Debra J. Fisher - Showrunner of Netflix’s “Ginny & Georgia” - Writer, Exec. Producer “Criminal Minds” , “Alias”

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

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

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

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

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

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

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

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

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

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