile within the United States government decided that there were enough humpback whales now that we could start resuming whale hunting in this country. And the pelican was chosen because of the oil spill in the Gulf of Mexico, which had devastating consequences. And we still have those consequences today. The oil is still there. It's just under the sand. It's not like all the oil has been cleaned up. We were very fortunate that that animation was presented at Cannes that year and it won two awards, a Golden Lion and a Silver Lion Award.”

www.wcff.org
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

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 have grown up in the kind of Western scientific tradition, so to speak. And what's interesting to see is that some of the questions that we get to ask now have sort of grown out of the Western scientific tradition, are things that have also been asked in quite different traditions. , when I was a kid, people would talk about sort of at a religious level, they would talk about souls and so on. And one would say, "Well, that just can't be anything scientific." I mean, you know, what does a soul weigh? Anything that exists must have a weight; that sounded reasonable from the point of view of the narrow way of thinking about science at the time. Now that we understand this idea of computation, we understand that there can be a thing that is real and meaningful, but it doesn't have a weight. It is merely an abstract thing, a computational thing. And when we think about souls, that's, I think, the idea that what is going for is this kind of computational representation, this computational engram of what's in a brain, for example. And we now have a much better understanding of what that sort of engram, what that abstract, it has no physical weight or anything like that. It's just an abstract thing that can be rendered in a brain.”

www.stephenwolfram.com
www.wolfram.com
www.wolframalpha.com
www.wolframscience.com/nks/
www.amazon.com/dp/1579550088/ref=nosim?tag=turingmachi08-20
www.wolframphysics.org
www.wolfram-media.com/products/what-is-chatgpt-doing-and-why-does-it-work/

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“So I think this is like the same as it has been forever. This is not new. Centuries and centuries ago we had the same challenges. This all starts with how you behave. And so I think it starts there.

And then I would say there are a lot of really good tooling that we can still use. If you remember, your generation has been so good at using tooling to hack and troll governments and politicians. And I am in awe. I mean, talk about hack the system. You are like the new Anonymous, and I love that. Like I am right there with you. I don't even use TikTok, but if you want me to use TikTok for something, I will. So just keep using social media to troll the trolls. I think that is a very important thing that you can do and occupy that space. And then lastly, build alternatives and support alternatives. We have distributed social media projects. We have New_ Public, which is this amazing group in the United States that is like designing public spaces and rethinking digital spaces and they're incredible. Support those projects. Support everyone who's building distributed mesh infrastructure. If there's a generation that is multiplayer, it is you guys. And so you need to play in all these different games at the same time and build the alternative while you are using whatever you have at your hands to make sure that we are pushing for our agenda.

I think it's fundamental that we figure out a way of doing this. I think it's absolutely wrong and unfair that those who are about to leave this Earth are the ones making decisions for those staying on Earth. That doesn't make any sense. So, how do we do it? I am not the right person for doing policy. I'm a systems thinker, so I think about systems, but how we implement the policy for that, I don't know. I do know that philosophically we must include everyone who shares this planet with us in the decision-making process.

It starts with different levels. It starts with how you react when you read something. It starts with each of us personally, how we behave and how we act on social media, and educating ourselves on misinformation and disinformation tactics to be able to see them and not be part of that hyper-reactionary movement where everything is like a disaster, or we react every time we feel like offended by everything.”

Pia Mancini is a democracy activist, political scientist, open source sustainer, co-founder & CEO at Open Collective and Chair of DemocracyEarth Foundation. She has worked in politics in Argentina as the Chief of Advisers and Deputy Secretary of Political Affairs, Government of the City of Buenos Aires and CIPPEC think tank. She has developed technology for democracy around the world and is a YC Alum, Young Global Leaders (World Economic Forum). She co-founded DemocracyOS & The Net Party (Partido de la Red).

www.piamancini.com

https://opencollective.com

https://democracy.earth

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Pia Mancini is a democracy activist, political scientist, open source sustainer, co-founder & CEO at Open Collective and Chair of DemocracyEarth Foundation. She has worked in politics in Argentina as the Chief of Advisers and Deputy Secretary of Political Affairs, Government of the City of Buenos Aires and CIPPEC think tank. She has developed technology for democracy around the world and is a YC Alum, Young Global Leaders (World Economic Forum). She co-founded DemocracyOS & The Net Party (Partido de la Red).

“So I think this is like the same as it has been forever. This is not new. Centuries and centuries ago we had the same challenges. This all starts with how you behave. And so I think it starts there.

And then I would say there are a lot of really good tooling that we can still use. If you remember, your generation has been so good at using tooling to hack and troll governments and politicians. And I am in awe. I mean, talk about hack the system. You are like the new Anonymous, and I love that. Like I am right there with you. I don't even use TikTok, but if you want me to use TikTok for something, I will. So just keep using social media to troll the trolls. I think that is a very important thing that you can do and occupy that space. And then lastly, build alternatives and support alternatives. We have distributed social media projects. We have New_ Public, which is this amazing group in the United States that is like designing public spaces and rethinking digital spaces and they're incredible. Support those projects. Support everyone who's building distributed mesh infrastructure. If there's a generation that is multiplayer, it is you guys. And so you need to play in all these different games at the same time and build the alternative while you are using whatever you have at your hands to make sure that we are pushing for our agenda.

I think it's fundamental that we figure out a way of doing this. I think it's absolutely wrong and unfair that those who are about to leave this Earth are the ones making decisions for those staying on Earth. That doesn't make any sense. So, how do we do it? I am not the right person for doing policy. I'm a systems thinker, so I think about systems, but how we implement the policy for that, I don't know. I do know that philosophically we must include everyone who shares this planet with us in the decision-making process.

It starts with different levels. It starts with how you react when you read something. It starts with each of us personally, how we behave and how we act on social media, and educating ourselves on misinformation and disinformation tactics to be able to see them and not be part of that hyper-reactionary movement where everything is like a disaster, or we react every time we feel like offended by everything.”

www.piamancini.com

https://opencollective.com

https://democracy.earth

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Professor Lisa Jackson Pulver is a proud Aboriginal woman with connections to communities in southwestern New South Wales, South Australia, and beyond. She is the Deputy Vice-Chancellor of Indigenous Strategy and Services for the University of Sydney and leads the institution's strategy to advance Indigenous participation, engagement, education, and research, including the university's One Sydney, Many People 2021-2024 strategy.

She is a recognized expert and tireless advocate for health and education. Her research focuses on capacity building for healthcare workers and improved health for Aboriginal and Torres Strait Islander people. She serves her country in the Royal Australian Air Force Specialist Reserve as a Group Captain and is a member of the Australian Statistical Advisory Committee, the Australian Medical Council, and the Health Performance Council of South Australia.

"So I think for me, there is an agency in having control over your own learning and really crappy things can happen to you, but it's really about what you can do with those. It's really about recognizing that, you know, there is an opportunity in everything. And for me, that opportunity was to escape at 14, and whilst on the streets, I thought, well, I can either live on the streets and do lots of drugs or become a sex worker...Neither of those things were what I wanted to do. What I really wanted to do was to become a social worker or become a nurse, or become someone who could help others out of this. But first I had to lift myself out of this. So, when I look back at my 14-year-old self and my 15-year-old self and 16 and 17-year-old self, I just cannot believe the wisdom I had then. And sometimes I think about things, and I wonder. I know I'm still not as wise now as I was then in some things. So, yeah, it's pretty interesting."

www.sydney.edu.au

www.sydney.edu.au/content/dam/corporate/documents/about-us/values-and-visions/one-sydney-many-people-digital.pdf

Season 2 of Business & Society focuses on Leaders, Sustainability & Environmental Solutions
Business & Society is a limited series co-hosted by Bruce Piasecki & Mia Funk www.oneplanetpodcast.org

“That's the thing that contributes most to a film is just really giving it your all. That's all I can do on a movie. I can't really make a movie good or not because that's decided by the spectator. That's not in my control. All I can do is give it everything that I have. Like that's just the love I have to give. So why bring in all these other things? Just set it up so you can give it everything that you've got each time. In those theoretical considerations about how a scene can function or be rendered or shot or executed or all these things, just think of it as, 'Oh, this is the challenge.' I want authenticity. How do we create an environment where that's more likely to happen? Because it's never going to be something that I can enforce, and the more I try to enforce it, the less likely it'll happen. So it's very tricky.

It's luck. Sometimes it works, and sometimes it doesn't. There's definitely times where I think back, like I would have liked to have done that differently. But that's always going to be the feeling, no matter how well you do it, you know?”

Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.

www.chayseirvin.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.

“That's the thing that contributes most to a film is just really giving it your all. That's all I can do on a movie. I can't really make a movie good or not because that's decided by the spectator. That's not in my control. All I can do is give it everything that I have. Like that's just the love I have to give. So why bring in all these other things? Just set it up so you can give it everything that you've got each time. In those theoretical considerations about how a scene can function or be rendered or shot or executed or all these things, just think of it as, 'Oh, this is the challenge.' I want authenticity. How do we create an environment where that's more likely to happen? Because it's never going to be something that I can enforce, and the more I try to enforce it, the less likely it'll happen. So it's very tricky.

It's luck. Sometimes it works, and sometimes it doesn't. There's definitely times where I think back, like I would have liked to have done that differently. But that's always going to be the feeling, no matter how well you do it, you know?”

www.chayseirvin.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.

We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.

www.pritzkerprize.com
www.pritzkerprize.com/jury#jury-node-2236
www.labiennale.org/en
Photo credits: Anselm Kiefer, Sylviane Sarfati

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.

“I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.

We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”

www.pritzkerprize.com
www.pritzkerprize.com/jury#jury-node-2236
www.labiennale.org/en
Photo credit: Anselm Kiefer

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“I still do workshops on oppression generally, but at this point, I've been focusing mostly on a workshop that's called Reclaiming Nature Writing, which has been a workshop that takes the idea of nature writing, which at least in the US has always been seen as a predominantly white male field and looks at writers that have existed for hundreds of years that have always been writing about nature but have maybe not been considered nature writers by the field generally.

So we look at writers like Audre Lorde who wrote about nature all the time but is not usually seen as a nature writer. And many others like that because it addresses ideas of land trauma and severement from nature and what are the historical causes for that? And what are the systems of oppression that have led certain people to be disconnected from nature in certain ways? And how can we heal that by telling new stories about the outdoors and travel and nature in general?”

Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.

www.amandaemachado.com

IG www.instagram.com/amandaemachado0

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.

“I still do workshops on oppression generally, but at this point, I've been focusing mostly on a workshop that's called Reclaiming Nature Writing, which has been a workshop that takes the idea of nature writing, which at least in the US has always been seen as a predominantly white male field and looks at writers that have existed for hundreds of years that have always been writing about nature but have maybe not been considered nature writers by the field generally.

So we look at writers like Audre Lorde who wrote about nature all the time but is not usually seen as a nature writer. And many others like that because it addresses ideas of land trauma and severement from nature and what are the historical causes for that? And what are the systems of oppression that have led certain people to be disconnected from nature in certain ways? And how can we heal that by telling new stories about the outdoors and travel and nature in general?”

www.amandaemachado.com

IG www.instagram.com/amandaemachado0

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“The Singularity reminds me - of course aware of lots and lots of differences - but it's a tendency which is as old as Gnosticism. I think, and a dream that people have had. It's a peculiar dream, in my mind because it's sort of saying that life is something like being in prison, and what we need to do, the future that we ought to want for ourselves, is to get out of jail. And so this is a profound denial of life. I guess that's what it is, we seem to be having a view that technology can free us from problems that we have.

It's as though nature has been the cause of our problem, and if we could only marshal our strongest self, which is seen in terms of this kind of powerful calculative type of reasoning, then we'll be able to achieve something, which is I guess utopian but reminds me of some kind of semi-religious kind of promise. So this sets everything up, and the need for rethinking a lot of things. We are material, physical, living creatures, and not just minds that are trapped inside a body.”

Harold P. Sjursen is an educator and administrator having served on the faculty of both a liberal arts college and school of engineering. His background is in the history of philosophy, but since childhood has sustained an interest in science and technology. His current research interests focus on the philosophy of technology, global philosophy, and technological ethics. His engineering education projects address issues related to the internationalization of higher education, the integration of the liberal arts and engineering and ethics beyond the codes for engineers.

http://harold-sjursen.org

www.creativeprocess.info
www.oneplanetpodcast.org
IG 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.org
https://paulhawken.com
https://drawdown.org
https://regeneration.org/nexus

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Harold P. Sjursen is an educator and administrator having served on the faculty of both a liberal arts college and school of engineering. His background is in the history of philosophy, but since childhood has sustained an interest in science and technology. His current research interests focus on the philosophy of technology, global philosophy, and technological ethics. His engineering education projects address issues related to the internationalization of higher education, the integration of the liberal arts and engineering and ethics beyond the codes for engineers.

“The Singularity reminds me - of course aware of lots and lots of differences - but it's a tendency which is as old as Gnosticism. I think, and a dream that people have had. It's a peculiar dream, in my mind because it's sort of saying that life is something like being in prison, and what we need to do, the future that we ought to want for ourselves, is to get out of jail. And so this is a profound denial of life. I guess that's what it is, we seem to be having a view that technology can free us from problems that we have.

It's as though nature has been the cause of our problem, and if we could only marshal our strongest self, which is seen in terms of this kind of powerful calculative type of reasoning, then we'll be able to achieve something, which is I guess utopian but reminds me of some kind of semi-religious kind of promise. So this sets everything up, and the need for rethinking a lot of things. We are material, physical, living creatures, and not just minds that are trapped inside a body.”

http://harold-sjursen.org

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“People sometimes ask me if I'm optimistic, and sometimes they ask me if I've got hope. And I think there is a difference between the two. I mean, optimism is the kind of feeling that the probability is it's all going to be fine. And hope is the feeling that there's still a good chance that things could work out well. And I think I'm more at the kind of hope that the optimism that, you know, we have so much knowledge within our grasp. And we have so much technology that we could use. But it isn't just about technology, it's also about values. What kind of values, and what kind of society do we want to live in? What kind of values do we have collectively as a community, and as a society? And that's a much more contested field. I do think that we do need to really raise that as an issue in society. What kind of society do we want to live in? And what kind of future do we want for ourselves? But also for those that will come after us? And I think that's a crucial debate that we should be having now. I think this big issue is what are the values that drive our society? What kind of a future do we want? And I'd like to see much more of a debate in public discussion about that.”

Andy Haines was formerly a family doctor and Professor of Primary Health Care at UCL. He developed an interest in climate change and health in the 1990’s and was a member of the Intergovernmental Panel on Climate Change for the 2nd and 3rd assessment exercises and review editor for the health chapter in the 5th assessment. He was Director (formerly Dean) of the London School of Hygiene & Tropical Medicine from 2001- October 2010. He chaired the Scientific Advisory Panel for the 2013 WHO World Health Report, the Rockefeller /Lancet Commission on Planetary Health (2014-15) and the European Academies Science Advisory Council working group on climate change and health (2018-19). He currently co-chairs the InterAcademy Partnership (140 science academies worldwide) working group on climate change and health and is also co-chairing the Lancet Pathfinder Commission on health in the zero-carbon economy.  He has published many papers on topics such as the effects of environmental change on health and the health co-benefits of low carbon policies. His current research focuses on climate change mitigation, sustainable healthy food systems and complex urban systems for sustainability. He was awarded the Tyler Prize for Environmental Achievement in 2022.

www.lshtm.ac.uk

https://tylerprize.org
www.interacademies.org

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Andy Haines was formerly a family doctor and Professor of Primary Health Care at UCL. He developed an interest in climate change and health in the 1990’s and was a member of the Intergovernmental Panel on Climate Change for the 2nd and 3rd assessment exercises and review editor for the health chapter in the 5th assessment. He was Director (formerly Dean) of the London School of Hygiene & Tropical Medicine from 2001- October 2010. He chaired the Scientific Advisory Panel for the 2013 WHO World Health Report, the Rockefeller /Lancet Commission on Planetary Health (2014-15) and the European Academies Science Advisory Council working group on climate change and health (2018-19). He currently co-chairs the InterAcademy Partnership (140 science academies worldwide) working group on climate change and health and is also co-chairing the Lancet Pathfinder Commission on health in the zero-carbon economy.  He has published many papers on topics such as the effects of environmental change on health and the health co-benefits of low carbon policies. His current research focuses on climate change mitigation, sustainable healthy food systems and complex urban systems for sustainability. He was awarded the Tyler Prize for Environmental Achievement in 2022.

“People sometimes ask me if I'm optimistic, and sometimes they ask me if I've got hope. And I think there is a difference between the two. I mean, optimism is the kind of feeling that the probability is it's all going to be fine. And hope is the feeling that there's still a good chance that things could work out well. And I think I'm more at the kind of hope that the optimism that, you know, we have so much knowledge within our grasp. And we have so much technology that we could use. But it isn't just about technology, it's also about values. What kind of values, and what kind of society do we want to live in? What kind of values do we have collectively as a community, and as a society? And that's a much more contested field. I do think that we do need to really raise that as an issue in society. What kind of society do we want to live in? And what kind of future do we want for ourselves? But also for those that will come after us? And I think that's a crucial debate that we should be having now. I think this big issue is what are the values that drive our society? What kind of a future do we want? And I'd like to see much more of a debate in public discussion about that.”

www.lshtm.ac.uk

https://tylerprize.org
www.interacademies.org

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“There's a great David Bowie song called ‘Memory of a Free Festival.’ It's a song about a concert that he organized in Beckenham in August 1969, the same weekend of Woodstock. He wrote this song about that concert. And in August 1969, also, his father died just 10 days or so before the concert. And his funeral took place days before.

So the song that Bowie wrote is, I think, deeply resonant of the death of his father, as well as about the concert itself. And it's an extraordinary song about the end of the 1960s as well. I think there's a sort of critical consensus that it's with this song that Bowie really started coming into his own. And the second part is just kind of chorus. ‘The Sun Machine is coming down, and we are going to have a party.’ And it's kind of demonic. It's an extraordinary refrain, which really, it's hypnotic. It's mesmerizing.

And I found myself trying to think about this idea of a sun machine. What is a sun machine? How might we describe a sun machine? What do we feel about the idea of a sun machine? Something affirmative but strange that is arriving, that's coming down, and that we are going to celebrate. We're going to have a party. So the sun machine in the book is in part an attempt to think about what music does to me, or what music might do to people more generally.

And that's another key way, I suppose, in which I'm interested in the wordless. The power of listening. The power of music. The capacity that music has to transport and to transform, but also the power of music. And this is something that David Bowie realized very early on. I think the power of music and its links with memory. So the relationship between music and mourning, but also the way in which our memories of our lives are bound up with music and how listening to music can be like opening a portal into the past. And into particular ways of thinking about memory.”

Nicholas Royle is Professor Emeritus of English at the University of Sussex, England, where he has been based since 1999. He has also taught at the University of Oxford, the University of Tampere, and the University of Stirling; and has been a visiting professor at the universities of Århus, Santiago del Compostela, Turku, Manitoba, and Lille. He is a managing editor of the Oxford Literary Review and director of Quick Fictions. He has published many books, including Telepathy and Literature, E.M. Forster, Jacques Derrida, The Uncanny, Veering: A Theory of Literature, How to Read Shakespeare, and Hélène Cixous: Dreamer, Realist, Analyst, Writing, as well as the novels Quilt and An English Guide to Birdwatching, and Mother: A Memoir. In addition, he is co-author with Andrew Bennett of three books: Elizabeth Bowen and the Dissolution of the Novel, This Thing Called Literature: Reading, Thinking, Writing, and An Introduction to Literature, Criticism and Theory Sixth edition, 2023. Royle’s current projects include a detective novel, a collection of essays about new approaches to narrative theory, and a collaborative work with Timothy Morton on Covid-19. His latest book, David Bowie, Enid Blyton and the Sun Machine, is due to be published in November 2023.

www.routledge.com/An-Introduction-to-Literature-Criticism-and-Theory/Bennett-Royle/p/book/9781032158846
https://myriadeditions.com/creator/nicholas-royle/
https://quickfiction.co.uk/

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Nicholas Royle is Professor Emeritus of English at the University of Sussex, England, where he has been based since 1999. He has also taught at the University of Oxford, the University of Tampere, and the University of Stirling; and has been a visiting professor at the universities of Århus, Santiago del Compostela, Turku, Manitoba, and Lille. He is a managing editor of the Oxford Literary Review and director of Quick Fictions. He has published many books, including Telepathy and Literature, E.M. Forster, Jacques Derrida, The Uncanny, Veering: A Theory of Literature, How to Read Shakespeare, and Hélène Cixous: Dreamer, Realist, Analyst, Writing, as well as the novels Quilt and An English Guide to Birdwatching, and Mother: A Memoir. In addition, he is co-author with Andrew Bennett of three books: Elizabeth Bowen and the Dissolution of the Novel, This Thing Called Literature: Reading, Thinking, Writing, and An Introduction to Literature, Criticism and Theory Sixth edition, 2023. Royle’s current projects include a detective novel, a collection of essays about new approaches to narrative theory, and a collaborative work with Timothy Morton on Covid-19. His latest book, David Bowie, Enid Blyton and the Sun Machine, is due to be published in November 2023.

“There's a great David Bowie song called ‘Memory of a Free Festival.’ It's a song about a concert that he organized in Beckenham in August 1969, the same weekend of Woodstock. He wrote this song about that concert. And in August 1969, also, his father died just 10 days or so before the concert. And his funeral took place days before.

So the song that Bowie wrote is, I think, deeply resonant of the death of his father, as well as about the concert itself. And it's an extraordinary song about the end of the 1960s as well. I think there's a sort of critical consensus that it's with this song that Bowie really started coming into his own. And the second part is just kind of chorus. ‘The Sun Machine is coming down, and we are going to have a party.’ And it's kind of demonic. It's an extraordinary refrain, which really, it's hypnotic. It's mesmerizing.

And I found myself trying to think about this idea of a sun machine. What is a sun machine? How might we describe a sun machine? What do we feel about the idea of a sun machine? Something affirmative but strange that is arriving, that's coming down, and that we are going to celebrate. We're going to have a party. So the sun machine in the book is in part an attempt to think about what music does to me, or what music might do to people more generally.

And that's another key way, I suppose, in which I'm interested in the wordless. The power of listening. The power of music. The capacity that music has to transport and to transform, but also the power of music. And this is something that David Bowie realized very early on. I think the power of music and its links with memory. So the relationship between music and mourning, but also the way in which our memories of our lives are bound up with music and how listening to music can be like opening a portal into the past. And into particular ways of thinking about memory.”

www.routledge.com/An-Introduction-to-Literature-Criticism-and-Theory/Bennett-Royle/p/book/9781032158846
https://myriadeditions.com/creator/nicholas-royle/
https://quickfiction.co.uk/

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“I wrote a book called The Aquanaut for kids. I realized that our best hope for humanity is to ignite the imagination of kids. There were lots of things I was afraid of when I was a little kid. I was afraid of the dark. I was afraid to go down the basement stairs, and yet now I live most of my entire career in the dark, in places that would make people feel terrified and claustrophobic. So a lot of those young life experiences that I had I actually turned into my superpowers. And I want to encourage children to know that anything they dream of that they can make it come true with hard work and dedication. I talk all the time to groups, big and small, and I still get asked by people, 'Do you believe in climate change?' And I'm like, it's not a question of belief. It's science. It's happening. And although I might feel frustrated, I try to never communicate that frustration. I recognize that for whatever reason, someone just doesn't have the knowledge. So maybe it hasn't been taught at school. Maybe they've become subjected to the very strong voices of a political entity that has steered them away from believing in climate change. And so I try to take people at wherever they are and try to just very carefully and without judgment share what I've seen and my experiences and try to gently guide them towards better information sources because we can't just be polarized. We can't just call each other names when we don't understand. We have to help people to understand, put out a hand, and, hopefully, bring them onto our side, onto a better understanding of the science of what's occurring.”

Jill Heinerth is a Canadian cave diver, underwater explorer, writer, photographer, and filmmaker. She is a veteran of over thirty years of filming, photography, and exploration on projects in submerged caves around the world. She has made TV series, consulted on movies, written several books and is a frequent corporate keynote speaker. Jill is the first Explorer in Residence for the Royal Canadian Geographical Society, recipient of Canada’s prestigious Polar Medal and is a Fellow of the International Scuba Divers Hall of Fame. In recognition of her lifetime achievement, Jill was awarded the Sir Christopher Ondaatje Medal for Exploration from the RCGS and the William Beebe Award from the Explorers Club.

www.intotheplanet.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Jill Heinerth is a Canadian cave diver, underwater explorer, writer, photographer, and filmmaker. She is a veteran of over thirty years of filming, photography, and exploration on projects in submerged caves around the world. She has made TV series, consulted on movies, written several books and is a frequent corporate keynote speaker. Jill is the first Explorer in Residence for the Royal Canadian Geographical Society, recipient of Canada’s prestigious Polar Medal and is a Fellow of the International Scuba Divers Hall of Fame. In recognition of her lifetime achievement, Jill was awarded the Sir Christopher Ondaatje Medal for Exploration from the RCGS and the William Beebe Award from the Explorers Club.

“I wrote a book called The Aquanaut for kids. I realized that our best hope for humanity is to ignite the imagination of kids. There were lots of things I was afraid of when I was a little kid. I was afraid of the dark. I was afraid to go down the basement stairs, and yet now I live most of my entire career in the dark, in places that would make people feel terrified and claustrophobic. So a lot of those young life experiences that I had I actually turned into my superpowers. And I want to encourage children to know that anything they dream of that they can make it come true with hard work and dedication. I talk all the time to groups, big and small, and I still get asked by people, 'Do you believe in climate change?' And I'm like, it's not a question of belief. It's science. It's happening. And although I might feel frustrated, I try to never communicate that frustration. I recognize that for whatever reason, someone just doesn't have the knowledge. So maybe it hasn't been taught at school. Maybe they've become subjected to the very strong voices of a political entity that has steered them away from believing in climate change. And so I try to take people at wherever they are and try to just very carefully and without judgment share what I've seen and my experiences and try to gently guide them towards better information sources because we can't just be polarized. We can't just call each other names when we don't understand. We have to help people to understand, put out a hand, and, hopefully, bring them onto our side, onto a better understanding of the science of what's occurring.”

www.intotheplanet.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.

Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn’t blink. He didn’t bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.

Well, it's really great if you can be involved in doing something which  brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh,   this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”

Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley’s Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.

www.islandoutpost.com
www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701
www.islandrecords.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Chris Blackwell, an inductee of the Rock & Roll Hall of Fame, is widely considered responsible for turning the world on to reggae music. As the founder of Island Records, he helped forge the careers of Bob Marley, Cat Stevens, Grace Jones, U2, Roxy Music, among many other high-profile acts, and produced records including Marley’s Catch a Fire and Uprising. Blackwell currently runs Island Outpost, a group of elite resorts in Jamaica, which includes GoldenEye—the former home of author Ian Fleming. He received the A&R Icon Award in recognition of his lasting influence on the music business. He is author, with Paul Morley, of The Islander: My Life in Music and Beyond.

“I think you need to be aware and see people be open to what can happen and get a feel, get an instinct, I guess. I think I've been blessed with instinct. I mean, I did not do well at school. I passed zero exams. I'm unemployable, but I've been blessed with having instincts.

Miles Davis was the best teacher, always amused when I asked him questions. I was pretty cocky at the time, and I once asked him why he played so many bad notes, unlike Bix Beiderbecke and Louis Armstrong, who always played clean. He didn’t blink. He didn’t bite my head off. ‘Because I try and play what I hear in my head, he said, “not what I know I can already play.” That, to me, was the essence of jazz, trying to get somewhere new and not worrying if you made mistakes as long as you got there in the end. On a tightrope, and wobbling a little, but eventually gliding across that tightrope.

Well, it's really great if you can be involved in doing something which  brings something to people and lifts things. You know, if you can find a way to…when I say find a way, you just get an instinct of something, Oh,   this is going to be fun. That can be great. I'm always looking…I don't know that I'm deliberately looking at things. I think things have happened, and I've seen something or got a feel for something or feel for the person or… I think I've been given a lot of luck.”

www.islandoutpost.com
www.simonandschuster.com/books/The-Islander/Chris-Blackwell/9781982172701
www.islandrecords.com

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

"On mythologies or collective stories, in more recent writing, this is less true of Words That Move, but the next Special will very much draw on basically a religious or spiritual concept that my friend Alice Frank and Derek Hake and a couple of others have really helped instill in me as literally true - that I am literally you. That we are one thing looking through many different eyes. Like one thing having all of these different human experiences. And not as a metaphor, we're all one. No, like actually there's actual, literal oneness. And what does that look like to explore with words? But that is a concept that I will certainly be playing more on in the next Poetry Special."

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

www.wordsthatmove.com/

www.instagram.com/maxstossel/

www.humanetech.com
https://vimeo.com/690354718/54614a2318

www.creativeprocess.info
www.oneplanetpodcast.org
IG 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.org
https://paulhawken.com
https://drawdown.org
https://regeneration.org/nexus

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

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

"On mythologies or collective stories, in more recent writing, this is less true of Words That Move, but the next Special will very much draw on basically a religious or spiritual concept that my friend Alice Frank and Derek Hake and a couple of others have really helped instill in me as literally true - that I am literally you. That we are one thing looking through many different eyes. Like one thing having all of these different human experiences. And not as a metaphor, we're all one. No, like actually there's actual, literal oneness. And what does that look like to explore with words? But that is a concept that I will certainly be playing more on in the next Poetry Special."

www.wordsthatmove.com/

www.instagram.com/maxstossel/

www.humanetech.com
https://vimeo.com/690354718/54614a2318

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

"With Ginny, one of the things that we also really wanted to do in terms of her self-help, it was always a hundred percent - we always wanted representation and lived perspectives in front of and behind the camera. That's always been at the forefront and very important for us. So in terms of mental health, we have people that have that lived experience and so we would seek out true mental health professionals. We worked with Mental Health America, and we worked with a psychologist, her name's Dr. Taji Huang, who specialized in self-harm therapy. So, she would read our scripts. We would consult with her about our storylines. She would watch our cuts and have very specific thoughts.

And in season two, we always wanted to bring in Zion as a father because in season one Zion's in three episodes. We hear Ginny talk about him, but we don't get a sense of how close are they? And they're very, very close. And we really wanted to show that father figure helping her get into therapy and that you have a parent like Georgia who doesn't want therapy. And that sort of threatens her and how she grew up, and she doesn't believe in it but goes to therapy with Ginny and learns a lot about herself in that and how she really truly doesn't understand her daughter.

So we really took as much care as we could with people who had lived experiences with professionals just to try to make it as authentic as possible. And I think that's really translating on-screen because people really are identifying with it. It's so important to talk about it. It's okay that you're not okay. It's okay to go to therapy. It's okay to talk to your parents about it and your friends. This is all okay. We're all feeling the same way. We all do."

Debra J. Fisher is a writer, producer, and director. She currently serves as the showrunner, writer, and executive producer of the Netflix series Ginny & Georgia.  Season one of the hit series was watched by over 52 million subscribers in its first month on the platform, gathering a devoted fan base. The highly anticipated second season premiered on January 5th. Ginny & Georgia is Debra’s first time in the showrunner’s seat.  Through her long and varied career, she has worked her way up the ladder on numerous beloved TV shows including Alias, The O.C., Charmed, and Criminal Minds, among others. With a wealth of experience from her own professional journey, she works to pay it forward by mentoring the next generation of creatives.

www.instagram.com/debrajfisher
www.tiktok.com/@debrajfisher

www.netflix.com/tudum/articles/ginny-and-georgia-season-2-release-date

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Debra J. Fisher is a writer, producer, and director. She currently serves as the showrunner, writer, and executive producer of the Netflix series Ginny & Georgia.  Season one of the hit series was watched by over 52 million subscribers in its first month on the platform, gathering a devoted fan base. The highly anticipated second season premiered on January 5th. Ginny & Georgia is Debra’s first time in the showrunner’s seat.  Through her long and varied career, she has worked her way up the ladder on numerous beloved TV shows including Alias, The O.C., Charmed, and Criminal Minds, among others. With a wealth of experience from her own professional journey, she works to pay it forward by mentoring the next generation of creatives.

"With Ginny, one of the things that we also really wanted to do in terms of her self-help, it was always a hundred percent - we always wanted representation and lived perspectives in front of and behind the camera. That's always been at the forefront and very important for us. So in terms of mental health, we have people that have that lived experience and so we would seek out true mental health professionals. We worked with Mental Health America, and we worked with a psychologist, her name's Dr. Taji Huang, who specialized in self-harm therapy. So, she would read our scripts. We would consult with her about our storylines. She would watch our cuts and have very specific thoughts.

And in season two, we always wanted to bring in Zion as a father because in season one Zion's in three episodes. We hear Ginny talk about him, but we don't get a sense of how close are they? And they're very, very close. And we really wanted to show that father figure helping her get into therapy and that you have a parent like Georgia who doesn't want therapy. And that sort of threatens her and how she grew up, and she doesn't believe in it but goes to therapy with Ginny and learns a lot about herself in that and how she really truly doesn't understand her daughter.

So we really took as much care as we could with people who had lived experiences with professionals just to try to make it as authentic as possible. And I think that's really translating on-screen because people really are identifying with it. It's so important to talk about it. It's okay that you're not okay. It's okay to go to therapy. It's okay to talk to your parents about it and your friends. This is all okay. We're all feeling the same way. We all do."

www.instagram.com/debrajfisher
www.tiktok.com/@debrajfisher

www.netflix.com/tudum/articles/ginny-and-georgia-season-2-release-date

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

"I lived in New York City for a long time and about five years ago, my wife and I, with our two then very, very young kids, decided we wanted to leave the city. And I love Central Park. I love the city. There's so much to love about it. I wanted more outdoors, and I wanted more nature. I wanted water and trees, and I wanted things that I couldn't only find in Central Park. I wanted it to be all around. And so we moved out to Connecticut where we live, not so far from the water. There is unbelievable beauty out here. I run almost every day or go for long walks. And so for me, being in natural environments is really critical to my welfare. It's how I grew up in Australia. It's something that I missed for a long time when I was in the heart of Manhattan. A lot of people don't feel that way, but for me, that's personally very important." 

"We'll look at old news reels, and we'll look at ads from the fifties, sixties, seventies, the dawn of TV, really. And we look at those ads, and we sort of laugh in a superior way because they look so naive. And you're right, there is something very humane about them. They're very straightforward. They don't seem to be trying too hard to convince you of anything. And if they do, they just seem so obvious now. There's no trickery there. There's no chicanery. It's right there in front of you. And I think people weren't jaded in the same way back then. They were just taking things at face value. They weren't bombarded.”

Adam Alter is a Professor of Marketing at NYU’s Stern School of Business and the Robert Stansky Teaching Excellence Faculty Fellow. Adam is the New York Times bestselling author of Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked, and Drunk Tank Pink, which investigates how hidden forces in the world around us shape our thoughts, feelings, and behaviors. He has written for the New York Times, New Yorker, The Atlantic, Washington Post, and a host of TV, radio, and publications. His next book Anatomy of a Breakthrough will be published in 2023.
"I lived in New York City for a long time and about five years ago, my wife and I, with our two then very, very young kids, decided we wanted to leave the city. And I love Central Park. I love the city. There's so much to love about it. I wanted more outdoors, and I wanted more nature. I wanted water and trees, and I wanted things that I couldn't only find in Central Park. I wanted it to be all around. And so we moved out to Connecticut where we live, not so far from the water. There is unbelievable beauty out here. I run almost every day or go for long walks. And so for me, being in natural environments is really critical to my welfare. It's how I grew up in Australia. It's something that I missed for a long time when I was in the heart of Manhattan. A lot of people don't feel that way, but for me, that's personally very important." 

https://adamalterauthor.com
www.penguin.co.uk/books/431386/irresistible-by-adam-alter/9781784701659
www.simonandschuster.com/books/Anatomy-of-a-Breakthrough/Adam-Alter/9781982182960
www.stern.nyu.edu/faculty/bio/adam-alter

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Adam Alter is a Professor of Marketing at NYU’s Stern School of Business and the Robert Stansky Teaching Excellence Faculty Fellow. Adam is the New York Times bestselling author of Irresistible: The Rise of Addictive Technology and the Business of Keeping Us Hooked, and Drunk Tank Pink, which investigates how hidden forces in the world around us shape our thoughts, feelings, and behaviors. He has written for the New York Times, New Yorker, The Atlantic, Washington Post, and a host of TV, radio, and publications. His next book Anatomy of a Breakthrough will be published in 2023.

"I lived in New York City for a long time and about five years ago, my wife and I, with our two then very, very young kids, decided we wanted to leave the city. And I love Central Park. I love the city. There's so much to love about it. I wanted more outdoors, and I wanted more nature. I wanted water and trees, and I wanted things that I couldn't only find in Central Park. I wanted it to be all around. And so we moved out to Connecticut where we live, not so far from the water. There is unbelievable beauty out here. I run almost every day or go for long walks. And so for me, being in natural environments is really critical to my welfare. It's how I grew up in Australia. It's something that I missed for a long time when I was in the heart of Manhattan. A lot of people don't feel that way, but for me, that's personally very important." 

"We'll look at old news reels, and we'll look at ads from the fifties, sixties, seventies, the dawn of TV, really. And we look at those ads, and we sort of laugh in a superior way because they look so naive. And you're right, there is something very humane about them. They're very straightforward. They don't seem to be trying too hard to convince you of anything. And if they do, they just seem so obvious now. There's no trickery there. There's no chicanery. It's right there in front of you. And I think people weren't jaded in the same way back then. They were just taking things at face value. They weren't bombarded.”

https://adamalterauthor.com
www.penguin.co.uk/books/431386/irresistible-by-adam-alter/9781784701659
www.simonandschuster.com/books/Anatomy-of-a-Breakthrough/Adam-Alter/9781982182960
www.stern.nyu.edu/faculty/bio/adam-alter

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

"So a lot of people ask, in my line of work as a climate scientist, 'How do you not just fall into a state of despair and really just see the really dark aspects of human behavior and our inability to correct our course and do the right thing?' And the truth is that we all have to reconcile it in some way. And you can either be really consumed by those darker emotions and that feeling that people don't care. Or you can just try and see beauty where it is and connect with other people who are also doing their very best. So I think this kind of binary thinking of black and white people are good or bad isn't quite right. There's just shades of gray and sometimes people do the best that they can from day to day, but other times we just have to. I guess it's a sense of being stubborn and believing that there is goodness out there."

Dr. Joëlle Gergis is an award-winning climate scientist and writer at the Australian National University. She served as a lead author for the IPCC Sixth Assessment Report and is the author of Humanity’s Moment: A Climate Scientist’s Case for Hope and Sunburnt Country: The History and Future of Climate Change in Australia. Joëlle has also contributed chapters to The Climate Book by Greta Thunberg, and Not Too Late: Changing the Climate Story from Despair to Possibility, edited by Rebecca Solnit and Thelma Young Lutunatabua.

http://joellegergis.com
https://climatehistory.com.au
www.blackincbooks.com.au/authors/jo-lle-gergis

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Dr. Joëlle Gergis is an award-winning climate scientist and writer at the Australian National University. She served as a lead author for the IPCC Sixth Assessment Report and is the author of Humanity’s Moment: A Climate Scientist’s Case for Hope and Sunburnt Country: The History and Future of Climate Change in Australia. Joëlle has also contributed chapters to The Climate Book by Greta Thunberg, and Not Too Late: Changing the Climate Story from Despair to Possibility, edited by Rebecca Solnit and Thelma Young Lutunatabua.

"So a lot of people ask, in my line of work as a climate scientist, 'How do you not just fall into a state of despair and really just see the really dark aspects of human behavior and our inability to correct our course and do the right thing?' And the truth is that we all have to reconcile it in some way. And you can either be really consumed by those darker emotions and that feeling that people don't care. Or you can just try and see beauty where it is and connect with other people who are also doing their very best. So I think this kind of binary thinking of black and white people are good or bad isn't quite right. There's just shades of gray and sometimes people do the best that they can from day to day, but other times we just have to. I guess it's a sense of being stubborn and believing that there is goodness out there."

http://joellegergis.com
https://climatehistory.com.au
www.blackincbooks.com.au/authors/jo-lle-gergis

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

"I really feel that if there is something about art that I seek - I think people use art for many things - it's really some kind of a belief that we can transcend. I mean, if I try to kind of see it as some kind of a substitute for a religion. You know, religion tells us that there's something out there. There's somebody watching us, somebody doing something. And I think that for me, many times good art says there is something beyond our understanding that exists, and there is a way to get a step closer to it. Maybe not to unveil it, but we can get there. 

"There is something about both my parents, but I think especially my mother, it's as if the horrible circumstances that they lived through being Jews in the Holocaust, my mother losing her entire family - it was horrible and traumatic, but it was almost like a very extreme human experiment. And it created something. It's like many times when you put somebody in extreme situations, and most of the time he will crush or she will crush, but sometimes, a superhero will be born. And there is something about my parents, when I came to work on the exhibition about my mother Inside Out, I realized there is something about her that was so unique that it could not have been achieved in normal times. Because the thing that happened with my mother was that, when the war started, she was five years old. When the war ended, she was 11 years old. By the time she was about 10, all the people that she had known before the war had died. Her parents, her brother, her grandfather, her friends."
Author, Screenwriter, and Director Etgar Keret is a recipient of the French Chevalier des Arts et des Lettres, the Charles Bronfman Prize, and the Caméra d’Or at the Cannes Film Festival for Jellyfish, which he directed with his wife Shira Geffen. Most recently, they created the TV mini series The Middleman (L’Agent Immobilier) starring Mathieu Amalric. His books include the short story collections Fly Already, Suddenly a Knock on the Door, and his memoir The Seven Good Years. Etgar’s work has been translated into forty-five languages and has appeared in The New Yorker, The Paris Review,The New York Times, and This American Life.
A frequent collaborator with visual and performing artists, an exhibition inspired by his mother called Inside Out is currently showing at the Jewish Museum in Berlin until February 5th, 2023.

www.etgarkeret.com
The Middleman www.imdb.com/title/tt11523800
www.jmberlin.de/en/exhibition-inside-out-etgar-keret
https://etgarkeret.substack.com
Jellyfish http://www.imdb.com/title/tt0807721

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Author, Screenwriter, and Director Etgar Keret is a recipient of the French Chevalier des Arts et des Lettres, the Charles Bronfman Prize, and the Caméra d’Or at the Cannes Film Festival for Jellyfish, which he directed with his wife Shira Geffen. Most recently, they created the TV mini series The Middleman (L’Agent Immobilier) starring Mathieu Amalric. His books include the short story collections Fly Already, Suddenly a Knock on the Door, and his memoir The Seven Good Years. Etgar’s work has been translated into forty-five languages and has appeared in The New Yorker, The Paris Review,The New York Times, and This American Life.
A frequent collaborator with visual and performing artists, an exhibition inspired by his mother called Inside Out is currently showing at the Jewish Museum in Berlin until February 5th, 2023.

"I really feel that if there is something about art that I seek - I think people use art for many things - it's really some kind of a belief that we can transcend. I mean, if I try to kind of see it as some kind of a substitute for a religion. You know, religion tells us that there's something out there. There's somebody watching us, somebody doing something. And I think that for me, many times good art says there is something beyond our understanding that exists, and there is a way to get a step closer to it. Maybe not to unveil it, but we can get there. 

"There is something about both my parents, but I think especially my mother, it's as if the horrible circumstances that they lived through being Jews in the Holocaust, my mother losing her entire family - it was horrible and traumatic, but it was almost like a very extreme human experiment. And it created something. It's like many times when you put somebody in extreme situations, and most of the time he will crush or she will crush, but sometimes, a superhero will be born. And there is something about my parents, when I came to work on the exhibition about my mother Inside Out, I realized there is something about her that was so unique that it could not have been achieved in normal times. Because the thing that happened with my mother was that, when the war started, she was five years old. When the war ended, she was 11 years old. By the time she was about 10, all the people that she had known before the war had died. Her parents, her brother, her grandfather, her friends."

www.etgarkeret.com
The Middleman www.imdb.com/title/tt11523800
www.jmberlin.de/en/exhibition-inside-out-etgar-keret
https://etgarkeret.substack.com
Jellyfish http://www.imdb.com/title/tt0807721

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Photo credit: Lielle Sand

"As a minimal condition to be able to persist, we cannot use forever more than what we get back from nature, what nature can renew. It's a very mechanical view, but we are not even fulfilling this mechanical, bottom-line requirement. Ecologists will tell you that to maintain biodiversity because wild species are in competition for that regeneration, maybe it's not a good idea to use the entire capacity of the planet.

So shooting for one planet just means you would be totally dominant, and leave no space for other species. Ecologists say to maintain 85% of preindustrial biodiversity, it would take about at least half the planet left on its own. That would mean getting to half-planet. And now we use at least 1.75. I say at least because our assessments with about 15,000 data points per country in year are based on UN statistics, and their demand side is probably an underestimate because not all demands are included. And also on the supply side or the regeneration side, the UN is very production oriented, so it's the FAO numbers, for example, look at agricultural production, and the depletion side or the destruction side is not factored in adequately."

Mathis Wackernagel is Co-founder and President of Global Footprint Network. He created the Ecological Footprint with Professor William Rees at the University of British Columbia as part of his Ph.D. in community and regional planning. Mathis also earned a mechanical engineering degree from the Swiss Federal Institute of Technology. Mathis has worked on sustainability with governments, corporations and international NGOs on six continents and has lectured at more than 100 universities. Mathis has authored and contributed to more than 100 peer-reviewed papers, numerous articles, reports and various books on sustainability that focus on embracing resource limits and developing metrics for sustainability. Mathis’ awards include the 2018 World Sustainability Award, the 2015 IAIA Global Environment Award, being a 2014 ISSP Sustainability Hall of Fame Inductee, the 2013 Prix Nature Swisscanto, 2012 Blue Planet Prize, 2012 Binding Prize for Nature Conservation, the 2012 Kenneth E. Boulding Memorial Award of the International Society for Ecological Economics, the 2011 Zayed International Prize for the Environment (jointly awarded with UNEP). He was also selected as number 19 on the en(rich) list identifying the 100 top inspirational individuals whose contributions enrich paths to sustainable futures.

www.footprintnetwork.org

www.footprintnetwork.org/tools

www.overshootday.org/power-of-possibility/

www.creativeprocess.info
www.oneplanetpodcast.org

Instagram @creativeprocesspodcast

“So for me, it just kind of removing a lot of the shame and then a lot of the energy that I was wasting trying to fit myself into a neurotypical process or framework or way of thinking or being. So, you know, some people call that unmasking, just kind of removing. I was wasting a lot of energy, basically trying to be someone else and function in a different way. And then just beating myself up internally for not being able to do that. And throughout my healing journey, as I really realized, Oh, that's actually what's happening. Like there's not actually anything wrong with me being able to...That's why it's called Love Your Brain. It's not just, you know, tolerate your brain. Or, fine, you can work with this brain that you have. It's like, no, I genuinely love the weird experiences that my brain can give me and the incredibly rich, deep experience I have of the world. Like I experience nature so deeply and so intensely. I have really strong connections with animals. I have really great intuition, which I think is just from picking up all this sensory data and putting it together. All these experiences that I get to have, but I don't get to have those experiences if I'm just trying to make myself be something else, which I think is most people who are late diagnosed, I feel like that's their experience. It's just like I've been trying to be someone else for so long. It's exhausting. And then you don't have the energy then to be creative, the carving out the time, making the time to actually create.”

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.com
https://studio.com/mattia
https://mattiamauree.com/love-your-brain
https://www.audhdflourishing.com/hello

www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast

Mathis Wackernagel is Co-founder and President of Global Footprint Network. He created the Ecological Footprint with Professor William Rees at the University of British Columbia as part of his Ph.D. in community and regional planning. Mathis also earned a mechanical engineering degree from the Swiss Federal Institute of Technology. Mathis has worked on sustainability with governments, corporations and international NGOs on six continents and has lectured at more than 100 universities. Mathis has authored and contributed to more than 100 peer-reviewed papers, numerous articles, reports and various books on sustainability that focus on embracing resource limits and developing metrics for sustainability. Mathis’ awards include the 2018 World Sustainability Award, the 2015 IAIA Global Environment Award, being a 2014 ISSP Sustainability Hall of Fame Inductee, the 2013 Prix Nature Swisscanto, 2012 Blue Planet Prize, 2012 Binding Prize for Nature Conservation, the 2012 Kenneth E. Boulding Memorial Award of the International Society for Ecological Economics, the 2011 Zayed International Prize for the Environment (jointly awarded with UNEP). He was also selected as number 19 on the en(rich) list identifying the 100 top inspirational individuals whose contributions enrich paths to sustainable futures.

"As a minimal condition to be able to persist, we cannot use forever more than what we get back from nature, what nature can renew. It's a very mechanical view, but we are not even fulfilling this mechanical, bottom-line requirement. Ecologists will tell you that to maintain biodiversity because wild species are in competition for that regeneration, maybe it's not a good idea to use the entire capacity of the planet.

So shooting for one planet just means you would be totally dominant, and leave no space for other species. Ecologists say to maintain 85% of preindustrial biodiversity, it would take about at least half the planet left on its own. That would mean getting to half-planet. And now we use at least 1.75. I say at least because our assessments with about 15,000 data points per country in year are based on UN statistics, and their demand side is probably an underestimate because not all demands are included. And also on the supply side or the regeneration side, the UN is very production oriented, so it's the FAO numbers, for example, look at agricultural production, and the depletion side or the destruction side is not factored in adequately."

www.footprintnetwork.org

www.footprintnetwork.org/tools

www.overshootday.org/power-of-possibility/

www.creativeprocess.info
www.oneplanetpodcast.org

Instagram @creativeprocesspodcast

“It was really fun and ridiculous and great, and that resonates with people because we've all got inner children. You know, I'm still a little girl at heart. That doesn't go away. You don't suddenly become a grownup, become the most sensible person on the planet, and if you can tap into that on some level, it doesn't even have to be clever. You know, sometimes the simplest ideas are the best, the sweetest.

I also have a sense of humor. I like to laugh. I like to play music in the office. I like to tell jokes. I like to watch documentaries. I like to watch funny things, vintage, new. I don't think there's any right or wrong way. And I don't like perfection or everything having to be perfect because I'm a bit scruffy, but I do wear flowers in my hair because it makes me happy. And I do like to get dressed up every day and wear an outfit. If it's a vintage dress from years ago or something that makes me happy, whatever that is, I like to start my day feeling happy.”

Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She’s a Founding Member of NeueHouse where she moderates talks.

https://myyoungauntie.com

www.instagram.com/myyoungauntiepr

www.neuehouse.com

www.creativeprocess.info
www.oneplanetpodcast.org
Instagram @creativeprocesspodcast

Photo: Oberon in conversation with artist and fashion designer Jason Wu at NeueHouse

Oberon Sinclair is the CEO and founder of the creative and branding agency, My Young Auntie. Since she founded the company in 1997, Oberon has collaborated with and managed an array of notable clients from the high luxury, art, fashion, food and lifestyle sectors, including Hermès, Vivienne Westwood, Fabergé, the Richemont Group, Jack Spade, ArtForum, Selfridges, Rizzoli Books, Island Records, David Lee Roth, among others. Oberon is known as the Queen of Kale for reviving an interest in the superfood across the world. She’s a Founding Member of NeueHouse where she moderates talks.

“It was really fun and ridiculous and great, and that resonates with people because we've all got inner children. You know, I'm still a little girl at heart. That doesn't go away. You don't suddenly become a grownup, become the most sensible person on the planet, and if you can tap into that on some level, it doesn't even have to be clever. You know, sometimes the simplest ideas are the best, the sweetest.

I also have a sense of humor. I like to laugh. I like to play music in the office. I like to tell jokes. I like to watch documentaries. I like to watch funny things, vintage, new. I don't think there's any right or wrong way. And I don't like perfection or everything having to be perfect because I'm a bit scruffy, but I do wear flowers in my hair because it makes me happy. And I do like to get dressed up every day and wear an outfit. If it's a vintage dress from years ago or something that makes me happy, whatever that is, I like to start my day feeling happy.”

https://myyoungauntie.com

www.instagram.com/myyoungauntiepr

www.neuehouse.com

www.creativeprocess.info
www.oneplanetpodcast.org
Instagram @creativeprocesspodcast