How can we effectively communicate that we're moving beyond climate change to a state of climate crisis? The trapped heat energy on Earth is equal to a million Atomic bombs going off every single day. Today we talk to someone who's been mobilizing the public mind for over 50 years.
David Fenton, named “one of the 100 most influential PR people” by PR Week and “the Robin Hood of public relations” by The National Journal, founded Fenton in 1982 to create communications campaigns for the environment, public health, and human rights. For more than five decades he has pioneered the use of PR, social media, and advertising techniques for social change. Fenton started his career as a photojournalist in the late 1960s – his book Shots: An American Photographer’s Journal was published in 2005. He was formerly director of public relations at Rolling Stone magazine and co-producer of the No-Nukes concerts in 1979 at Madison Square Garden with Bruce Springsteen, Bonnie Raitt, James Taylor, Jackson Browne, and other artists. He has also helped create JStreet, Climate Nexus, the Death Penalty Information Center, and Families for a Future. He sold Fenton a few years ago to work on climate change full time. He is the author of The Activist’s Media Handbook: Lessons From 50 Years as a Progressive Agitator.
"When I say 'Make America Great Again', everybody probably cringes and I do too, but we have to learn from that. That is actually how the brain works. It works through being exposed to the repetition of simple, easy-to-understand messages that have an emotional, moral aspect. That's how the brain learns. It doesn't learn from facts. It doesn't learn from figures. It doesn't learn from policy pronouncements. And it certainly doesn't learn from complexity.
Here's an example. People need to be conscious of the difference between internal and external communications. So, if you want to say that you believe in intersectional environmentalism, that's valid within your group. But if you use that in your public communication, no one understands what the hell you mean by that, not at all. Second, you're branding yourself as an other. You're not part of their world. You don't understand them. You have some weird agenda of your own, and you're incomprehensible. I hope my book makes a contribution to helping activists learn the difference between what the communists used to call an internal line and an external line. You know, the communists had a lot of things wrong, but that they were right about.”
https://davidfentonactivist.com
www.simonandschuster.com/books/The-Activists-Media-Handbook/David-Fenton/9781647228668
https://fenton.com
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www.creativeprocess.info
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All photographs © 1968-2022 David Fenton
Wildfire season is starting earlier and lasting longer due to global warming across the world. What will we do to save the world on fire? How can we cure our addiction to fossil fuels which is verging on pyromania?
Simon Dalby is author of Pyromania: Fire and Geopolitics in a Climate-Disrupted World and Professor Emeritus at Wilfrid Laurier University. His other books are Rethinking Environmental Security, Anthropocene Geopolitics: Globalization, Security, Sustainability, and Security and Environmental Change. He’s co-editor of Achieving the Sustainable Development Goals, and Reframing Climate Change: Constructing Ecological Geopolitics.
"We have got to stop and think carefully about how we integrate our education systems so that we think across these silos and think about literally how to make a better world. And then we can extract ourselves hopefully from those little silos that we do our studying and thinking and learning in, and begin to think about our role as ecological beings. If we're going to think about well-being linked to planetary health, we need to get out of the silos that we traditionally thought about and think across the disciplines. And this should allow us to be much more creative in terms of how we design curriculum and how we organize our educational process."
https://experts.wlu.ca/simon-dalby-1
www.agendapub.com/page/detail/pyromania/?k=9781788216500
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
In this episode of the Speaking Out of Place podcast, Professor David Palumbo-Liu interviews Jennifer Jacquet, who is an Associate Professor in the Department of Environmental Studies and Director of XE: Experimental Humanities and Social Engagement at NYU. She is also deputy director of NYU's Center for Environmental and Animal Protection. Her research focuses on animals and the environment, Agnotology, and attribution and responsibility in the Anthropocene. She is author of The Playbook: How to Deny Science, Sell Lies, and Make a Killing in the Corporate World-- a work of 'epistolary non-fiction' that makes the business case for scientific denial. Among other things, we learn how corporations create an arsenal of experts and pseudo-experts at prestigious universities to create misinformation and disinformation for corporate profit, and at great cost to the public. At the end, we make the case for a partnership between the sciences and the humanities to fight such lies and violence.
Jennifer Jacquet’s research focuses on animals and the environment, Agnotology, and attribution and responsibility in the Anthropocene. She is author of The: How to Deny Science, Sell Lies, and Make a Killing in the Corporate World (Pantheon/Penguin, 2022)-- a work of 'epistolary non-fiction' that makes the business case for scientific denial. She also wrote Is Shame Necessary? (Pantheon/Penguin, 2015) about the evolution, function, and future of the use of social disapproval in a globalized, digitized world. She is the recipient of a 2015 Alfred P. Sloan research fellowship and a 2016 Pew Fellowship in Marine Conservation.
https://jenniferjacquet.com
https://as.nyu.edu/faculty/jennifer-jacquet.html
www.palumbo-liu.com
https://speakingoutofplace.com
https://twitter.com/palumboliu?s=20
"This is a book I wish existed 20 years ago. I would have led an easier life if it had. I want you to have what I always wanted. Here is an anthology that gives us modes to try on the way we might wear and change clothing. And these wonderful writers are proof that nothing ever beat a failure but a try.
In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."
How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?
In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown’s first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.
www.jerichobrown.com
www.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
How do you find your voice? As a writer, how do you take what you know and what you believe to share your stories with the world? How do we let young writers know just how powerful they are and that what they do matters?
In How We Do It: Black Writers on Craft, Practice, and Skill Pulitzer Prize winning, and National Book Award finalist author Jericho Brown brings together more than 30 acclaimed writers, including the likes of Tayari Jones, Jacqueline Woodson, Natasha Trethewey, among many others, to discuss, dissect, and offer advice and encouragement on the written word. Brown is author of The Tradition, for which he won the Pulitzer Prize. He is the recipient of fellowships from the Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard, and the National Endowment for the Arts, and he is the winner of the Whiting Award. Brown’s first book, Please, won the American Book Award. His second book, The New Testament, won the Anisfield-Wolf Book Award. His third collection, The Tradition won the Paterson Poetry Prize and was a finalist for the National Book Award and the National Book Critics Circle Award. His poems have appeared in The Bennington Review, Buzzfeed, Fence, jubilat, The New Republic, The New York Times, The New Yorker, The Paris Review TIME magazine, and several volumes of The Best American Poetry. He is the director of the Creative Writing Program and a professor at Emory University.
"This is a book I wish existed 20 years ago. I would have led an easier life if it had. I want you to have what I always wanted. Here is an anthology that gives us modes to try on the way we might wear and change clothing. And these wonderful writers are proof that nothing ever beat a failure but a try.
In order to make what you make, you have to use what you have. You have to submerge yourself, immerse yourself in what you know, in your own vernacular, in your own tone, in your own belief, in your own way of doing things and telling stories. And that's how the writing can get done."
www.jerichobrown.com
www.harpercollins.com/products/how-we-do-it-jericho-browndarlene-taylor?variant=40901184684066
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
"And I think the ways that wolves converse with one another, there's also so much there that really conjures the way that we humans do. And I was trying to piece together: why did we feel so threatened by wolves? In part, I think because there's a sort of uncanny mirror that humans have seen in a wolf. And I'll give an example. Wolf packs will form a diversity of family structures very often. So they will have a nuclear family where you'll have two breeders, but they can also have an extended family where there's sort of aunts and uncles in the pack. Or (these are the biologist's names) they'll call it a step-family if a wolf pack welcomes an outside breeder. A foster family, if they welcome another outsider. And I think the way that a pack is its own ecosystem: if one wolf dies, there's one wolf in this pack that might be the one that teaches how to move through the territory. And if that one wolf dies, the whole pack has a much higher likelihood of disbanding. And so this idea that the interconnectivity between the packs and the individuality of the wolves is so critical. It is so beautiful, and you see that studying these different wolves, they have personalities."
The lone wolf is actually alone because it's looking for connection. They leave in order to find a mate and form their own pack. If loneliness is an epidemic, what can wolves teach us about loneliness, courage, and connection?
Erica Berry is the author of Wolfish: Wolf, Self, and the Stories We Tell About Fear. Her essays in journalism appear in Outside, Wired, The Yale Review, The Guardian, Literary Hub, The New York Times Magazine, The Atlantic, and Guernica, among other publications. Berry has taught workshops for teenagers and adults at Literary Arts, the Sitka Center for Art and Ecology, the New York Times Student Journeys in Oxford Academia.
www.ericaberry.com
https://us.macmillan.com/books/9781250882264/wolfish
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
The lone wolf is actually alone because it's looking for connection. They leave in order to find a mate and form their own pack. If loneliness is an epidemic, what can wolves teach us about loneliness, courage, and connection?
Erica Berry is the author of Wolfish: Wolf, Self, and the Stories We Tell About Fear. Her essays in journalism appear in Outside, Wired, The Yale Review, The Guardian, Literary Hub, The New York Times Magazine, The Atlantic, and Guernica, among other publications. Berry has taught workshops for teenagers and adults at Literary Arts, the Sitka Center for Art and Ecology, the New York Times Student Journeys in Oxford Academia.
"And I think the ways that wolves converse with one another, there's also so much there that really conjures the way that we humans do. And I was trying to piece together: why did we feel so threatened by wolves? In part, I think because there's a sort of uncanny mirror that humans have seen in a wolf. And I'll give an example. Wolf packs will form a diversity of family structures very often. So they will have a nuclear family where you'll have two breeders, but they can also have an extended family where there's sort of aunts and uncles in the pack. Or (these are the biologist's names) they'll call it a step-family if a wolf pack welcomes an outside breeder. A foster family, if they welcome another outsider. And I think the way that a pack is its own ecosystem: if one wolf dies, there's one wolf in this pack that might be the one that teaches how to move through the territory. And if that one wolf dies, the whole pack has a much higher likelihood of disbanding. And so this idea that the interconnectivity between the packs and the individuality of the wolves is so critical. It is so beautiful, and you see that studying these different wolves, they have personalities."
www.ericaberry.com
https://us.macmillan.com/books/9781250882264/wolfish
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Photo by Andrea Lonas
"I think I would like young people to preserve everything. I think so much of historical work is going back and trying to piece together the things that have not been preserved. And so even with biodiversity and the planet, I think we should try to have less impact on our surroundings and more impact on each other. There's less and less investment in the humanities, and that really saddens me. I think art is important because it's something that we do as humans that has no purpose beyond how it makes us feel.
And something like that is valuable because it is hard and because it is directed at other people. The making of art, the consumption of art, I think is what makes us human as opposed to animals. If we are going to draw that line, I think that's where it is. And I think the purpose of artists is to preserve the feeling of being alive and to communicate that to others."
How can we retell the story of America? In the United States of Amnesia, why does the Western celebrate cowboys but not all people who built this country? What does a Chinese-American hero look like in the 21st Century?
Tom Lin is an American writer whose 2021 debut novel The Thousand Crimes of Ming Tsu chronicles the story of a Chinese American outlaw seeking revenge during America's railroad boom. The book won the 2022 Andrew Carnegie Medal for Excellence in Fiction, making Lin the youngest Carnegie winner in the prize’s history. Tom Lin is currently pursuing an English doctorate at the University of California Davis.
https://twotreeforest.com
www.hachettebookgroup.com/titles/tom-lin/the-thousand-crimes-of-ming-tsu/9780316542173/?lens=little-brown
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Image courtesy of Little, Brown and Company & Tom Lin
How can we retell the story of America? In the United States of Amnesia, why does the Western celebrate cowboys but not all people who built this country? What does a Chinese-American hero look like in the 21st Century?
Tom Lin is an American writer whose 2021 debut novel The Thousand Crimes of Ming Tsu chronicles the story of a Chinese American outlaw seeking revenge during America's railroad boom. The book won the 2022 Andrew Carnegie Medal for Excellence in Fiction, making Lin the youngest Carnegie winner in the prize’s history. Tom Lin is currently pursuing an English doctorate at the University of California Davis.
"I think I would like young people to preserve everything. I think so much of historical work is going back and trying to piece together the things that have not been preserved. And so even with biodiversity and the planet, I think we should try to have less impact on our surroundings and more impact on each other. There's less and less investment in the humanities, and that really saddens me. I think art is important because it's something that we do as humans that has no purpose beyond how it makes us feel.
And something like that is valuable because it is hard and because it is directed at other people. The making of art, the consumption of art, I think is what makes us human as opposed to animals. If we are going to draw that line, I think that's where it is. And I think the purpose of artists is to preserve the feeling of being alive and to communicate that to others."
https://twotreeforest.com
www.hachettebookgroup.com/titles/tom-lin/the-thousand-crimes-of-ming-tsu/9780316542173/?lens=little-brown
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Image courtesy of Little, Brown and Company & Tom Lin
"Economic growth in particular areas, when it comes to developed countries, economic growth in the US does nothing for the average person. It doesn't improve their health, doesn't improve their circumstances, doesn't improve their education. It just goes to the top 1%."
Can we imagine a world where we leave half the earth to the natural environment and use the other half for ourselves? Can we change history and protect the Indigenous, the vulnerable, and the very poorest in society?
Mark Maslin is a Professor of Earth System Science at University College London. Maslin is a leading expert in understanding the anthropocene and how it relates to the major challenges facing humanity in the 21st century. He has written a number of books on the issue of climate change, his most book is How to Save Our Planet: The Facts.
www.geog.ucl.ac.uk/people/academic-staff/mark-maslin
www.penguin.co.uk/books/320155/how-to-save-our-planet-by-maslin-mark/9780241472521
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Image courtesy of Mark Maslin
From the publisher's feed
Philosophy episodes of the popular The Creative Process podcast. We speak to philosophers, writers, educators, spiritual leaders, environmentalists, bioethicists, artists & creative thinkers in other. disciplines To listen to ALL arts & education episodes of “The Creative Process · Arts, Culture & Society”, you’ll find our main podcast on Apple: tinyurl.com/thecreativepod, Spotify: tinyurl.com/thecreativespotify, or wherever you get your podcasts!
Exploring the fascinating minds of creative people. Conversations with writers, artists & creative thinkers across the Arts & STEM. We discuss their life, work & artistic practice. Winners of Oscar, Emmy, Tony, Pulitzer, leaders & public figures share real experiences & offer valuable insights. Notable guests and participating museums and organizations include: Academy of Motion Picture Arts & Sciences, Neil Patrick Harris, Smithsonian, Roxane Gay, Musée Picasso, EARTHDAY.ORG, Neil Gaiman, UNESCO, Joyce Carol Oates, Mark Seliger, Acropolis Museum, Hilary Mantel, Songwriters Hall of Fame, George Saunders, The New Museum, Lemony Snicket, Pritzker Architecture Prize, Hans-Ulrich Obrist, Serpentine Galleries, Joe Mantegna, PETA, Greenpeace, EPA, Morgan Library & Museum, and many others.
The interviews are hosted by founder and creative educator Mia Funk with the participation of students, universities, and collaborators from around the world. These conversations are also part of our traveling exhibition. www.creativeprocess.info
For The Creative Process podcasts from Seasons 1, 2, 3 visit: tinyurl.com/creativepod or creativeprocess.info/interviews-page-1, which has our complete directory of interviews, transcripts, artworks, and details about ways to get involved.
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