The Ethics of AI w/ SVEN NYHOLM, Author & Lead Researcher, Munich Centre for Machine Learning

How do writers develop their voice, showing us what is important in life?ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) explains that her poetry begins with a bodily sensation or curiosity, not an idea. She values the space and breath poetry offers for unknowing and mystery, finding solace in the making and the mess, not in answers. She discusses being free on the page to be her whole, authentic, complicated self.JAY PARINI (Author, Filmmaker, Borges and Me) calls poetry the prince of literary arts—language refined to its apex of memorability. He recounts how his road trip with Borges around Scotland restored him from depression and anxiety following the Vietnam War death of his friend.JERICHO BROWN (Pulitzer Prize-winning Poet, The Tradition, How We Do It: Black Writers on Craft, Practice, and Skill) discusses the rhythm of black vernacular and capturing "symphonic complexity of black life". He shares how he’s found a way not to think about personal risk as he’s writing.ADAM MOSS (Fmr. Editor, New York Magazine; Author, The Work of Art) relates David Simon’s concept of the bounce, in which creativity gains momentum as it is passed between people.VIET THANH NGUYEN (Pulitzer Prize-winning Author, The Sympathizer; To Save and to Destroy) discusses his path to expansive solidarity and capacious grief and how it works against the state's power to divide and conquer. He emphasizes that literature is crucial because authoritarian regimes abuse language; a commitment to the beauty of language is a commitment to truth, and fear is often an indicator of a truth that needs to be spoken.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

How can we use negative spaces in fiction to engage with readers’ imaginations? How are memory and trauma passed onto us through language? How do we become more than the stories we tell ourselves?KATIE KITAMURA (Author, Audition, Intimacies) emphasizes that a book is created in collaboration with the reader, using negative spaces in the narrative structure to allow for reader interpretation, paralleling the space between audience and actor in performance.PAUL LYNCH (Booker Prize-winning Novelist, Prophet Song) discusses the richness and slipperiness of the English language in Ireland, shaped by the overlay of English onto Irish grammatical constructions, resulting in unique phrasing and a capacity to create new constructions.DANIEL PEARLE (Screenwriter, Playwright, The Beast in Me) shares that audiences are fascinated by the unfettered, uncensored ID in characters, reflecting the universal fantasy of acting without consequences. He advises writers to put people who deeply irritate them into a play, as those characters often become the audience's favorites.HALA ALYAN (Novelist, Poet, I’ll Tell You When I’m Home: A Memoir) describes her work as an excavation of the darkest hours and intergenerational trauma carried by her lineage, which has endured repeated exile. She links exile from the body to the larger patterns of not having a place in the world.T.C. BOYLE(Novelist, Short Story Writer, Environmentalist) shares that the creative process involves a magic in reaching for the unconscious and the surprise of the creative process. He emphasizes that art and nature are our salvations, over money. He advocates for solitude in nature—alone on a beach or in the woods—to connect with the natural world.ADAM ALTER (Author of Anatomy of a Breakthrough) discusses the axioms of creativity, noting that being around more people, even those who are "deeply incompetent," is generally beneficial for creativity by providing diversity of opinion and information, preceding the necessary time for solitary focus.SHEHAN KARUNATILAKA (Booker Prize-winning Author of The Seven Moons of Maali Almeida) explains his decision to write in the second person as a way of exploring the spiritual dimension of the internal voice. He posits that the "you" could be a spirit whispering thoughts, leading people (and nations) astray.DANIEL HANDLER A.K.A LEMONY SNICKET (Author, A Series of Unfortunate Events) argues that his books for children and adults are not fundamentally different and says everyone's childhood is full of powerful emotions derived from ordinary injustices, noting that we cry hardest over hurt feelings, not global catastrophes.ADA LIMÓN (24th U.S. Poet Laureate, Startlement, The Carrying) talks about her responsibility as a writer to honor her ancestors, specifically her grandfather, who had to sublimate his creative spirit for safety and belonging, leading her to prioritize grace and freedom in her own writing.To hear more from each guest, listen to their full interviews.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Today’s episode is about something most of us long for: feeling healthy in our bodies and calm in our minds – not by pushing harder, but by letting the body restore itself. Our guest today is LD Chen, an entrepreneur-turned-author who discovered the ancient wisdom that healing doesn’t come from trying harder, but from restoring the body’s natural intelligence. LD believes everyone has the right to live peacefully and free from constant stress and anxiety – to move through life with genuine joy, peace, and appreciation. After quickly building a 1,000-person company and then facing burnout and serious health issues, LD’s life changed when he encountered an ancient standing practice called Oneness. He is now the Head Coach of the Oneness Institute for America and Europe, and author of the Amazon bestseller Oneness: The Self-Healing Secret You Were Never Supposed to Know.“Oneness is actually not about learning in the usual way. Most teachings tell you how to learn – how to let go, how to calm down, how to manage anger. Oneness does the opposite: we stand, we train the body to correct the heart, and then we live from that heart.”Episode WebsiteOneness Weekly newsletterTEDx; How AI is changing us- And what means to be humanwww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“Oneness is actually not about learning in the usual way. Most teachings tell you how to learn – how to let go, how to calm down, how to manage anger. Oneness does the opposite: we stand, we train the body to correct the heart, and then we live from that heart.”Today’s episode is about something most of us long for: feeling healthy in our bodies and calm in our minds – not by pushing harder, but by letting the body restore itself. Our guest today is LD Chen, an entrepreneur-turned-author who discovered the ancient wisdom that healing doesn’t come from trying harder, but from restoring the body’s natural intelligence. LD believes everyone has the right to live peacefully and free from constant stress and anxiety – to move through life with genuine joy, peace, and appreciation. After quickly building a 1,000-person company and then facing burnout and serious health issues, LD’s life changed when he encountered an ancient standing practice called Oneness. He is now the Head Coach of the Oneness Institute for America and Europe, and author of the Amazon bestseller Oneness: The Self-Healing Secret You Were Never Supposed to Know.Episode WebsiteOneness Weekly newsletterTEDx; How AI is changing us- And what means to be humanwww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“ I think we're betting on AI as something that can help to solve a lot of problems for us. It's the future, we think, whether it's producing text or art, or doing medical research or planning our lives for us, etc., the bet is that AI is going to be great, that it's going to get us everything we want and make everything better. But at the same time, we're gambling, at the extreme end, with the future of humanity  , hoping for the best and hoping that this, what I'm calling the AI wager, is going to work out to our advantage, but we'll see.”As we move towards 2026, we are in a massive “upgrade moment” that most of us can feel. New pressures, new identities, new expectations on our work, our relationships, and our inner lives. Throughout the year, I've been speaking with professional creatives, climate and tech experts, teachers, neuroscientists, psychologists, and futureists about how AI can be used intelligently and ethically as a partnership to ensure we do not raise a generation that relies on machines to think for them. It’s not that we are being replaced by machines. It’s that we’re being invited to become a new kind of human. Where AI isn’t the headline; human transformation is. And that includes the arts, culture, and the whole of society. Generative AI – the technologies that write our emails, draft our reports, and even create art – have become a fixture of daily life, and the philosophical and moral questions they raise are no longer abstract. They are immediate, personal, and potentially disruptive to the core of what we consider human work.Our guest today, Sven Nyholm, is one of the leading voices helping us navigate this new reality. As the Principal Investigator of AI Ethics at the Munich Center for Machine Learning, and co-editor of the journal Science and Engineering Ethics. He has spent his career dissecting the intimate relationship between humanity and the machine. His body of work systematically breaks down concepts that worry us all: the responsibility gap in autonomous systems, the ethical dimensions of human-robot interaction, and the question of whether ceding intellectual tasks to a machine fundamentally atrophies our own skills. His previous books, like Humans and Robots: Ethics, Agency, and Anthropomorphism, have laid the foundational groundwork for understanding these strange new companions in our lives.His forthcoming book is The Ethics of Artificial Intelligence: A Philosophical Introduction. The book is a rigorous exploration of everything from algorithmic bias and opacity to the long-term existential risks of powerful AI. We’ll talk about what it means when an algorithm can produce perfect language without genuine meaning, why we feel entitled to take credit for an AI’s creation, and what this technological leap might be costing us, personally, as thinking, moral beings.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

As we move towards 2026, we are in a massive “upgrade moment” that most of us can feel. New pressures, new identities, new expectations on our work, our relationships, and our inner lives. Throughout the year, I've been speaking with professional creatives, climate and tech experts, teachers, neuroscientists, psychologists, and futureists about how AI can be used intelligently and ethically as a partnership to ensure we do not raise a generation that relies on machines to think for them. It’s not that we are being replaced by machines. It’s that we’re being invited to become a new kind of human. Where AI isn’t the headline; human transformation is. And that includes the arts, culture, and the whole of society. Generative AI – the technologies that write our emails, draft our reports, and even create art – have become a fixture of daily life, and the philosophical and moral questions they raise are no longer abstract. They are immediate, personal, and potentially disruptive to the core of what we consider human work.Our guest today, Sven Nyholm, is one of the leading voices helping us navigate this new reality. As the Principal Investigator of AI Ethics at the Munich Center for Machine Learning, and co-editor of the journal Science and Engineering Ethics. He has spent his career dissecting the intimate relationship between humanity and the machine. His body of work systematically breaks down concepts that worry us all: the responsibility gap in autonomous systems, the ethical dimensions of human-robot interaction, and the question of whether ceding intellectual tasks to a machine fundamentally atrophies our own skills. His previous books, like Humans and Robots: Ethics, Agency, and Anthropomorphism, have laid the foundational groundwork for understanding these strange new companions in our lives.His forthcoming book is The Ethics of Artificial Intelligence: A Philosophical Introduction. The book is a rigorous exploration of everything from algorithmic bias and opacity to the long-term existential risks of powerful AI. We’ll talk about what it means when an algorithm can produce perfect language without genuine meaning, why we feel entitled to take credit for an AI’s creation, and what this technological leap might be costing us, personally, as thinking, moral beings.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“People today are so used to Basquiat's prices being extraordinarily high and rising that it's almost hard for people to understand that wasn't always the case. In the year he died, 1988, a terrific painting by Basquiat might have sold for $30,000. Relative to his other artistic peers, like a great Julian Schnabel painting that cost $800,000. After Basquiat died, some speculative capital entered his market, and his prices did pop, but in the early 1990s, his prices fell apart, and for much of the first half of the 1990s, his work was selling for 80% off what it had been selling before. Auction houses didn't want to include him in their auctions. There was a really good chance he was going to be remembered, but certainly not become a great star. Three key figures believed in him and proceeded to buy almost every available Basquiat in the first half of the 1990s. They were also just passionate believers in his work. But for those three people, it would have taken much longer for Basquiat to achieve acclaim, if ever.”Today, we’re joined by someone uniquely positioned to unpack the art world’s inner workings and to help us understand one of its most mythic figures — Jean-Michel Basquiat. Doug Woodham is the author of the new biography, Jean-Michel Basquiat: The Making of an Icon, the first major life study of Basquiat in over twenty-five years. Drawing on more than a hundred interviews — from family and friends to collectors and curators — Doug traces the rise, fall, and resurrection of an artist who redefined what it means to be a cultural icon. Before turning to writing, Doug served as President of the Americas for Christie’s, one of the world’s leading auction houses. That role gave him an insider’s perspective on how value is created — and mythologized — in the modern art market. In this conversation, we’ll explore not just the man behind the legend, but the powerful machinery that turned Jean-Michel Basquiat into one of the most recognized and commercially successful artists in the world.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcastImages courtesy of Doug Woodham and Thames & Hudson. For image credits, see Episode Website.

“All of the great artists are there for a reason: because they rebelled in some way. They created a visual vocabulary that felt fresh and new, which excited people. So, the great artists are not built on sort of anthills of sand. They're built on things of substance and of meaning. Though this is not a sufficient condition to become an icon, it's a necessary but not sufficient condition. I think you have to have an interesting and vivid personality or personal narrative that makes you interesting for people to talk about and want to learn about. I think you also have to have a support network of galleries, curators, and collectors who are excited about your work and want to push it forward, not wanting it to be forgotten. Basquiat's visual vocabulary is distinctive and stands out relative to what was being done in the 1980s. That's the sort of strong hill on which his reputation is built. Basquiat benefited from being the first black artist of note who got pushed forward. As in many things, the first benefits.”Today, we’re joined by someone uniquely positioned to unpack the art world’s inner workings and to help us understand one of its most mythic figures — Jean-Michel Basquiat. Doug Woodham is the author of the new biography, Jean-Michel Basquiat: The Making of an Icon, the first major life study of Basquiat in over twenty-five years. Drawing on more than a hundred interviews — from family and friends to collectors and curators — Doug traces the rise, fall, and resurrection of an artist who redefined what it means to be a cultural icon. Before turning to writing, Doug served as President of the Americas for Christie’s, one of the world’s leading auction houses. That role gave him an insider’s perspective on how value is created — and mythologized — in the modern art market. In this conversation, we’ll explore not just the man behind the legend, but the powerful machinery that turned Jean-Michel Basquiat into one of the most recognized and commercially successful artists in the world.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“How do you render something interior filmically? How do you communicate the details of the lost child, of the amount of time of the stuck creative process, and even the exterior, or the externalization of the house as a kind of hellish thing that's barely staying together—literally flooding with waste—and that you can't afford? So those are the details that we had to carefully figure out how to weave. But, you know, when you look at the first 10 minutes, it could be a horror movie. From that moment, a lot can happen. But what's important about it is that it sets the table for what does happen.” -Howard GordonToday, we explore the dark psychology of obsession, guilt, and the thin line between predator and victim. Our guests are two of television's most accomplished architects of high-stakes drama and moral ambiguity: Howard Gordon, the showrunner and executive producer whose work defined a generation of thrillers with 24 and the multi-award-winning Homeland; and Daniel Pearle, an executive producer and writer who brings a distinct, penetrating depth from his background as a celebrated playwright and his work on series like Accused and American Crime Story.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“And I think there's also just something about an unfettered or uncensored id that is so captivating. We all have that fantasy of doing exactly what we want with no consequences and sort of letting that go. I think when you see an athlete at the peak of their game, doing that embodied thing and living that dream, or when someone has actually done horrible things that you would never allow yourself to do, there is a fascination there. I had one teacher who said, "Anyone who drives you crazy or that you just cannot stand in life, put them in a play or put them in a scene, and the audience will love them." If someone has really gotten under your skin and you just cannot stand them, and you have a visceral reaction—like, "I just hate this person"—make them a character, and the audience will make them everyone's favorite character. There is something to that.” - Daniel PearleToday, we explore the dark psychology of obsession, guilt, and the thin line between predator and victim. Our guests are two of television's most accomplished architects of high-stakes drama and moral ambiguity: Howard Gordon, the showrunner and executive producer whose work defined a generation of thrillers with 24 and the multi-award-winning Homeland; and Daniel Pearle, an executive producer and writer who brings a distinct, penetrating depth from his background as a celebrated playwright and his work on series like Accused and American Crime Story..Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast