The Creative Process · Arts, Culture & Society: Books, Film, Music, TV, Art, Writing, Creativity, Education, Environment, Theatre, Dance, LGBTQ, Climate Change, Social Justice, Spirituality, Feminism, Tech, Sustainability

“Even if the current system sucks, we still need to vote. That for me is something that I keep repeating. We cannot leave vacuums in the political system because someone else is going to fill them. So that for me is the number one thing. We change everything we want and work on change, but we need to make sure that the right people are voting or otherwise, it's going to be a lot harder. So we need to play both games, I guess. And then I think that we've had time to experience and experiment with these institutions for hundreds of years. And whenever we propose something new, there is this expectation that completely replaces what exists. And it always gets compared like, ‘Oh, but this happened, but…' We need to experiment. We need to be honest about this, and we need to say like, we don't know if we have unintended consequences. Like what I was saying before about our use of social media, we missed it. And so I think that we can, at the grassroots level, do a lot of experimentation and organizing kind of collectives that self-govern in different ways and use different tools and really experiment with what happens at a human level when certain technologies are used, when certain governance structures are used. So I think that's the game we will all need to play. It's twofold. On the one hand, we need to build a new system. And that makes the existing system obsolete. And we need to do this by finding sandboxes of political innovation and experimenting with political structures ourselves, but at the same time, we need to keep the pressure on the existing system to make sure that it doesn't go to hell. So it's these two things, that's our generational challenge."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).“Even if the current system sucks, we still need to vote. That for me is something that I keep repeating. We cannot leave vacuums in the political system because someone else is going to fill them. So that for me is the number one thing. We change everything we want and work on change, but we need to make sure that the right people are voting or otherwise, it's going to be a lot harder. So we need to play both games, I guess. And then I think that we've had time to experience and experiment with these institutions for hundreds of years. And whenever we propose something new, there is this expectation that completely replaces what exists. And it always gets compared like, ‘Oh, but this happened, but…' We need to experiment. We need to be honest about this, and we need to say like, we don't know if we have unintended consequences. Like what I was saying before about our use of social media, we missed it. And so I think that we can, at the grassroots level, do a lot of experimentation and organizing kind of collectives that self-govern in different ways and use different tools and really experiment with what happens at a human level when certain technologies are used, when certain governance structures are used. So I think that's the game we will all need to play. It's twofold. On the one hand, we need to build a new system. And that makes the existing system obsolete. And we need to do this by finding sandboxes of political innovation and experimenting with political structures ourselves, but at the same time, we need to keep the pressure on the existing system to make sure that it doesn't go to hell. So it's these two things, that's our generational challenge."www.piamancini.comhttps://opencollective.comhttps://democracy.earthwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I was using this jazz technique called woodshedding where you basically isolate yourself, and you come up with harmonic devices that then you can put in your pocket and play during the set. And it's sort of like you create events where you can stimulate happy accidents.So I was doing that I think over a six-month period, and I came up with a lot of different ideas, for example, the sequence where Marilyn Monroe is in the ménage à trois, and she's having a three-way sex scene, and the image is . I found that idea when I went to Canal Plastics in New York, and I ordered a piece of polycarbonate that was mirrored on one side, and I was able to bend it and I would shoot stuff in my studio collaborating with Jack Martinez, a photographer, who would cast different people and we would shoot things together. And I basically, through pre-production, I created I couldn't even count how many cinematic devices, and they were happy accidents in a lot of ways, but in other situations, they were gifts that were given to me by collaborators. And I just had those in my pocket. And a lot of times they would come out spontaneously, like if I saw a scene, and I felt like there was a moment in which we could articulate in a more abstracted point of view...there's a sequence like when Marilyn is coming to the premier, and it's a frenzy and the fans are looking like they're going to consume her. And that sequence, the way it's written, I can interpret that as almost, to go back to the same musical analogy, in jazz would be a moment where the images get to give a solo on the song, on the theme and express it strictly through metaphor and distort notions of reality as long as it's in harmony with what's happening psychologically.”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 was using this jazz technique called woodshedding where you basically isolate yourself, and you come up with harmonic devices that then you can put in your pocket and play during the set. And it's sort of like you create events where you can stimulate happy accidents.So I was doing that I think over a six-month period, and I came up with a lot of different ideas, for example, the sequence where Marilyn Monroe is in the ménage à trois, and she's having a three-way sex scene, and the image is . I found that idea when I went to Canal Plastics in New York, and I ordered a piece of polycarbonate that was mirrored on one side, and I was able to bend it and I would shoot stuff in my studio collaborating with Jack Martinez, a photographer, who would cast different people and we would shoot things together. And I basically, through pre-production, I created I couldn't even count how many cinematic devices, and they were happy accidents in a lot of ways, but in other situations, they were gifts that were given to me by collaborators. And I just had those in my pocket. And a lot of times they would come out spontaneously, like if I saw a scene, and I felt like there was a moment in which we could articulate in a more abstracted point of view...there's a sequence like when Marilyn is coming to the premier, and it's a frenzy and the fans are looking like they're going to consume her. And that sequence, the way it's written, I can interpret that as almost, to go back to the same musical analogy, in jazz would be a moment where the images get to give a solo on the song, on the theme and express it strictly through metaphor and distort notions of reality as long as it's in harmony with what's happening psychologically.”www.chayseirvin.comwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”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/enwww.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.“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”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

“There's no such thing as completely clean energy. We use that term a lot, but it's not really true. We have low carbon energy, and lower carbon energy, but any kind of industrial system has requirements for materials and processing, and nothing is completely natural in the industrial world. If we can electrify transportation, I think we can clean up the grid, and then I think we can deal with these life cycle issues in a way that's responsible, but it'll never be zero. That's impossible.Today, there are hundreds of thousands, if not millions, just in the advocacy and policy space now. And then you look at all the people, the scientists and the engineers and the investors and the business people who are trying to create these new machines and bring down the cost. You're talking tens of millions maybe. And the annual spend on clean energy globally is somewhere in the range I believe of about 400 billion a year. We're getting up there in terms of social effort, and it's hard to believe that with all these options coming onto the scene that we won't solve or get very close to solving this problem during this century. And our philosophy, which makes us a little different from other environmental organizations that work on this, is we think you ought to be pursuing all of those options because you don't know which are going to work out.”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.“There's no such thing as completely clean energy. We use that term a lot, but it's not really true. We have low carbon energy, and lower carbon energy, but any kind of industrial system has requirements for materials and processing, and nothing is completely natural in the industrial world. If we can electrify transportation, I think we can clean up the grid, and then I think we can deal with these life cycle issues in a way that's responsible, but it'll never be zero. That's impossible.Today, there are hundreds of thousands, if not millions, just in the advocacy and policy space now. And then you look at all the people, the scientists and the engineers and the investors and the business people who are trying to create these new machines and bring down the cost. You're talking tens of millions maybe. And the annual spend on clean energy globally is somewhere in the range I believe of about 400 billion a year. We're getting up there in terms of social effort, and it's hard to believe that with all these options coming onto the scene that we won't solve or get very close to solving this problem during this century. And our philosophy, which makes us a little different from other environmental organizations that work on this, is we think you ought to be pursuing all of those options because you don't know which are going to work out.”www.catf.uswww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think that was definitely a pattern that I unknowingly replicated when I first started traveling. I think that's how the travel industry has kind of marketed to us, right? This idea that, you know, bucket lists and wanting to like check boxes of things you're going to do in each place and becomes this thing of, rather than consuming a product that's an actual physical thing, you're consuming a country or consuming an experience. It's the same framework. We're still grasping at things. We're still compulsively trying to do XYZ without really thinking about its impact, without really thinking about the relationships that we're making in those places, without really thinking about reciprocity. And a lot of it comes from a deeply colonial mindset also, right? So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, right? Which I think is the more modern 2023 way that we kind of replicate that colonial travel mindset of–My life right now is not great. I'm going to take a vacation. I'm going to take a break and go somewhere else where I can get what I need? Which I think is in a lot of ways can describe what I did at 24 as well.I think looking at that. Really deeply and really thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.”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.“I think that was definitely a pattern that I unknowingly replicated when I first started traveling. I think that's how the travel industry has kind of marketed to us, right? This idea that, you know, bucket lists and wanting to like check boxes of things you're going to do in each place and becomes this thing of, rather than consuming a product that's an actual physical thing, you're consuming a country or consuming an experience. It's the same framework. We're still grasping at things. We're still compulsively trying to do XYZ without really thinking about its impact, without really thinking about the relationships that we're making in those places, without really thinking about reciprocity. And a lot of it comes from a deeply colonial mindset also, right? So much of the travel industry was built on the idea of colonialism which really makes us all inherit this idea that whatever we need in life is going to come from seeking it elsewhere and grabbing it from somewhere else, right? Which I think is the more modern 2023 way that we kind of replicate that colonial travel mindset of–My life right now is not great. I'm going to take a vacation. I'm going to take a break and go somewhere else where I can get what I need? Which I think is in a lot of ways can describe what I did at 24 as well.I think looking at that. Really deeply and really thinking about what is lost from that mindset and the harm that is caused by it has been something I've been trying to do over the last few years. And a lot of that has to do with land trauma, right? Like really acknowledging where our settlement of land comes from and how we can heal that in the ways that we travel.”www.amandaemachado.comIG www.instagram.com/amandaemachado0www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast