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.
"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%."
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
All images courtesy of Mark Maslin
"Limitations are the greatest, greatest tools for advancing something. And that's where a narrative for me works very well. It acts like a kind of nautical map. I know where I'm going, and I know if I've gone way off course and I shouldn't be there because I look back at the limitations I've set for myself based on the stories within it.
One of our great British artists is Brian Eno, and he spoke a lot about limitations. I had the great joy of having a conversation. We ended up chatting for a couple of hours and he said, 'Oh, I want to show you something. I want to show you my library, and this tool I've created!' His Sonic Library, which is decades of audio material. (I have something similar. I call it an orphanage of sound. These files and folders that will eventually find a home.) But he's created a piece of software using algorithms that will at random pull out sounds and play them. And he can set certain parameters: I want a string sound to be here. And I'd like some bass sounds to come in. And I'd like some drum sounds, but it's just choosing these layers and playing them all at the same time. Again, a bit like the cacophony of birdsong. It's a bit of a mess initially, but then you can edit, and you start to refine. And in those limitations that have come out of this tool - and this is the point I guess I'm trying to make - is that it can be used as a tool to set limits or to burst limits. Or to mix things up. Out of that editing process, you can output something that to your ear sounds good to somebody else's ear."
How has music transported you? Where do you find inspiration from the natural world? Where do you find moments of every day magic?
Erland Cooper is a Scottish composer, producer, and multi-instrumentalist from Stromness, Orkney. He has released three acclaimed studio albums, four additional companion albums, and multiple EPs, including a trilogy of work inspired by his childhood home. His work combines field recordings with traditional orchestration and contemporary electronic elements. Through music words and cinematography, he explores landscape, memory, and identity. Cooper also works across mixed media projects, including installation, art, theater, and film. He is widely known for burying the only existing copy of the master tape of his first classical album in Scotland, deleting all digital files, and leaving only a treasure hunt of clues for fans and his record label alike to search for it. The tape has recently been found.
www.erlandcooper.com
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
How has music transported you? Where do you find inspiration from the natural world? Where do you find moments of every day magic?
Erland Cooper is a Scottish composer, producer, and multi-instrumentalist from Stromness, Orkney. He has released three acclaimed studio albums, four additional companion albums, and multiple EPs, including a trilogy of work inspired by his childhood home. His work combines field recordings with traditional orchestration and contemporary electronic elements. Through music words and cinematography, he explores landscape, memory, and identity. Cooper also works across mixed media projects, including installation, art, theater, and film. He is widely known for burying the only existing copy of the master tape of his first classical album in Scotland, deleting all digital files, and leaving only a treasure hunt of clues for fans and his record label alike to search for it. The tape has recently been found.
"Limitations are the greatest, greatest tools for advancing something. And that's where a narrative for me works very well. It acts like a kind of nautical map. I know where I'm going, and I know if I've gone way off course and I shouldn't be there because I look back at the limitations I've set for myself based on the stories within it.
One of our great British artists is Brian Eno, and he spoke a lot about limitations. I had the great joy of having a conversation. We ended up chatting for a couple of hours and he said, 'Oh, I want to show you something. I want to show you my library, and this tool I've created!' His Sonic Library, which is decades of audio material. (I have something similar. I call it an orphanage of sound. These files and folders that will eventually find a home.) But he's created a piece of software using algorithms that will at random pull out sounds and play them. And he can set certain parameters: I want a string sound to be here. And I'd like some bass sounds to come in. And I'd like some drum sounds, but it's just choosing these layers and playing them all at the same time. Again, a bit like the cacophony of birdsong. It's a bit of a mess initially, but then you can edit, and you start to refine. And in those limitations that have come out of this tool - and this is the point I guess I'm trying to make - is that it can be used as a tool to set limits or to burst limits. Or to mix things up. Out of that editing process, you can output something that to your ear sounds good to somebody else's ear."
www.erlandcooper.com
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
Photo by Alex Kozobolis
"We feel a great responsibility in that we train the citizens for the future. We train the leaders for the future. And SciencesPo is a unique institution in many ways. And one of those is it plays a disproportionately important role in training the social, political, and business elites in France. In no other country, do you have just one single institution which is so important for training the political elite. And that's why we feel a great responsibility. That's why we always ask ourselves what else we can do to make sure that people who will run this country 20 years later actually know what they are supposed to do?
And we make sure that our student body is diverse. So we don't have this disconnect between elites and the others, but we also think about the subjects. So we teach more and more about environmental transformation. On digital transformation, we have special research programs on discrimination inequalities, and we teach courses on this. And of course, we also involve a highly international faculty and student body. This is, again, something that is a part of my strategy as a provost. We need to recruit more international faculty because we already have internationalized our student body. We have about half of SciencesPo students who are either international or binational. So this is also an important part of our strategy to become not just an institution in France, but also an institution for the whole world because of all these issues: climate change, digital transformation, inequalities, geopolitics, and crisis. These are all global issues that have to be addressed not by one country, but by the international community."
What is a spin dictator? What does tyranny look like in the 21st century? Why is populism on the rise? And how do we reinvent democracy?
Sergei Guriev is the co-author of Spin Dictators: The Changing Face of Tyranny in the 21st Century. Guriev is Provost and a professor of economics and at Sciences Po in Paris. He is a former Chief Economist of the European Bank for Reconstruction and Development, London, and a former Rector of the New Economic School in Moscow in 2004-13.
https://sites.google.com/site/sguriev/
https://spindictators.com/
www.sciencespo.fr/department-economics/en/researcher/sergei-guriev.html
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
What is a spin dictator? What does tyranny look like in the 21st century? Why is populism on the rise? And how do we reinvent democracy?
Sergei Guriev is the co-author of Spin Dictators: The Changing Face of Tyranny in the 21st Century. Guriev is Provost and a professor of economics and at Sciences Po in Paris. He is a former Chief Economist of the European Bank for Reconstruction and Development, London, and a former Rector of the New Economic School in Moscow in 2004-13.
"We feel a great responsibility in that we train the citizens for the future. We train the leaders for the future. And SciencesPo is a unique institution in many ways. And one of those is it plays a disproportionately important role in training the social, political, and business elites in France. In no other country, do you have just one single institution which is so important for training the political elite. And that's why we feel a great responsibility. That's why we always ask ourselves what else we can do to make sure that people who will run this country 20 years later actually know what they are supposed to do?
And we make sure that our student body is diverse. So we don't have this disconnect between elites and the others, but we also think about the subjects. So we teach more and more about environmental transformation. On digital transformation, we have special research programs on discrimination inequalities, and we teach courses on this. And of course, we also involve a highly international faculty and student body. This is, again, something that is a part of my strategy as a provost. We need to recruit more international faculty because we already have internationalized our student body. We have about half of SciencesPo students who are either international or binational. So this is also an important part of our strategy to become not just an institution in France, but also an institution for the whole world because of all these issues: climate change, digital transformation, inequalities, geopolitics, and crisis. These are all global issues that have to be addressed not by one country, but by the international community."
https://sites.google.com/site/sguriev/
https://spindictators.com/
www.sciencespo.fr/department-economics/en/researcher/sergei-guriev.html
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
"I just think we need to protect these areas. We have to feel for them. We have to understand them. And we have to feel that connection. So I would certainly encourage as many people as possible to learn to dive, to learn to snorkel and to really be in the moment, be in the space, in order to foster that empathy for the marine world. For me, it's one of the most beautiful, spiritual, and diverse places on the planet. And it's so little understood, but it's changing.
We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And they can be removed and then scanned. And all that data can then be downloaded to also monitor how the works are. I just completed a big project in Australia which just opened on World Ocean's Day. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color."
What if museums weren’t confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?
Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.
www.underwatersculpture.com
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
What if museums weren’t confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?
Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.
"I just think we need to protect these areas. We have to feel for them. We have to understand them. And we have to feel that connection. So I would certainly encourage as many people as possible to learn to dive, to learn to snorkel and to really be in the moment, be in the space, in order to foster that empathy for the marine world. For me, it's one of the most beautiful, spiritual, and diverse places on the planet. And it's so little understood, but it's changing.
We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And they can be removed and then scanned. And all that data can then be downloaded to also monitor how the works are. I just completed a big project in Australia which just opened on World Ocean's Day. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color."
www.underwatersculpture.com
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
"Oysters are incredible beasts. You know, dolphins have cute eyes. Marine mammals, we have a natural affinity with them. How do you engage with a shelled introvert that hides away its entire life? But if we think about them as an organism, they are quite fascinating. A real character of the sea. So part of the reproductive process for the oyster that I work on are what we call sequential hermaphrodites. That means that they can switch between male and female almost on a daily basis. When you open them up, you can actually sometimes see egg and sperm next to each other. Incredibly dynamic organisms. They redefine, in many ways, how we think about sexuality. It's far more fluid with oysters. One of the amazing things about them though is that they were forming these reefs since before the time of the dinosaurs.
We've lost something like 85% of oyster reefs globally.We've been using healthy marine sounds with underwater speakers to attract oysters to these reefs. So when the historical native habitat was lost, it also lost the sound that was associated with those reefs, that sound created by the millions of animals that live in that complex habitat.
Now there's recognition that anthropogenic noise, noise from shipping and motorboats, and other urban noise is masking the natural sounds of the sea and dominating the soundscape as we call it. We're hoping that we can counteract some of those negative impacts of anthropogenic noise by playing healthy marine sounds."
We have lost around 85% of oyster reefs. That’s not only the loss of oysters but also the habitat they provide other marine animals and plants. Oysters are amazing, not only do some create pearls but as sequential hermaphrodites, they can switch between male and female almost on a daily basis.
Dr. Dominic McAfee is a researcher at the University of Adelaide in Australia. His work centers around restoring lost marine ecosystems, specifically shellfish reefs. Along with employing novel technology and reef restoration projects, he seeks to understand how oysters enhance the resilience and function of coastal ecosystems. He seeks to develop conservation messaging strategies that enhance public engagement via conservation optimism.
https://researchers.adelaide.edu.au/profile/dominic.mcafee
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
We have lost around 85% of oyster reefs. That’s not only the loss of oysters but also the habitat they provide other marine animals and plants. Oysters are amazing, not only do some create pearls but as sequential hermaphrodites, they can switch between male and female almost on a daily basis.
Dr. Dominic McAfee is a researcher at the University of Adelaide in Australia. His work centers around restoring lost marine ecosystems, specifically shellfish reefs. Along with employing novel technology and reef restoration projects, he seeks to understand how oysters enhance the resilience and function of coastal ecosystems. He seeks to develop conservation messaging strategies that enhance public engagement via conservation optimism.
"Oysters are incredible beasts. You know, dolphins have cute eyes. Marine mammals, we have a natural affinity with them. How do you engage with a shelled introvert that hides away its entire life? But if we think about them as an organism, they are quite fascinating. A real character of the sea. So part of the reproductive process for the oyster that I work on are what we call sequential hermaphrodites. That means that they can switch between male and female almost on a daily basis. When you open them up, you can actually sometimes see egg and sperm next to each other. Incredibly dynamic organisms. They redefine, in many ways, how we think about sexuality. It's far more fluid with oysters. One of the amazing things about them though is that they were forming these reefs since before the time of the dinosaurs.
We've lost something like 85% of oyster reefs globally.We've been using healthy marine sounds with underwater speakers to attract oysters to these reefs. So when the historical native habitat was lost, it also lost the sound that was associated with those reefs, that sound created by the millions of animals that live in that complex habitat.
Now there's recognition that anthropogenic noise, noise from shipping and motorboats, and other urban noise is masking the natural sounds of the sea and dominating the soundscape as we call it. We're hoping that we can counteract some of those negative impacts of anthropogenic noise by playing healthy marine sounds."
https://researchers.adelaide.edu.au/profile/dominic.mcafee
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
What is the role of music in cinema and why it is such an important part of the storytelling process? How does music increase our capacity for empathy and wonder?
Fabrizio Mancinelli is an Italian-American composer, songwriter, and conductor, best known for his musical contributions to the world of cinema. As a songwriter, he has created original scores for The Land of Dreams,The Snow Queen 3, The Boat, and the upcoming animated drama Mushka, among others. In 2017, he led the orchestral recording for the Academy Award-winning Green Book, and he recently scored the documentary Food 2050, which premiered at the UN Climate Change Conference in 2022.
"And here I have to recall a conversation I had with one of my mentors, Luis Bacalov, who won the Oscar for the movie Il Postino, one of the biggest film composers of the 20th century and a great music arranger. He told me that he always has music in his brain, and I always had music in my brain as well. It's always there in the background. I would be concerned if there was no music for one day or even for one minute. Silence is a different kind of sound for me in the difference when I write music. Silence, a rest, is as important as a note because it prepares us for something else. It's part of the music. There is a difference between relative silence, which I put in the music, and absolute silence, which I fear."
https://fabriziomancinelli.us
www.instagram.com/fabmancinelli
www.creativeprocess.info
www.oneplanetpodcast.org
IG www.instagram.com/creativeprocesspodcast
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.
INSTAGRAM @creativeprocesspodcast
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