Pablo Hoffman has always been passionate about plants and natural ecosystems, with special appreciation for research and dissemination with practical results for the production and conservation of native species. Pablo graduated in Forestry at the Federal University of Paraná (UFPR) 2002, had his Master’s in Forestry – UFPR 2014, currently he is a PhD candidate in Forestry. One of the Founders of the Sociedade Chauá, Pablo has been a board member since 2008. Currently is the Executive Director as well Coordinator of the Chauá Nursery of native species. A specialist in conservation, propagation and restoration of rare and endangered species of the Araucaria Forest, whose projects are locally and internationally recognized. As a result of Sociedade’s Chauá efforts to save endangered plant species Pablo was awarded the Marsh Award (2018), Whitley Award (2022), and Guardians of Nature (2022). As a life choice, working with conservation of rare and endangered plant species is the lifeblood of his personal and professional aspirations, to leave a positive legacy for the next generations, keeping the ecosystems alive with humans as part of it.“We're trying to do a nice thing to save species, but the problem is not ours. I mean it's ours as well, but the problem is a state problem or a countrywide problem. Everybody needs to see this. And also the communication about what we are doing. How hard what we are doing is in terms of even finding these species, and finding funds to keep on going.Almost 20 years of working with species conservation in a country like Brazil is quite difficult. It's like almost like a miracle that we are still here and keep on going. One of the questions of the Princess was: are you still doing the same? Are you still fighting for this? And she said it because normally people give up. And this is my life. This is my life. I want to leave a legacy, in terms of trying to do something to save this ecosystem, to save the species to make sure that my daughter can see some of the species in the future, and not only my daughter. So that people in the future can see, can discover more species, and can use the species."www.sociedadechaua.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I think it's led to a focus on success and standing out, and I do think that the more young people can walk away with an understanding that perhaps the best thing they can do in life is actually contribute to the lives of others, that's probably where they're going to get most of their happiness from and most of their fulfillment from. And the rest is probably a little bit hollow. You know, money doesn't really buy happiness. I mean, it certainly buys comfort, and we do know some money is very important for that. But you do need to feel connected to other people, and you can't whilst consuming and even promoting ourselves on social media. Or playing the popularity game or aiming to be famous. That seems to be a value that a lot of young people have these days, but I don't think that it's going to breed happiness. And so being able to really identify what the values are that are going to make us happy, that are going to connect us to meaning and purpose in other people and that will actually contribute to a better world for all of us, I think would be great. And I think there's competition and space for young people's minds at the moment. So if we can get them on board with some of those values and approaches to life, I think the future generations would probably be better off."Brock Bastian is author of The Other Side of Happiness: Embracing a More Fearless Approach to Living and a professor at University of Melbourne’s School of Psychological Sciences. His research and writing focus on pain, happiness, morality, and wellbeing. In his search for a new perspective on what makes for the good life, Bastian has studied why promoting happiness may have paradoxical effects; why we need negative and painful experiences in life to build meaning, purpose, resilience, and ultimately greater fulfilment in life; and why behavioural ethics is necessary for understanding how we reason about personal and social issues and resolve conflicts of interest.www.brockbastian.comwww.abebooks.com/9780141982106/Side-Happiness-Embracing-Fearless-Approach-0141982101/plpwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Brock Bastian is author of The Other Side of Happiness: Embracing a More Fearless Approach to Living and a professor at University of Melbourne’s School of Psychological Sciences. His research and writing focus on pain, happiness, morality, and wellbeing. In his search for a new perspective on what makes for the good life, Bastian has studied why promoting happiness may have paradoxical effects; why we need negative and painful experiences in life to build meaning, purpose, resilience, and ultimately greater fulfilment in life; and why behavioural ethics is necessary for understanding how we reason about personal and social issues and resolve conflicts of interest."I think it's led to a focus on success and standing out, and I do think that the more young people can walk away with an understanding that perhaps the best thing they can do in life is actually contribute to the lives of others, that's probably where they're going to get most of their happiness from and most of their fulfillment from. And the rest is probably a little bit hollow. You know, money doesn't really buy happiness. I mean, it certainly buys comfort, and we do know some money is very important for that. But you do need to feel connected to other people, and you can't whilst consuming and even promoting ourselves on social media. Or playing the popularity game or aiming to be famous. That seems to be a value that a lot of young people have these days, but I don't think that it's going to breed happiness. And so being able to really identify what the values are that are going to make us happy, that are going to connect us to meaning and purpose in other people and that will actually contribute to a better world for all of us, I think would be great. And I think there's competition and space for young people's minds at the moment. So if we can get them on board with some of those values and approaches to life, I think the future generations would probably be better off."www.brockbastian.comwww.abebooks.com/9780141982106/Side-Happiness-Embracing-Fearless-Approach-0141982101/plpwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“Your time is the time of the people you know and love, the time that molds you. And your time is also the time of the people you will know and love. The time that you will shape."“Glaciers are frozen manuscripts that tell stories just like tree circles and sedimentary deposits; from them, you can gather information and create a picture of the past. Glaciers store histories of volcanic activity. They store pollen, rainwater and air that reveal the chemical make-up of the atmosphere tens of thousands of years back in time. They are important sources of details about vegetation and precipitation of the past.” “We do not see fire; we rarely see coal or oil. We’re frequent flyers but we have no idea about the size of the bonfire that could be ignited with 20 tons of jet fuel. We buy our airline tickets online but we never have to check in the oil barrels that will carry us out into the world. Take the time I went to a two-day poetry festival in Lithuania, a journey of around 1,750 miles, the same distance as Chicago to Los Angeles. A barrel of oil holds about 42 gallons, so a single airline passenger burns through about three-quarters of a barrel on such a flight: up to one gallon every 60 miles.” ― Andri Snær Magnason, On Time and WaterAndri Snær Magnason is an award winning author of On Time and Water, The Casket of Time, LoveStar, Dreamland and The Story of the Blue Planet. His work has been published in more than 35 languages. He has a written in most genres, novels, poetry, plays, short stories, non fiction as well as being a documentary film maker. His novel, LoveStar got a Philip K. Dick Special Citation, and the Grand Prix de l’Imaginaire in France and “Novel of the year” in Iceland. The Story of the Blue Planet, was the first children’s book to receive the Icelandic Literary Award and has been published or performed in 35 countries. The Blue Planet received the Janusz Korczak Honorary Award in Poland 2000, the UKLA Award in the UK and Children's book of the Year in China. His book – Dreamland – a Self Help Manual for a Frightened Nation takes on these issues and has sold more than 20.000 copies in Iceland. He co directed Dreamland - a feature length documentary film based on the book. Footage from Dreamland and an interview with Andri can be seen in the Oscar Award-winning documentary Inside Job by Charles Ferguson. His most recent book, Tímakistan, the Time Casket has now been published in more than 10 languages, was nominated as the best fantasy book in Finland 2016 with authors like Ursula K. le Guin and David Mitchell. In English six books are currently available: Bónus Poetry, The Story of The Blue Planet, LoveStar, Dreamland and The Casket of Time, (Tímakistan) and On Time and Water.www.andrimagnason.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Andri Snær Magnason is an award winning author of On Time and Water, The Casket of Time, LoveStar, Dreamland and The Story of the Blue Planet. His work has been published in more than 35 languages. He has a written in most genres, novels, poetry, plays, short stories, non fiction as well as being a documentary film maker. His novel, LoveStar got a Philip K. Dick Special Citation, and the Grand Prix de l’Imaginaire in France and “Novel of the year” in Iceland. The Story of the Blue Planet, was the first children’s book to receive the Icelandic Literary Award and has been published or performed in 35 countries. The Blue Planet received the Janusz Korczak Honorary Award in Poland 2000, the UKLA Award in the UK and Children's book of the Year in China. His book – Dreamland – a Self Help Manual for a Frightened Nation takes on these issues and has sold more than 20.000 copies in Iceland. He co directed Dreamland - a feature length documentary film based on the book. Footage from Dreamland and an interview with Andri can be seen in the Oscar Award-winning documentary Inside Job by Charles Ferguson. His most recent book, Tímakistan, the Time Casket has now been published in more than 10 languages, was nominated as the best fantasy book in Finland 2016 with authors like Ursula K. le Guin and David Mitchell. In English six books are currently available: Bónus Poetry, The Story of The Blue Planet, LoveStar, Dreamland and The Casket of Time, (Tímakistan) and On Time and Water.“Your time is the time of the people you know and love, the time that molds you. And your time is also the time of the people you will know and love. The time that you will shape."“Glaciers are frozen manuscripts that tell stories just like tree circles and sedimentary deposits; from them, you can gather information and create a picture of the past. Glaciers store histories of volcanic activity. They store pollen, rainwater and air that reveal the chemical make-up of the atmosphere tens of thousands of years back in time. They are important sources of details about vegetation and precipitation of the past.” “We do not see fire; we rarely see coal or oil. We’re frequent flyers but we have no idea about the size of the bonfire that could be ignited with 20 tons of jet fuel. We buy our airline tickets online but we never have to check in the oil barrels that will carry us out into the world. Take the time I went to a two-day poetry festival in Lithuania, a journey of around 1,750 miles, the same distance as Chicago to Los Angeles. A barrel of oil holds about 42 gallons, so a single airline passenger burns through about three-quarters of a barrel on such a flight: up to one gallon every 60 miles.” ― Andri Snær Magnason, On Time and Waterwww.andrimagnason.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"So it's easier for the community to change their mindset about eating bush meat or about hunting or about destroying the forest wildlife if they're part of the process. You can't do it outside of them. You actively have to make sure they're participating in the entire process, that's where we've seen the best results. That's when we've seen the most progress. And I've also heard of people coming up with very technical step-by-step details of how things ought to go and leaving the people out and leaving indigenous communities out of that same process. And feel like it would be so difficult to sustain that system of doing diverse conservation.One of my teammates was asking a young boy "What would you like to be when you grow up?" And he pointed at me and said, "That's what I want to be." When I started as a female doing conservation and going to these communities, at that time I was disrespected and really looked down on for being out there doing what I was doing. Like it's either "You're not married. You don't have children. What are you doing in the middle of the forest looking for monkeys?" So to have a young man look up to a woman as a role model, especially in an African society, it's an experience that will live with me forever because I realize that not only are we bringing species back from the brink of extinction, but we are changing the way society thinks. And it makes me glad that I've been persistent. We saw that in real life how a community can be transformed to the point that an entire community has become conservation champions. So knowing that people can turn 180 and really become the protectors of the same species they tried to wipe out."Rachel Ashegbofeh Ikemeh is a Whitley Award-winning conservationist and Founder/Director at the Southwest Niger Delta Forest Project, a grassroots-focused conservation initiative that has been dedicated to the  protection of fragile wildlife populations and habitat across her project sites in Africa’s most populous nation. Rachel won the award in 2020 for her work on chimpanzee populations in Nigeria and is aiming to secure 20% of chimpanzee habitat in Southwest Nigeria. She is also the winner of the National Geographic Society Buffet Awards for Conservaton Leadership in Africa, a Tusk Conservation Awards Finalist.She works to protect some of the most highly threatened forest habitats and primate populations in southern Nigeria. For example, Rachel’s determined efforts has helped to bring back a species from the brink of extinction – the rare and critically endangered Niger Delta red colobus monkey, also, considered one of 25 most endangered primates in the world. She has helped to establish two protected areas and have also taken on the management of these PAs to restore habitats in these very highly threatened ecosystems which are also areas of high-security risks in the country.Rachel is the Co-Vice Chair for the IUCN/SSC Primate Specialist Group African Section and Member of the International Primatological Society (IPS) education committee. Through her strategic positions in these networks, Rachel has been committed to championing the need to increase conservation leadership amongst Africans as she co-founded the African Primatological society in 2017. She’s trained the 55 persons that make up her team from local institutions and local communities. https://swnigerdeltaforestproject.org.ngwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Rachel Ashegbofeh Ikemeh is a Whitley Award-winning conservationist and Founder/Director at the Southwest Niger Delta Forest Project, a grassroots-focused conservation initiative that has been dedicated to the  protection of fragile wildlife populations and habitat across her project sites in Africa’s most populous nation. Rachel won the award in 2020 for her work on chimpanzee populations in Nigeria and is aiming to secure 20% of chimpanzee habitat in Southwest Nigeria. She is also the winner of the National Geographic Society Buffet Awards for Conservaton Leadership in Africa, a Tusk Conservation Awards Finalist.She works to protect some of the most highly threatened forest habitats and primate populations in southern Nigeria. For example, Rachel’s determined efforts has helped to bring back a species from the brink of extinction – the rare and critically endangered Niger Delta red colobus monkey, also, considered one of 25 most endangered primates in the world. She has helped to establish two protected areas and have also taken on the management of these PAs to restore habitats in these very highly threatened ecosystems which are also areas of high-security risks in the country.Rachel is the Co-Vice Chair for the IUCN/SSC Primate Specialist Group African Section and Member of the International Primatological Society (IPS) education committee. Through her strategic positions in these networks, Rachel has been committed to championing the need to increase conservation leadership amongst Africans as she co-founded the African Primatological society in 2017. She’s trained the 55 persons that make up her team from local institutions and local communities. "So it's easier for the community to change their mindset about eating bush meat or about hunting or about destroying the forest wildlife if they're part of the process. You can't do it outside of them. You actively have to make sure they're participating in the entire process, that's where we've seen the best results. That's when we've seen the most progress. And I've also heard of people coming up with very technical step-by-step details of how things ought to go and leaving the people out and leaving indigenous communities out of that same process. And feel like it would be so difficult to sustain that system of doing diverse conservation.One of my teammates was asking a young boy "What would you like to be when you grow up?" And he pointed at me and said, "That's what I want to be." When I started as a female doing conservation and going to these communities, at that time I was disrespected and really looked down on for being out there doing what I was doing. Like it's either "You're not married. You don't have children. What are you doing in the middle of the forest looking for monkeys?" So to have a young man look up to a woman as a role model, especially in an African society, it's an experience that will live with me forever because I realize that not only are we bringing species back from the brink of extinction, but we are changing the way society thinks. And it makes me glad that I've been persistent. We saw that in real life how a community can be transformed to the point that an entire community has become conservation champions. So knowing that people can turn 180 and really become the protectors of the same species they tried to wipe out."https://swnigerdeltaforestproject.org.ngwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

"I think one thing that is not talked about enough is the importance of the arts and the importance of the humanities. And on the university level, the defunding of these sorts of programs and the kind of devaluing of that knowledge is an enormous loss. The arts are what tell us who we are. They're for the soul and they make being alive worthwhile. And the importance of making connections and finding a way to reach others and communicate and connect by trying to be honest and complicated and complex - because I truly believe that without those things, whatever future we can imagine for ourselves is going to be paltry. And it won't be imaginative. And without the humanities and the arts, it doesn't make me feel hopeful about the future."Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper’s Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming.www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Madeleine Watts is an Australian writer based in New York. Her first novel The Inland Sea was published in 2020 and was shortlisted for the Miles Franklin Literary Award and the UTS Glenda Adams Award for New Writing. Her essays and stories have been published in Harper’s Magazine, The Believer, The Guardian, The White Review, and The Paris Review Daily, among others. She teaches creative writing at Columbia University in New York. Her second novel, Elegy, Southwest, is forthcoming."I think one thing that is not talked about enough is the importance of the arts and the importance of the humanities. And on the university level, the defunding of these sorts of programs and the kind of devaluing of that knowledge is an enormous loss. The arts are what tell us who we are. They're for the soul and they make being alive worthwhile. And the importance of making connections and finding a way to reach others and communicate and connect by trying to be honest and complicated and complex - because I truly believe that without those things, whatever future we can imagine for ourselves is going to be paltry. And it won't be imaginative. And without the humanities and the arts, it doesn't make me feel hopeful about the future."www.madeleinewatts.comwww.penguinrandomhouse.com/books/667704/the-inland-sea-by-madeleine-wattswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"Whenever we are conscious, we are conscious of something, or of many things. These are the contents of consciousness. To understand how they come about, and what I mean by controlled hallucination, let's change our perspective. Imagine for a moment, that you are the brain.Really try to think about what it's like up there, sealed inside the bony vault of a skull, trying to figure out what's out there in the world. There's no light, no sound, no anything - it's completely dark and utterly silent. When trying to form perceptions, all the brain has to go on is a constant barrage of electrical signals, which are only indirectly related to things out there in the world, whatever they may be. These sensory inputs don't come with labels attached... How does the brain transform these inherently ambiguous sensory signals into a coherent perceptual world full of objects and people, and places?"– ANIL SETHBeing You: A New Science of ConsciousnessAnil Seth is a neuroscientist, author, and public speaker who has pioneered research into the brain basis of consciousness for more than twenty years. He is the author of Being You: A New Science of Consciousness, as well as the best-selling 30 Second Brain, and other books. He is a Professor of Cognitive and Computational Neuroscience at the University of Sussex, where he is Co-Director of the Sussex Centre for Consciousness Science, and is Co-Director of the Canadian Institute for Advanced Research (CIFAR) Program on Brain, Mind, and Consciousness, and of the Leverhulme Doctoral Scholarship Programme: From Sensation and Perception to Awareness. He has a TED talk on consciousness and appeared in several films, including The Most Unknown and The Search. He has written for Aeon, The Guardian, Granta, New Scientist, and Scientific American. He was the 2017 President of the British Science Association (Psychology Section) and winner of the 2019 KidSpirit Perspectives award. He has published more than 180 academic papers and is listed in 2019 and 2020 Web of Science ‘highly cited researcher’ index, which recognizes the world’s most influential researchers over the past decade.www.anilseth.com www.penguinrandomhouse.com/books/566315/being-you-by-anil-seth https://perceptioncensus.dreamachine.world/ https://dreamachine.world/ @anilksethwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Anil Seth is a neuroscientist, author, and public speaker who has pioneered research into the brain basis of consciousness for more than twenty years. He is the author of Being You: A New Science of Consciousness, as well as the best-selling 30 Second Brain, and other books. He is a Professor of Cognitive and Computational Neuroscience at the University of Sussex, where he is Co-Director of the Sussex Centre for Consciousness Science, and is Co-Director of the Canadian Institute for Advanced Research (CIFAR) Program on Brain, Mind, and Consciousness, and of the Leverhulme Doctoral Scholarship Programme: From Sensation and Perception to Awareness. He has a TED talk on consciousness and appeared in several films, including The Most Unknown and The Search. He has written for Aeon, The Guardian, Granta, New Scientist, and Scientific American. He was the 2017 President of the British Science Association (Psychology Section) and winner of the 2019 KidSpirit Perspectives award. He has published more than 180 academic papers and is listed in 2019 and 2020 Web of Science ‘highly cited researcher’ index, which recognizes the world’s most influential researchers over the past decade."Whenever we are conscious, we are conscious of something, or of many things. These are the contents of consciousness. To understand how they come about, and what I mean by controlled hallucination, let's change our perspective. Imagine for a moment, that you are the brain.Really try to think about what it's like up there, sealed inside the bony vault of a skull, trying to figure out what's out there in the world. There's no light, no sound, no anything - it's completely dark and utterly silent. When trying to form perceptions, all the brain has to go on is a constant barrage of electrical signals, which are only indirectly related to things out there in the world, whatever they may be. These sensory inputs don't come with labels attached... How does the brain transform these inherently ambiguous sensory signals into a coherent perceptual world full of objects and people, and places?"– ANIL SETHBeing You: A New Science of Consciousnesswww.anilseth.com www.penguinrandomhouse.com/books/566315/being-you-by-anil-seth https://perceptioncensus.dreamachine.world/ https://dreamachine.world/ @anilksethwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"It's a fundamental human question, how do we become individuals? It's a basic thing about being alive and thinking. Nature versus nurture is a phrase that was popularized by Francis Galton in the late 19th century. and the idea behind it is that if you were to look at a particular trait, say, shyness or height, you could say, well, to what degree can we attribute height to nature? In this case, meaning the gene variants that you inherit from your parents versus nurture in this case, meaning how you were raised by your parents and by your community. And I have many problems with this expression. Part of it is that the nature part shouldn't just mean genetics. In other words, there's all kinds of biological things that are not genetic things. If your mother fought off a viral infection while you were developing in utero, then you have a much higher chance of developing schizophrenia or autism when you grow up. Now that's biological, but it's not hereditary. That's not something that you would then acquire and then pass on to your own children. It only happens in the one generation. The other problem is when we hear the word nurture, we really focus on the family, how your parents raised you or failed to raise you, how your community was involved. And those things are very important, but they're far from everything that impinges upon you in your life. I take experience as the thing to substitute for nurture because it is much more inclusive and it includes not just social experience from your family and your peers and your community, but also experience in the more general sense."David J. Linden is a Professor in the Department of Neuroscience at the Johns Hopkins University School of Medicine. He is the author of Unique: The New Science of Human Individuality, The Accidental Mind: How Brain Evolution Has Given Us Love, Memory, Dreams, and God, The Compass of Pleasure: How Our Brains Make Fatty Foods, Orgasm, Exercise, Marijuana, Generosity, Vodka, Learning, and Gambling Feel So Good, and Touch: The Science of the Hand, Heart, and Mind. His laboratory has worked for many years on the cellular substrates of memory storage, recovery of function following brain injury and a few other topics.www.davidlinden.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

David J. Linden is a Professor in the Department of Neuroscience at the Johns Hopkins University School of Medicine. He is the author of Unique: The New Science of Human Individuality, The Accidental Mind: How Brain Evolution Has Given Us Love, Memory, Dreams, and God, The Compass of Pleasure: How Our Brains Make Fatty Foods, Orgasm, Exercise, Marijuana, Generosity, Vodka, Learning, and Gambling Feel So Good, and Touch: The Science of the Hand, Heart, and Mind. His laboratory has worked for many years on the cellular substrates of memory storage, recovery of function following brain injury and a few other topics."It's a fundamental human question, how do we become individuals? It's a basic thing about being alive and thinking. Nature versus nurture is a phrase that was popularized by Francis Galton in the late 19th century. and the idea behind it is that if you were to look at a particular trait, say, shyness or height, you could say, well, to what degree can we attribute height to nature? In this case, meaning the gene variants that you inherit from your parents versus nurture in this case, meaning how you were raised by your parents and by your community. And I have many problems with this expression. Part of it is that the nature part shouldn't just mean genetics. In other words, there's all kinds of biological things that are not genetic things. If your mother fought off a viral infection while you were developing in utero, then you have a much higher chance of developing schizophrenia or autism when you grow up. Now that's biological, but it's not hereditary. That's not something that you would then acquire and then pass on to your own children. It only happens in the one generation. The other problem is when we hear the word nurture, we really focus on the family, how your parents raised you or failed to raise you, how your community was involved. And those things are very important, but they're far from everything that impinges upon you in your life. I take experience as the thing to substitute for nurture because it is much more inclusive and it includes not just social experience from your family and your peers and your community, but also experience in the more general sense."www.davidlinden.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Listen to Part 4 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:INGRID NEWKIRK, Founder & President of PETA - People for the Ethical Treatment of AnimalsJEFFREY D. SACHS, President of the UN Sustainable Development Solutions Network, Director of Center for Sustainable Development, Columbia University, Economist, AuthorJENNIFER MORGAN, Fmr. Executive Director of Greenpeace International, Special Envoy for International Climate Action, German Foreign MinistryMERLIN SHELDRAKE, Biologist & Bestselling Author of “Entangled Life: How Fungi Make Our Worlds, Change Our Minds, and Shape Our Futures”, Winner of the Wainwright Prize 2021WALTER STAHEL, Architect, Economist, Founding Father of Circular Economy, Founder-Director, Product-Life InstituteARMOND COHEN, Executive Director of Clean Air Task ForcePIA MANCINI, Co-founder/CEO of Open Collective - Chair of DemocracyEarth Foundation, YGL World Economic ForumRON GONEN, Founder & CEO of Closed Loop Partners, Former Deputy Commissioner of Sanitation, Recycling & Sustainability, NYCAIMEE NEZHUKUMATATHIL, Poet & Author of “World of Wonders: In Praise of Fireflies, Whale Sharks and Other Astonishments”ANA CASTILLO, Award-Winning Xicana Activist, Editor, Poet, Novelist & Artistwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastwww.maxrichtermusic.comhttps://studiorichtermahr.comMax Richter’s music featured in this episode are “On the Nature of Daylight” from The Blue Notebooks, “Path 19: Yet Frailest” from Sleep.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.Artwork: Saudade, Mia Funk

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 EnergyPIA MANCINI, Co-founder/CEO of Open Collective - Chair of DemocracyEarth Foundation, YGL World Economic ForumJENNIFER MORGAN, Fmr. Executive Director of Greenpeace International, Special Envoy for International Climate Action, German Foreign MinistryWALTER STAHEL, Architect, Economist, Founding Father of Circular Economy, Founder-Director, Product-Life InstituteMERLIN SHELDRAKE, Biologist & Bestselling Author of Entangled Life: How Fungi Make Our Worlds, Change Our Minds, and Shape Our Futures, Winner of the Wainwright Prize 2021RON GONEN, Founder & CEO of Closed Loop Partners, Former Deputy Commissioner of Sanitation, Recycling & Sustainability, NYCMANUELA 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 BiologyMIKE DAVIS, CEO of Global WitnessJAY FAMIGLIETTI, Fmr. Senior Water Scientist at NASA Jet Propulsion Laboratory, Exec. Director, Global Institute for Water Security, Host of "What About Water?" PodcastBRITT WRAY, Author of “Generation Dread: Finding Purpose in an Age of Climate Crisis”, Researcher Working on Climate Change & Mental Health, Stanford UniversityRICHARD VEVERS, Founder & CEO of The Ocean AgencyARMOND COHEN, Executive Director of Clean Air Task ForceBILL HARE, Founder & CEO of Climate Analytics, Physicist, Climate ScientistDAVID PALUMBO-LIU, Activist, Professor & Author of “Speaking Out of Place: Getting Our Political Voices Back”, Host of Speaking out of Place PodcastIBRAHIM 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 Animalswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastwww.maxrichtermusic.comhttps://studiorichtermahr.comMax Richter’s music featured in this episode are “On the Nature of Daylight” from The Blue Notebooks, “Path 19: Yet Frailest” from Sleep.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

"I'm New York to the soles of my feet, and more specifically, The Bronx. I was formed in The Bronx. I lived there till I was 19. Then I went into the Marine Corps, and I came up against really something that I feel has really been lost when they stopped drafting people. I came up against everybody in the country, mostly poor people of every persuasion from Virginia to DC to wherever. And we lived together in an open barracks, like 90 of us in double-decker bunks for a year. And that is gold. It's irreplaceable. Not simply as an artist, but as a citizen of a given country, you really come to realize we're all in this together. And you see all of the prejudices play out in a kind of healthily violent way. People just punch each other in the face. So, this is back then. Now, apparently, it's much more civilized. I'm not sure I'm in favor of that, but back then, people said Marines said the most awful things to each other imaginable, of a racist nature, and of every other kind of nature. And you know, the shape of your head, anything.And then fists were thrown and somehow the world didn't come to an end. Then everybody calmed down, and they went back to their bunks and read their comic books or whatever they were going to do, and went to bed. And we got up the next day, and we worked together. That's a big lesson in how to get along, how to live, and how to live with people you don't necessarily agree with."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/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG 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."You grow up wherever you grow up. And there are things there, and there are other things that are not there, and the things that are not there, you can imagine. And I did a lot of imagining in the Bronx because there were a lot of things that I gravitated toward that just weren't there: the fantastic, The Thief of Baghdad, magic, beautiful clothes, beautiful places, the exoticism of that. And then at another later point, I thought, I am missing my whole life from my work. I am writing about all these things that are not my life. Because I think everything that I actually saw and heard and felt is so ordinary that it's not worth repeating. And I think most of us feel that way, and we're dead wrong. That in fact, those things are gold. Those are the things that we actually have to write about. And you can write about anything when you start with those things and embrace them. Embrace your own life."www.imdb.com/name/nm0788234www.creativeprocess.info www.oneplanetpodcast.orgIG 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 UniversityWALTER STAHEL - Architect, Economist, Founding Father of Circular Economy - Founder-Director, Product-Life InstituteMATHIS WACKERNAGEL - Founder & President of the Global Footprint Network - World Sustainability Award WinnerJAY FAMIGLIETTI, Fmr. Senior Water Scientist at NASA Jet Propulsion Laboratory, Exec. Director, Global Institute for Water Security, Host of "What About Water?" PodcastRICHARD VEVERS - Founder & CEO of The Ocean AgencyARMOND COHEN - Executive Director of Clean Air Task ForcePAULA PINHO - Director of Just Transition at the European Commission Directorate-General for EnergyMARTIN 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 JournalHAROLD P. SJURSEN - Professor of Philosophy - Science, Technology, the Arts - NYU, Beihang University, East China UniversityBILL HARE - Founder & CEO of Climate Analytics, Physicist, Climate ScientistSIR ANDY HAINES - Tyler Prize Award-winner for Environmental Achievement - Professor of Environmental Change & Public HealthLISA 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 RecomposedVladimir’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.comhttps://studiorichtermahr.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I try to look at people in those positions with as much of an open mind as possible. I think they all want the best for the country, but I think the people who are good at walking into a diner and shaking people's hands in a thousand different towns across the country with a lot of very different diners, I think the people who can walk in and handle that and meet absolutely everybody and create an instant connection with them are not necessarily the people who are interested in the kind of granularity of federal regulations and a wide, wide series of topics. I think the people who are good at those things have cultivated over the course of their life, different parts of themselves and grown different strengths. But then there comes this moment where we want one person to be able to do all of it, and we're somehow surprised when they're not good at every piece."Debora Cahn is the Emmy-nominated showrunner and executive producer of Netflix’s The Diplomat, a political thriller series starring Keri Russell and Rufus Sewell. She’s worked with television’s leading showrunners, including Shonda Rhymes, Terence Winter, Steven Levinson, and Howard Gordon. Her career began working on Aaron Sorkin’s The West Wing which has led to projects such as the hit Showtime series Homeland, ABC’s long-running medical drama Grey’s Anatomy, and HBO’s Vinyl, which was co-created by Martin Scorsese. She’s the winner of two Writers Guild of America Award for The West Wing and FX’s limited series Fosse/Verdon.www.imdb.com/name/nm1263223www.netflix.com/tudum/the-diplomatwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastImages courtesy of Netflix/Alex Bailey

Debora Cahn is the Emmy-nominated showrunner and executive producer of Netflix’s The Diplomat, a political thriller series starring Keri Russell and Rufus Sewell. She’s worked with television’s leading showrunners, including Shonda Rhymes, Terence Winter, Steven Levinson, and Howard Gordon. Her career began working on Aaron Sorkin’s The West Wing which has led to projects such as the hit Showtime series Homeland, ABC’s long-running medical drama Grey’s Anatomy, and HBO’s Vinyl, which was co-created by Martin Scorsese. She’s the winner of two Writers Guild of America Award for The West Wing and FX’s limited series Fosse/Verdon."I try to look at people in those positions with as much of an open mind as possible. I think they all want the best for the country, but I think the people who are good at walking into a diner and shaking people's hands in a thousand different towns across the country with a lot of very different diners, I think the people who can walk in and handle that and meet absolutely everybody and create an instant connection with them are not necessarily the people who are interested in the kind of granularity of federal regulations and a wide, wide series of topics. I think the people who are good at those things have cultivated over the course of their life, different parts of themselves and grown different strengths. But then there comes this moment where we want one person to be able to do all of it, and we're somehow surprised when they're not good at every piece."www.imdb.com/name/nm1263223www.netflix.com/tudum/the-diplomatwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastImages courtesy of Netflix/Alex Bailey

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 RICHTERINGRID NEWKIRK, Founder of PETABERTRAND PICCARD, Aviator of 1st Round-the-World Solar-Powered Flight, Explorer, Founder, Solar Impulse FoundationCARL SAFINA, Ecologist, Founding President of Safina CenterCLAIRE POTTER, Designer, Lecturer, Author of “Welcome to the Circular Economy”ADA LIMÓN, U.S. Poet Laureate, Host of The Slowdown podcastCYNTHIA DANIELS, Grammy and Emmy award-winning producer, engineer, composerJOELLE GERGIS, Lead Author of the IPCC Sixth Assessment Report, Author of “Humanity’s Moment”KATHLEEN ROGERS, President of EARTHDAY.ORGODED GALOR, Author of “The Journey of Humanity”, Founder of Unified Growth TheorySIR 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 EquipmentNOAH WILSON-RICH, Co-founder & CEO of The Best Bees CompanyCHRIS FUNK, Director of the Climate Hazards Center at UC Santa Barbara, Author of Drought, Flood, Fire: How Climate Change Contributes to Recent CatastrophesDAVID 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 SaveJENNIFER MORGAN, Fmr. Executive Director of Greenpeace International, Special Envoy for International Climate Action, German Foreign Ministrywww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastwww.maxrichtermusic.comhttps://studiorichtermahr.comMax Richter’s music featured in this episode are “On the Nature of Daylight” from The Blue Notebooks, “Path 19: Yet Frailest” from Sleep.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

"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.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter’s music featured in this episode is "On the Nature of Daylight” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

Composer Max Richter is known for his ability to translate profound human emotions into music. Max’s record Sleep is the most streamed classical album of all time and his catalogue has surpassed 3 billion streams.A prolific collaborator, he scored and performed for Kim Jones for the Dior shows, and the new Wayne McGregor and Margaret Atwood ballet MADDADDAM, and arts collective Random International on the Rain Room installation.Max has collaborated with film directors Denis Villeneuve, Martin Scorsese, and Ari Folman, and scored film & TV including Ad Astra, Black Mirror, Shutter Island, The Leftovers, Arrival and his Emmy-nominated score for Taboo.He’s the co-founder of Studio Richter Mahr, with his partner and artist Yulia Mahr in Oxfordshire, UK. Max and Yulia built the studio around an old tractor barn, and have powered it with cutting-edge solar and heat-pump technology. It’s a haven for their family and community of musicians and artists which regularly come through. Set within 31 acres of woodland, Max and Yulia have a huge passion for using the land to farm and provide a sustainable working environment as well as using creativity as an elevating force within society. Operating as a free space for artists to develop their work, the studio also works with local partners to support the local community."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.comhttps://studiorichtermahr.comPhoto by William Waterworthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastMax Richter’s music featured in this episode in order of appearance "On the Nature of Daylight” from The Blue Notebooks, Path 19: Yet Frailest” from Sleep, “Spring 1” from The New Four Seasons – Vivaldi Recomposed, "Lullaby From The Westcoast Sleepers” from 24 Postcards in Full Colour, Vladimir’s Blues” from The Blue Notebooks.Music is courtesy of Max Richter, Universal Music Enterprises, and Mute Song.

“However good the methods of analysis one has at any given time They're not going to be perfect. And so one needs to keep some humility and keep an open mind and keep on learning and not assume that you're on top of things. So, one lesson I would draw for education is we really do need to teach people to think critically and not just try to pump them full of the beliefs that we think are right.People like Greta Thunberg, that's what gives me the most hope is that there is one segment of society, namely the youngest people, who are fired up and who do see the problem and do want to do something about it. I think it's really accurate to say that the battle to get a grip on climate change is also the battle for democracy. Our politics are now heavily influenced if not literally controlled by vested interests. And these include fossil fuel interests. So the Clear evidence of this is that the richest governments in the world are subsidizing the extraction of fossil fuels.I mean, the United States and the UK have tax breaks and other subsidies for fossil fuel. So that's a climate problem, but it's also a democratic problem because it means that the politics are not being run for the benefit of the general public. They're being run for the benefit of some relatively small numbers of vested interests. So we need things like youth movements on climate change for the sake of the climate and for the sake of getting our politics back under democratic control.”Henry Shue is Professor Emeritus of Politics and International Relations at University of Oxford’s Merton College. He's the author of Basic Rights, as well as The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right Now, among many other publications. In 1976, he co-founded the Institute for Philosophy and Public Policy at the University of Maryland. He was a supporter of the successful campaign by Virginia's Augusta County Alliance to stop the Atlantic Coast Pipeline, and now works primarily on explanations for the urgency of far more ambitious policies to eliminate fossil fuels in order to avoid irreversible damage for future generations.www.merton.ox.ac.uk/people/professor-henry-shue https://press.princeton.edu/books/paperback/9780691202280/basic-rights https://press.princeton.edu/books/hardcover/9780691226248/the-pivotal-generationwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Henry Shue is Professor Emeritus of Politics and International Relations at University of Oxford’s Merton College. He's the author of Basic Rights, as well as The Pivotal Generation: Why We Have a Moral Responsibility to Slow Climate Change Right Now, among many other publications. In 1976, he co-founded the Institute for Philosophy and Public Policy at the University of Maryland. He was a supporter of the successful campaign by Virginia's Augusta County Alliance to stop the Atlantic Coast Pipeline, and now works primarily on explanations for the urgency of far more ambitious policies to eliminate fossil fuels in order to avoid irreversible damage for future generations.“However good the methods of analysis one has at any given time They're not going to be perfect. And so one needs to keep some humility and keep an open mind and keep on learning and not assume that you're on top of things. So, one lesson I would draw for education is we really do need to teach people to think critically and not just try to pump them full of the beliefs that we think are right.People like Greta Thunberg, that's what gives me the most hope is that there is one segment of society, namely the youngest people, who are fired up and who do see the problem and do want to do something about it. I think it's really accurate to say that the battle to get a grip on climate change is also the battle for democracy. Our politics are now heavily influenced if not literally controlled by vested interests. And these include fossil fuel interests. So the Clear evidence of this is that the richest governments in the world are subsidizing the extraction of fossil fuels.I mean, the United States and the UK have tax breaks and other subsidies for fossil fuel. So that's a climate problem, but it's also a democratic problem because it means that the politics are not being run for the benefit of the general public. They're being run for the benefit of some relatively small numbers of vested interests. So we need things like youth movements on climate change for the sake of the climate and for the sake of getting our politics back under democratic control.”www.merton.ox.ac.uk/people/professor-henry-shue https://press.princeton.edu/books/paperback/9780691202280/basic-rights https://press.princeton.edu/books/hardcover/9780691226248/the-pivotal-generationwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“There are hundreds of environmental film festivals, and that's not us. We are really the only pure Wildlife Conservation Film Festival. And we've elected to have these events in large urban areas simply because of the disconnect with nature. Whether we've had it in Beijing or San Paulo, or places in Europe, we find that the people living in these large urban areas are just not aware of the wildlife and the biodiversity around them.Most people in New York City have never been to the Catskills or the Adirondacks, which is just a short drive from Manhattan. And there you can see wildlife year round, all four seasons. And that's one of the purposes of the festival. Our mission is very straightforward and simple: to inform, engage, and inspire wildlife conservation through the power of film and media.And we continue to build our global partnerships worldwide. We'll be returning to Monterey, Mexico, probably in late May or June for our third annual event there. We'll be in Rome and Naples, Italy in late September. And we're in negotiation with the United Arab Emirates about doing a film festival there in the Middle East for very late 2023 or early 2024. And through these partnerships, we get the word out, and that is our message.   It gives me a purpose in what I do. I do not call it a job. I do not even call it a career. I call it life's mission. It's because of the hundreds of films that could be made annually, whether they're short or features from independent filmmakers that would certainly make an impact on saving a species and or an ecosystem. And when I am gone, there will be others that will run this in my place. I hope that's not for another 50 years, but we'll see. There are certain things I can and cannot control, but hopefully, it will keep me alive for a long time, and we can do quite a bit more.”Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.www.wcff.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Christopher J. Gervais is an award winning producer. His animated film Dream won a 2017 Golden Lion for film and a Silver Lion for music at the 64th Annual International Festival of Creativity. He is environmental and marine scientist and has decades of experience in field work and research with multiple academic institutions and natural history museums. A former science and social studies teacher, later an administrator, he became the youngest principal of a public school in the state of Florida. While a graduate student, Christopher conducted fieldwork and research to study the Pleistocene Mega fauna and their fossils that were deposited over 10,000 years ago. His study of these extinct species informs his concerns for preserving biodiversity and was a significant factor in the founding of the WCFF. Christopher was one of the first scientists to conduct underwater vertebrate paleontology research. He is a professional, advanced scuba diver with NAUI, PADI, SSI and NASDS with over 2,500 logged dives. Christopher founded the WCFF in 2010 using his life savings to get the organization off the ground and has maintained the operations since then. He is a philanthropic supporter of conservation organizations across the globe. Christopher is President of the International Exploration Society, Fellow of the Royal Geographic Society, member of the Ocean Geographic Society, friend of American Philosophical Society.“There are hundreds of environmental film festivals, and that's not us. We are really the only pure Wildlife Conservation Film Festival. And we've elected to have these events in large urban areas simply because of the disconnect with nature. Whether we've had it in Beijing or San Paulo, or places in Europe, we find that the people living in these large urban areas are just not aware of the wildlife and the biodiversity around them.Most people in New York City have never been to the Catskills or the Adirondacks, which is just a short drive from Manhattan. And there you can see wildlife year round, all four seasons. And that's one of the purposes of the festival. Our mission is very straightforward and simple: to inform, engage, and inspire wildlife conservation through the power of film and media.And we continue to build our global partnerships worldwide. We'll be returning to Monterey, Mexico, probably in late May or June for our third annual event there. We'll be in Rome and Naples, Italy in late September. And we're in negotiation with the United Arab Emirates about doing a film festival there in the Middle East for very late 2023 or early 2024. And through these partnerships, we get the word out, and that is our message.   It gives me a purpose in what I do. I do not call it a job. I do not even call it a career. I call it life's mission. It's because of the hundreds of films that could be made annually, whether they're short or features from independent filmmakers that would certainly make an impact on saving a species and or an ecosystem. And when I am gone, there will be others that will run this in my place. I hope that's not for another 50 years, but we'll see. There are certain things I can and cannot control, but hopefully, it will keep me alive for a long time, and we can do quite a bit more.”www.wcff.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG 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.comhttps://opencollective.comhttps://democracy.earthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

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

“I think it was Kafka who said, 'All language is but a poor translation.' I think about it a lot. I feel like what we are trying to communicate or what we're trying to say about all these things, all these feelings are going through these things are distorted or fragmented. We can never really communicate with absolute clarity what is going on. We're too limited. There's not a word for it. And I like that. I think what it is to be human is to be less than perfect.And when I watch films, and I see these scenes that sometimes make me feel sick or make me happy, they're executed with imperfections. But then all of a sudden it becomes an interpretation because you're creating it in your mind. You're projecting something from your own experiences as a human being onto the scene because you're going into memory. Those are all virtues to me. Those are all the things that make it beautiful because they are an articulation of humanness.”Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.www.chayseirvin.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Chase Irvin is a Canadian American cinematographer making waves in the film industry. Chayse has received immense critical acclaim for his vision and style. He has worked on features, shorts, and visual albums, most notably in his collaboration with Director Kahlil Joseph on the film Beyoncé: Lemonade. He lensed Spike Lee’s BlacKkKlansman, which received 6 Academy Award nominations, winning for best adapted screenplay. Chayse’s first feature film Medeas won the prestigious Best Cinematography Debut at the Camerimage Film Festival in 2013. Hannah, starring Charlotte Rampling, won a Silver Hugo from the Chicago International Film Festival. Chase is a member of the Canadian Society of Cinematographers. His latest films are Netflix’s Blonde starring Ana de Armas and A24’s God's Creatures starring Emily Watson.“I think it was Kafka who said, 'All language is but a poor translation.' I think about it a lot. I feel like what we are trying to communicate or what we're trying to say about all these things, all these feelings are going through these things are distorted or fragmented. We can never really communicate with absolute clarity what is going on. We're too limited. There's not a word for it. And I like that. I think what it is to be human is to be less than perfect.And when I watch films, and I see these scenes that sometimes make me feel sick or make me happy, they're executed with imperfections. But then all of a sudden it becomes an interpretation because you're creating it in your mind. You're projecting something from your own experiences as a human being onto the scene because you're going into memory. Those are all virtues to me. Those are all the things that make it beautiful because they are an articulation of humanness.”www.chayseirvin.comwww.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 need to invest a lot in education. Education of the future practitioners, but also the education of future clients. And by client, I don't mean only governments or investors. I mean each one of us, we should become responsible for our demands to architects and to whoever is involved in the building process. And this is why I see so much that education is the main tool to get there because we have to educate ourselves, first of all, and prepare the future generations. And the extent to which, as you say, it's not just beauty, but bringing people together in spaces that are inspiring because it can be a radical thing. It could create societies that are more equal in terms of public spaces. And right now that's being unequally distributed.”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/enPhoto credits: Anselm Kiefer, Sylviane Sarfatiwww.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 need to invest a lot in education. Education of the future practitioners, but also the education of future clients. And by client, I don't mean only governments or investors. I mean each one of us, we should become responsible for our demands to architects and to whoever is involved in the building process. And this is why I see so much that education is the main tool to get there because we have to educate ourselves, first of all, and prepare the future generations. And the extent to which, as you say, it's not just beauty, but bringing people together in spaces that are inspiring because it can be a radical thing. It could create societies that are more equal in terms of public spaces. And right now that's being unequally distributed.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“It's all part of the same kind of mindset of trying to live lighter on the planet. We all know that cities are much lower energy consumers per capita. That is to say, city dwellers use much less energy than other people because of the density of housing, the transport is easier...So densification of human development is a huge climate benefit, and making cities more attractive and livable is a critical part of the equation. If you look at universities' engineering programs, civil engineering, chemical, mechanical, and electrical, or you look at city planning departments around the world, and you open any catalog of any major university, within all those disciplines, there's going to be a major climate focus. It's like a unifying theme. So I'm seeing young people coming out of their training with a sense that their mission is within those areas, but there's no separating that in their minds from the need to control emissions on the planet and to get to a more livable climate. So, what I'm seeing is this massive amount of social energy and intellectual energy.”Armond Cohen is Executive Director of Clean Air Task Force, which he has led since its formation in 1996. In addition to leading CATF, Armond is directly involved in CATF research and advocacy on the topic of requirements to deeply decarbonize global energy systems. Prior to his work with CATF, Armond founded and led the Conservation Law Foundation’s Energy Project starting in 1983, focusing on energy efficiency, utility resource planning, and electric industry structure. Armond has published numerous articles on climate change, energy system transformation, and air pollution; he speaks, writes, and testifies frequently on these topics. He is a board member of the Nuclear Innovation Alliance and an honors graduate of Harvard Law School and Brown University.www.catf.uswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Armond Cohen is Executive Director of Clean Air Task Force, which he has led since its formation in 1996. In addition to leading CATF, Armond is directly involved in CATF research and advocacy on the topic of requirements to deeply decarbonize global energy systems. Prior to his work with CATF, Armond founded and led the Conservation Law Foundation’s Energy Project starting in 1983, focusing on energy efficiency, utility resource planning, and electric industry structure. Armond has published numerous articles on climate change, energy system transformation, and air pollution; he speaks, writes, and testifies frequently on these topics. He is a board member of the Nuclear Innovation Alliance and an honors graduate of Harvard Law School and Brown University.“It's all part of the same kind of mindset of trying to live lighter on the planet. We all know that cities are much lower energy consumers per capita. That is to say, city dwellers use much less energy than other people because of the density of housing, the transport is easier...So densification of human development is a huge climate benefit, and making cities more attractive and livable is a critical part of the equation. If you look at universities' engineering programs, civil engineering, chemical, mechanical, and electrical, or you look at city planning departments around the world, and you open any catalog of any major university, within all those disciplines, there's going to be a major climate focus. It's like a unifying theme. So I'm seeing young people coming out of their training with a sense that their mission is within those areas, but there's no separating that in their minds from the need to control emissions on the planet and to get to a more livable climate. So, what I'm seeing is this massive amount of social energy and intellectual energy.”www.catf.uswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“When I was 24, I decided to take a year off to travel. And I sold everything. I ended a relationship that I was in. And I ended up taking a plane trip to Colombia, a one-way ticket. And then I backpacked throughout South America for the next six months. And that's where my father is from in Ecuador. My mom is from Mexico. So a part of that trip also was trying to reconnect to a continent that I didn't really have much knowledge of or experience in, even though it was where my family came from.I did all kinds of new things that I had never tried before. But I do think now looking back, there was also an ancestral connection. So that area was really important for me and really got me thinking too about my identity as a Latinx person in the US and as a person of color. I think what also was really important about those travels is that it made me realize that identity is really malleable, that in the US, I'm considered a Latinx person of color. In South America, I was considered a white person, actually, or an American. People heard my accent, but even when I was speaking Spanish, because of my light skin, I had a different classification in Latin America than I did growing up in the States. So I think also seeing how I changed based on where I was traveling to and where I was living within, in some ways that was kind of liberating. It was educational, and it was also liberating that these identities are not fixed and that we need to be cognizant of them and responsible and accountable to the position we live in or the positionality that we have of privilege or not privilege, depending on where we are. But that there is no concrete identity really. It moves and changes and shifts with us, depending on where we go. So I think that was also something that helped expand and broaden the way I was thinking about all the things I was feeling a little bit trapped in when I was in the United States.”Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.www.amandaemachado.comIG www.instagram.com/amandaemachado0www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Amanda E. Machado is a writer, public speaker and facilitator whose work explores how race, gender, sexuality, and power affect the way we travel and experience the outdoors. She has written and facilitated on topics of social justice and adventure and lived in Cape Town, Havana, Mexico City, Berlin, Rio de Janeiro, and other cities. She has been published in The Atlantic, The Washington Post, The Guardian, New York Times, NPR, and other publications. She is also the founder of Reclaiming Nature Writing, a multi-week online workshop that expands how we tell stories about nature in a way that considers ancestry, colonization, migration trauma, and other issues.“When I was 24, I decided to take a year off to travel. And I sold everything. I ended a relationship that I was in. And I ended up taking a plane trip to Colombia, a one-way ticket. And then I backpacked throughout South America for the next six months. And that's where my father is from in Ecuador. My mom is from Mexico. So a part of that trip also was trying to reconnect to a continent that I didn't really have much knowledge of or experience in, even though it was where my family came from.I did all kinds of new things that I had never tried before. But I do think now looking back, there was also an ancestral connection. So that area was really important for me and really got me thinking too about my identity as a Latinx person in the US and as a person of color. I think what also was really important about those travels is that it made me realize that identity is really malleable, that in the US, I'm considered a Latinx person of color. In South America, I was considered a white person, actually, or an American. People heard my accent, but even when I was speaking Spanish, because of my light skin, I had a different classification in Latin America than I did growing up in the States. So I think also seeing how I changed based on where I was traveling to and where I was living within, in some ways that was kind of liberating. It was educational, and it was also liberating that these identities are not fixed and that we need to be cognizant of them and responsible and accountable to the position we live in or the positionality that we have of privilege or not privilege, depending on where we are. But that there is no concrete identity really. It moves and changes and shifts with us, depending on where we go. So I think that was also something that helped expand and broaden the way I was thinking about all the things I was feeling a little bit trapped in when I was in the United States.”www.amandaemachado.comIG www.instagram.com/amandaemachado0www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“Early philosophies as sources of personal guidance and how do we learn to live well? The university has undergone such an enormous shift. In my day, we were engaged with history, literature, philosophy, poetry, and art. And we could because it was a much more open-ended, reflective, sort of existential what am I here for and what am I doing? kind of thing than students today who are very concerned – I have to have this skill, otherwise, I won't be able to get a job.And what is missing is a sense of how do we think maturely about these kinds of questions that worry us. Questions of what does it mean to be happy? And what is a satisfying life? And how am I going to deal with personal adversity?”Harold P. Sjursen is an educator and administrator having served on the faculty of both a liberal arts college and school of engineering. His background is in the history of philosophy, but since childhood has sustained an interest in science and technology. His current research interests focus on the philosophy of technology, global philosophy, and technological ethics. His engineering education projects address issues related to the internationalization of higher education, the integration of the liberal arts and engineering and ethics beyond the codes for engineers.http://harold-sjursen.orgwww.creativeprocess.info www.oneplanetpodcast.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.“Early philosophies as sources of personal guidance and how do we learn to live well? The university has undergone such an enormous shift. In my day, we were engaged with history, literature, philosophy, poetry, and art. And we could because it was a much more open-ended, reflective, sort of existential what am I here for and what am I doing? kind of thing than students today who are very concerned – I have to have this skill, otherwise, I won't be able to get a job.And what is missing is a sense of how do we think maturely about these kinds of questions that worry us. Questions of what does it mean to be happy? And what is a satisfying life? And how am I going to deal with personal adversity?”http://harold-sjursen.orgwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“For me, standing in solidarity with the garment workers, 80 million people who are on the front line of capitalism, and in the garment industry. And showing up for them, with the living wage campaigns and the anti-gender-based violence campaigns. And sticking up for land defenders, the protestors in Myanmar, and the people defending the rainforest in Brazil. I think that's where you can start kind of living the political ideology of anti-capitalism. And we've got to free ourselves as well. Capitalism wants us to sort of fixate on our appearance and our consumer choices. Whereas I think if we free ourselves from that...the main thing I'm going to concentrate on is how we change the world in a collective internationalist fashion. I think then we start getting towards being anti-capitalist fashionistas, definitely.”Tansy E. Hoskins is an award winning author and journalist who investigates the global fashion industry. She’s the author of The Anti-Capitalist Book Of Fashion, Foot Work, and Stitched Up. This work has taken her to Bangladesh, India, North Macedonia, and to the Topshop warehouses in Solihull.www.plutobooks.com/9780745346618/the-anti-capitalist-book-of-fashion/www.amazon.co.uk/Foot-Work-What-Your-Shoes-Are-Doing-to-the-World-Tansy-Hoskins/dp/1474609856/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Tansy E. Hoskins is an award winning author and journalist who investigates the global fashion industry. She’s the author of The Anti-Capitalist Book Of Fashion, Foot Work, and Stitched Up. This work has taken her to Bangladesh, India, North Macedonia, and to the Topshop warehouses in Solihull.“For me, standing in solidarity with the garment workers, 80 million people who are on the front line of capitalism, and in the garment industry. And showing up for them, with the living wage campaigns and the anti-gender-based violence campaigns. And sticking up for land defenders, the protestors in Myanmar, and the people defending the rainforest in Brazil. I think that's where you can start kind of living the political ideology of anti-capitalism. And we've got to free ourselves as well. Capitalism wants us to sort of fixate on our appearance and our consumer choices. Whereas I think if we free ourselves from that...the main thing I'm going to concentrate on is how we change the world in a collective internationalist fashion. I think then we start getting towards being anti-capitalist fashionistas, definitely.”www.plutobooks.com/9780745346618/the-anti-capitalist-book-of-fashion/www.amazon.co.uk/Foot-Work-What-Your-Shoes-Are-Doing-to-the-World-Tansy-Hoskins/dp/1474609856/www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastPhoto credit: Sarah Van Looy

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

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

“And we are all wondering the same thing about our threatened species, and so we did some experiments and that's when we found that asking the best-regarded person is a mistake. You don't ask them. They're usually overconfident, and they know more than a random person from the street. But if you are interested and you understand the data and the jargon, then your judgment will be as good as anyone else's. And then I've got a much wider pool of people. I can go to people who are interested than people who profess knowledge and insights. Get them together, talk to them, facilitate the discussion in a structured way, and generate an answer. And that's, we did that because we were interested in conservation problems, but it has implications for expert judgment in epidemiology, medicine, dentistry, social security, national security, and geopolitics. These same questions and these same constraints arise. And so the results of that work are much more generally useful than just conservation.”Mark Burgman is Director of the Centre for Environmental Policy at Imperial College London and Editor-in-Chief of the journal Conservation Biology.  He is author of Trusting Judgments: How to Get the Best Out of Experts. Previously, he was Adrienne Clarke Chair of Botany at the University of Melbourne, Australia. He works on expert judgement, ecological modelling, conservation biology and risk assessment.  He has written models for biosecurity, medicine regulation, marine fisheries, forestry, irrigation, electrical power utilities, mining, and national park planning.  He received a BSc from the University of New South Wales, an MSc from Macquarie University, Sydney, and a PhD from the State University of New York at Stony Brook. He worked as a consultant ecologist and research scientist in Australia, the United States and Switzerland during the 1980’s before joining the University of Melbourne in 1990. He joined CEP in February, 2017. He has published over two hundred and fifty refereed papers and book chapters and seven authored books. He was elected to the Australian Academy of Science in 2006.www.imperial.ac.uk/environmental-policy www.conbio.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Mark Burgman is Director of the Centre for Environmental Policy at Imperial College London and Editor-in-Chief of the journal Conservation Biology.  He is author of Trusting Judgments: How to Get the Best Out of Experts. Previously, he was Adrienne Clarke Chair of Botany at the University of Melbourne, Australia. He works on expert judgement, ecological modelling, conservation biology and risk assessment.  He has written models for biosecurity, medicine regulation, marine fisheries, forestry, irrigation, electrical power utilities, mining, and national park planning.  He received a BSc from the University of New South Wales, an MSc from Macquarie University, Sydney, and a PhD from the State University of New York at Stony Brook. He worked as a consultant ecologist and research scientist in Australia, the United States and Switzerland during the 1980’s before joining the University of Melbourne in 1990. He joined CEP in February, 2017. He has published over two hundred and fifty refereed papers and book chapters and seven authored books. He was elected to the Australian Academy of Science in 2006.“And we are all wondering the same thing about our threatened species, and so we did some experiments and that's when we found that asking the best-regarded person is a mistake. You don't ask them. They're usually overconfident, and they know more than a random person from the street. But if you are interested and you understand the data and the jargon, then your judgment will be as good as anyone else's. And then I've got a much wider pool of people. I can go to people who are interested than people who profess knowledge and insights. Get them together, talk to them, facilitate the discussion in a structured way, and generate an answer. And that's, we did that because we were interested in conservation problems, but it has implications for expert judgment in epidemiology, medicine, dentistry, social security, national security, and geopolitics. These same questions and these same constraints arise. And so the results of that work are much more generally useful than just conservation.”www.imperial.ac.uk/environmental-policy www.conbio.orgwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I think our students are the greatest source of inspiration. We learn from them a great deal more than we probably manage to teach them. In many ways, it's an amazing thing to be able to teach. It's a great responsibility, but it's also an enormous opportunity. And although I'm not teaching at the moment, that's why I'm missing it, I suppose. And that impulse, the desire that is there in teaching to talk to people, but also to listen to people is something that I never stop valuing and appreciating.When academics end their careers, generally speaking, they're never asked to give a final lecture or to kind of attempt to sum up what they've learned or what they've understood or what they've most appreciated, or what they've been most moved by in their years of teaching. I suppose the creative is essentially to do with the unforeseeable. I think it's so much to do with chance, with what you don't see coming, and what turns out or what befalls."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."I think our students are the greatest source of inspiration. We learn from them a great deal more than we probably manage to teach them. In many ways, it's an amazing thing to be able to teach. It's a great responsibility, but it's also an enormous opportunity. And although I'm not teaching at the moment, that's why I'm missing it, I suppose. And that impulse, the desire that is there in teaching to talk to people, but also to listen to people is something that I never stop valuing and appreciating.When academics end their careers, generally speaking, they're never asked to give a final lecture or to kind of attempt to sum up what they've learned or what they've understood or what they've most appreciated, or what they've been most moved by in their years of teaching. I suppose the creative is essentially to do with the unforeseeable. I think it's so much to do with chance, with what you don't see coming, and what turns out or what befalls."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

"There's all sorts of fantastic things in the music, but if we think about the music as a model for social form or interaction, it lets one get away from fixed assumptions about the present and the future and attunes one to other people.You're not dependent upon, if you follow a jazz model, a fixed conception of progress or a calendar, but rather other people. And other people are flexible—sometimes disappointing, but sometimes surprising in fantastic ways. If you take this model of jazz temporality and coordination, it suggests another way of organizing social life. One that is important and productive in all sorts of different ways."Bruce Evan Barnhart is an associate professor of American literature and culture at the University of Oslo and co-director of the project Literature, Rights, and Imagined Communities. He is the author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture. His work has appeared in African American Review, Callaloo, and Novel. His latest publications are Temporal Experiments: Seven Ways of Configuring Time in Art and Literature, co-edited with Marit Grøtta, and LeRoi Jones, Jazz, and the Resonance of Class. His research interests include African American literature, post-Marxist theory, jazz, and Caribbean aesthetics.www.hf.uio.no/ilos/english/people/aca/brucebwww.routledge.com/Temporal-Experiments-Seven-Ways-of-Configuring-Time-in-Art-and-Literature/Barnhart-Grotta/p/book/9781032350240https://www.hf.uio.no/ilos/english/research/groups/temporal-experiments/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Bruce Evan Barnhart is an associate professor of American literature and culture at the University of Oslo and co-director of the project Literature, Rights, and Imagined Communities. He is the author of Jazz in the Time of the Novel: The Temporal Politics of American Race and Culture. His work has appeared in African American Review, Callaloo, and Novel. His latest publications are Temporal Experiments: Seven Ways of Configuring Time in Art and Literature, co-edited with Marit Grøtta, and LeRoi Jones, Jazz, and the Resonance of Class. His research interests include African American literature, post-Marxist theory, jazz, and Caribbean aesthetics."There's all sorts of fantastic things in the music, but if we think about the music as a model for social form or interaction, it lets one get away from fixed assumptions about the present and the future and attunes one to other people.You're not dependent upon, if you follow a jazz model, a fixed conception of progress or a calendar, but rather other people. And other people are flexible—sometimes disappointing, but sometimes surprising in fantastic ways. If you take this model of jazz temporality and coordination, it suggests another way of organizing social life. One that is important and productive in all sorts of different ways."www.hf.uio.no/ilos/english/people/aca/brucebwww.routledge.com/Temporal-Experiments-Seven-Ways-of-Configuring-Time-in-Art-and-Literature/Barnhart-Grotta/p/book/9781032350240https://www.hf.uio.no/ilos/english/research/groups/temporal-experiments/www.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast