KIRIAKOS SPIROU

KIRIAKOS SPIROU

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Editor, Writer, Curator, Content Creator, Pianist & Composer

This particular exhibition definitely had to do with my close relationship to dance. I have collaborated a lot with choreographers for contemporary dance theater, and I was often advising collaborators, so we would create the tasks and the content of the choreography together. We would exchange the tasks. We would create the score and narrative together. Also, because I’m a pianist, which is a very physically demanding instrument, you have this geography of the piano. I think this exhibitions links to my own experience as a performer and composer for dance and the relationship that music has with the body.

JANET BURROWAY

JANET BURROWAY

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Novelist, Playwright & Author of Most Widely Used Creative Writing Text in America

There’s a lot of controversy about that idea at the moment, about whether fiction is truly empathic and how much freedom the imagination should have because, as one of my friends says, the imagination is not free. It comes from all of the places that we come from. So it’s a controversial notion, but I am firmly on the side of literature is empathic. In fact, I think that all the arts are empathic because all the arts basically say, ‘Wait a minute. Look at it this way.’ And they allow us to see from some other vantage point than our extremely self-interested selves.

ROBERT AXELROD

ROBERT AXELROD

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Former Consultant for the UN, World Bank & US Department of Defense
Professor Emeritus of Political Science & Public Policy at University of Michigan
National Medal of Science Award-Winner

I think the most critical thing is education for critical thinking. The ability to listen to a political argument or an argument of any sort, on COVID, for example, or climate change, and not necessarily understand the science behind that, but to understand how to evaluate the credibility of the speaker, how to evaluate the logic of the arguments and to see whether a conspiracy theory is behind this that has no grounding… And so I think what’s especially important in would be an educational in critical thinking.

TOM PERROTTA

TOM PERROTTA

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Tom Perrotta is the bestselling author of nine works of fiction, including Election and Little Children, both of which were made into Oscar-nominated films, and The Leftovers, which was adapted into a critically acclaimed, Peabody Award-winning HBO series. His other books include Bad Haircut, The Wishbones, Joe College, The Abstinence Teacher, Nine Inches, and his newest, Mrs. Fletcher. His work has been translated into a multitude of languages. Perrotta grew up in New Jersey and lives outside of Boston.

MARCIA SCHEINER

MARCIA SCHEINER

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President & Founder of Integrate Autism Employment Advisors

For autistic individuals, there’s really sort of two paths. There are those today, about 35% percent of 18 year olds with an autism diagnosis who do go on to college or some form of post-secondary education, and then those who don’t. Of those who don’t and want to work, there’s about a 55% unemployment rate. And those who go to college and then look for employment afterwards, there’s about a 75 to 85% underemployment rate. So you can see the unemployment rates whether you go to college or not are astronomical, but they’re even higher if you go to college, which is sort of counterintuitive.

ROBERT J. LANG

ROBERT J. LANG

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Master Origamist, Physicist & Author

In origami design, historically people have always used their intuition. They probably started by folding traditional shapes or folding designs by others, developed an intuitive understanding of how the paper behaves and then from there they can explore that intuition to create new shapes. That was the way design worked for years and years, that was the way it worked for me, but I eventually hit a limit to what I could do with my intuition and so part of my motivation for exploring mathematical methods was to externalise some of the design process. If I could get some of the design process on paper in a meaningful way, then I could handle more complicated goals than I could just fit in my brain.

DAVID TOMAS MARTINEZ

DAVID TOMAS MARTINEZ

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Pushcart Award-Winning Poet

When I was younger, I never really thought of living past twenty-five…I felt like I was in a movie. I thought that I was living this movie idea of things and there’d be gunshots around you. You hear it hitting the concrete, and you’re like ‘Oh, shit’. Seriously, I didn’t think of it as real life. When you’re young, the idea that I’d known people that were killed early, you go to prison. These just felt like matter of fact. They seemed to be this part of life and you just accepted them.

GAVIN JAMES CREEL

GAVIN JAMES CREEL

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Tony & Olivier Award-Winning Actor, Singer & Songwriter

To not honor that we are all creative, beautiful, interesting deep, rich individuals. We’re not zeros and ones on a spreadsheet. We’re not scientifically explained. We are not mathematically judged. We are imperfect blobs of emotion and bone and spirit and life and when we come together there is nothing greater than the chemistry and the alchemy of musical theater… There’s a joy, there’s a bounce, there’s an effervescence that’s part of that music. I had a great teacher in college, the head of our program Brent Wagner said, 'With lyrics, I can tell you to open the door, but with music I can tell you how.’ Lyrics are information and music is emotion.

DR. FRANÇOIS CLEMMONS

DR. FRANÇOIS CLEMMONS

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Singer · Author
1st African American Actor on Children’s TV · Officer Clemmons on Mister Rogers’ Neighborhood

I always find it an ironic thing to think about the fact that Fred Rogers was colour-blind. He could barely tell a blue from a grey. I was young and to him I was a child and I certainly played the role of a child and he played the role of parent… He was profoundly patient.

AVI LOEB

AVI LOEB

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Harvard Astronomer · Theoretical Physicist
NY Times Bestselling Author of Extraterrestrial, The First Sign of Intelligent Life Beyond Earth

If we are not open to discover wonderful things, we will never discover them. It very much depends on us allowing ourselves to explore and find new things. My mother used to tell me when I was a kid that when I was born as an infant I was very different from the other babies in the room. I was looking around with open eyes, and I should say that’s where it all started. Once I got out of the womb of my mother and I started looking around, I was very curious. The great privilege of being a scientist is that you don’t need to give up on that curiosity. You can maintain your childhood curiosity.

TAL HEVER-CHYBOWSKI

TAL HEVER-CHYBOWSKI

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Director of the Paris Yiddish Center (Maison de la Culture Yiddish) & Medem Library

A lot of people in my family and among my friends when they heard that I study Yiddish and that later made it my livelihood, they are very surprised. Yiddish? How come Yiddish? Why Yiddish? They even laugh sometimes, they are very surprised. And what I answer to them is that there is nothing surprising about the fact that I study or speak Yiddish. The real surprise, the real question that has to be asked is how come my parents, this last generation, didn’t speak Yiddish? Because, if you consider my family, for hundreds of years on all sides they spoke Yiddish.

ANANTHA DURAIAPPAH

ANANTHA DURAIAPPAH

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Inaugural Director · UNESCO Mahatma Gandhi Institute of Education for Peace & Sustainable Development

I’ve always found that science and evidence has to be the guiding force in the way that we design our programs. Of course, understanding people as humans. People as not just rational human beings. That’s another thing that I also learned during my journey is that the whole notion of a rational human being is used as an assumption to make our economic models simple.

ETGAR KERET

ETGAR KERET

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Writer and Director

When I compare novelists to short story writers or very short story writers, I can’t compare them, but one thing for sure, the purpose is different. I think that someone who writes tries to create or document a world. And when you write very short fiction you try to document a motion, some kind of movement.

PATON MILLER

PATON MILLER

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Artist & World Traveler

When we moved back to Hawaii and lived on Molokai. I was teaching at the Kalaupapa Leprosy Colony, we had no money. And I was spearfishing, not for sport, but to get food for my family. And it was a beautiful time of our lives. We were so poor, but we were not poor. Poor is a state of mind. We were without money, but we were having so much fun.

STUART UMPLEBY

STUART UMPLEBY

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Professor Emeritus of Management at George Washington University School of Business
Former President of the American Society of Cybernetics
Associate Editor of the Journal of Cybernetics and Systems

“Cybernetics is the Greek word for governor, that’s where it came from. It was introduced into the contemporary discussion with a book by Norbert Wiener in 1948 called Cybernetics: Or Control and Communication in the Animal and the Machine. These were the very early days of computers and they were looking for a theory to guide the creation of computers.”

DAVID RUBIN

DAVID RUBIN

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Interview Highlights
You know, the camera lens reads thought and reads emotion as much as the human eye does, and anything that is false, anything that is premeditated, planned doesn't feel real. So a great actor has none of those false beats in their work. That's all extremely connected to who they are personally. The camera lens sees it, and the audience loves it.

GREGORY JBARA

GREGORY JBARA

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Gregory Jbara is a Tony award-winning stage actor with a impressive career spanning over four decades . On Broadway, Gregory has stared in renditions of Chicago, Dirty Rotten Scoundrels, and Billy Elliot, which earned him the 2009 Tony award for Best Featured Actor in a Musical. Since departing from the stage, Gregory has spent ten seasons alongside Tom Selick in the CBS drama Blue Bloods.

PETER MCLAREN

PETER MCLAREN

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Peter McLaren is Distinguished Professor in Critical Studies, the Donna Ford Attallah College of Educational Studies, Chapman University and Professor Emeritus, the University of California, Los Angeles. He is an award-winning author and editor of approximately 50 books. His writings have been translated into 25 languages. He is the recipient of numerous lifetime achievement awards and is a Fellow of the American Educational Research Association. One of the architects of critical pedagogy in North America, Professor McLaren is active politically in both North America and America Latina and is co-founder of Instituto McLaren de Pedagogia Critica in Ensenada, Mexico. His work is indebted to his mentor, Paulo Freire, and the Catholic social justice tradition of liberation theology. His latest book is He Walks Among Us: Christian Fascism Ushering in the End of Days.



ALICE NOTLEY

ALICE NOTLEY

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Poet

I wrote "I the People" in about 1985. I was living in New York and it was one of those years when it was an anniversary of the Constitution…My first husband had died a few years previously, and I didn't feel like I was part of any "we." But I did feel that I was "the people," somehow. So, I just changed it to "I the People." It seemed to me that that could be something that anyone might say to themselves, I the people.

PAUL AUSTER