Exploring Trauma, Healing & the Creative Process with Author & Educator LIZ MOORE - Highlights

Exploring Trauma, Healing & the Creative Process with Author & Educator LIZ MOORE - Highlights

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I think income inequality really greatly contributes to the rage that people might feel, even as some Americans won't. What don't recognize that a more communal society might benefit them. What they see instead is, why don't I have what that person has? Something's getting in my way. And it's not a lack of, of community, it's: somebody else is keeping me down, you know? And that's, I think that's a theme that emerges in The God of the Woods.

I think there's a certain thread in American history of, like, individualism at all costs. The Van Laars named their house Self-reliance, which is a testament to the idea that they, I think, falsely believe themselves to have, have created their own power, their own capital, their own wealth, and ignore the fact that it's really the labor of the working class community around them- that, and of the people of Albany who've invested their money in the Van Laars Bank - that that really contributed to the acquisition of this enormous wealth that they now have and this enormous power that they now have.

Family, Addiction & Overcoming Trauma - LIZ MOORE on Long Bright River starring AMANDA SEYFRIED

Family, Addiction & Overcoming Trauma - LIZ MOORE on Long Bright River starring AMANDA SEYFRIED

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I've lived in Philadelphia for about 16 years.  The book itself was inspired by my time spent in the Kensington neighborhood of Philadelphia interviewing a lot of the people that I met there, both longtime residents of the neighborhood and also people who were transient,  a lot of people struggling with addiction and a lot of women doing sex work to fund their  physical addiction to opioids. You find out about their past,  their road into addiction, their aspirations, their fears.  I began to lead free writing workshops at an organization named St. Francis Inn, which is a longstanding food service organization in the community. They had a women's day shelter where I taught.  I was really able to connect with people within the community on a quite personal level and loved my experiences in Kensington. And I still go, I'm still quite close with a number of the community workers, people who run free healthcare clinics. All of it ultimately informed the writing of Long Bright River.

Do good deeds offset bad deeds? How do our families shape who we become?- Highlights - DAN FUTTERMAN & ADAM RAPP

Do good deeds offset bad deeds? How do our families shape who we become?- Highlights - DAN FUTTERMAN & ADAM RAPP

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Award-winning Screenwriters · Exec. Producers · Directors
American Rust · The Looming Tower
Capote · The Outsiders musical

We're all culpable in some way of being both good and bad, being virtuous and also questionable at times in our own lives. And I think when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it. And then you just have this sort of a good and bad guy narrative that is oversimplified all too often in our culture. I think viewers will relate to this nature versus nurture versus DNA, raising all the questions of psychological and biological inheritance.

The Outsiders Musical & American Rust w/ ADAM RAPP & DAN FUTTERMAN - Award-winning Writers

The Outsiders Musical & American Rust w/ ADAM RAPP & DAN FUTTERMAN - Award-winning Writers

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Award-winning Screenwriters · Exec. Producers · Directors
American Rust · The Looming Tower
Capote · The Outsiders musical

We're all culpable in some way of being both good and bad, being virtuous and also questionable at times in our own lives. And I think when you start answering questions on either side of that too firmly, I think it allows the audience to disconnect from it. And then you just have this sort of a good and bad guy narrative that is oversimplified all too often in our culture. I think viewers will relate to this nature versus nurture versus DNA, raising all the questions of psychological and biological inheritance.

Does privacy exist anymore? Or are humans just sets of data to be traded and sold? - Highlights - WENDY WONG

Does privacy exist anymore? Or are humans just sets of data to be traded and sold? - Highlights - WENDY WONG

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Author of We, the Data: Human Rights in the Digital Age
Professor of Political Science at University of British Columbia

One of the things that we need to remember is that we are data stakeholders and not data subjects. We're often called data subjects if you look at the way legislation is written and tech companies talk about the users of their technology as data subjects. Being a subject casts this sort of '“you can't help but have this happen to you” effect. But we're actually data stakeholders for the reason that data cannot be created without us. If companies were incentivized to follow data minimization for example, where they only collect the data they need, that would change the way we interact with digital technologies.

WENDY WONG - Author of We, the Data: Human Rights in the Digital Age

WENDY WONG - Author of We, the Data: Human Rights in the Digital Age

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Author of We, the Data: Human Rights in the Digital Age
Professor of Political Science at University of British Columbia

One of the things that we need to remember is that we are data stakeholders and not data subjects. We're often called data subjects if you look at the way legislation is written and tech companies talk about the users of their technology as data subjects. Being a subject casts this sort of '“you can't help but have this happen to you” effect. But we're actually data stakeholders for the reason that data cannot be created without us. If companies were incentivized to follow data minimization for example, where they only collect the data they need, that would change the way we interact with digital technologies.

Highlights - RALPH GIBSON - Award-winning Photographer - Leica Hall of Fame Inductee

Highlights - RALPH GIBSON - Award-winning Photographer - Leica Hall of Fame Inductee

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Award-winning Photographer
Leica Hall of Fame Inductee · Recipient of the French Legion of Honor

I wouldn't be able to effectively delineate where my life ends and photography begins. They're one and the same. If my eyes are open, I'm seeing. If I'm seeing, I'm essentially in that valence within which, or from within which come the images. In that book, Self Exposure, one of the things I did realize as I was writing it: all autobiographies are chronological and anecdotal. That's the way they unfold. And I realized that there were certain decisions I had made along the way that were crucial. And there was really only a handful of them. But I was very fortunate because I had that initial desire to be a photographer. I don't even know if it was a desire. I think it was something much further beyond that. I would have to say it was more of a...I didn't really choose photography, it sort of chose me, you know. I mean, nolo contendere. I just did what I knew I had to do. There was a sense of devoir, you know, you just do it. Claude Lévi-Strauss the great social anthropologist has made this sort of thing clear: Society changes and with it the context through which we observe something has changed as well. And so I like the role of art in society and my relationship to my society and to art in my society. Now I'm interested in this phase of my life and how does the mind influence the mind? 

RALPH GIBSON - Award-winning Photographer - Leica Hall of Fame Inductee

RALPH GIBSON - Award-winning Photographer - Leica Hall of Fame Inductee

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Award-winning Photographer
Leica Hall of Fame Inductee · Recipient of the French Legion of Honor

I wouldn't be able to effectively delineate where my life ends and photography begins. They're one and the same. If my eyes are open, I'm seeing. If I'm seeing, I'm essentially in that valence within which, or from within which come the images. In that book, Self Exposure, one of the things I did realize as I was writing it: all autobiographies are chronological and anecdotal. That's the way they unfold. And I realized that there were certain decisions I had made along the way that were crucial. And there was really only a handful of them. But I was very fortunate because I had that initial desire to be a photographer. I don't even know if it was a desire. I think it was something much further beyond that. I would have to say it was more of a...I didn't really choose photography, it sort of chose me, you know. I mean, nolo contendere. I just did what I knew I had to do. There was a sense of devoir, you know, you just do it. Claude Lévi-Strauss the great social anthropologist has made this sort of thing clear: Society changes and with it the context through which we observe something has changed as well. And so I like the role of art in society and my relationship to my society and to art in my society. Now I'm interested in this phase of my life and how does the mind influence the mind? 

Highlights - ERICA BERRY - Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

Highlights - ERICA BERRY - Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

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Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

And I think the ways that wolves converse with one another, there's also so much there that really conjures the way that we humans do. And I was trying to piece together: why did we feel so threatened by wolves? In part, I think because there's a sort of uncanny mirror that humans have seen in a wolf. And I'll give an example. Wolf packs will form a diversity of family structures very often. So they will have a nuclear family where you'll have two breeders, but they can also have an extended family where there's sort of aunts and uncles in the pack. Or (these are the biologist's names) they'll call it a step-family if a wolf pack welcomes an outside breeder. A foster family, if they welcome another outsider. And I think the way that a pack is its own ecosystem: if one wolf dies, there's one wolf in this pack that might be the one that teaches how to move through the territory. And if that one wolf dies, the whole pack has a much higher likelihood of disbanding. And so this idea that the interconnectivity between the packs and the individuality of the wolves is so critical. It is so beautiful, and you see that studying these different wolves, they have personalities.

ERICA BERRY - Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

ERICA BERRY - Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

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Author of Wolfish: Wolf, Self, and the Stories We Tell About Fear

And I think the ways that wolves converse with one another, there's also so much there that really conjures the way that we humans do. And I was trying to piece together: why did we feel so threatened by wolves? In part, I think because there's a sort of uncanny mirror that humans have seen in a wolf. And I'll give an example. Wolf packs will form a diversity of family structures very often. So they will have a nuclear family where you'll have two breeders, but they can also have an extended family where there's sort of aunts and uncles in the pack. Or (these are the biologist's names) they'll call it a step-family if a wolf pack welcomes an outside breeder. A foster family, if they welcome another outsider. And I think the way that a pack is its own ecosystem: if one wolf dies, there's one wolf in this pack that might be the one that teaches how to move through the territory. And if that one wolf dies, the whole pack has a much higher likelihood of disbanding. And so this idea that the interconnectivity between the packs and the individuality of the wolves is so critical. It is so beautiful, and you see that studying these different wolves, they have personalities.

Highlights - TOM LIN - Author of The Thousand Crimes of Ming Tsu - Andrew Carnegie Medal for Excellence in Fiction 2022

Highlights - TOM LIN - Author of The Thousand Crimes of Ming Tsu - Andrew Carnegie Medal for Excellence in Fiction 2022

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Author of The Thousand Crimes of Ming Tsu
Winner of the Andrew Carnegie Medal for Excellence in Fiction 2022

When I was growing up, it was all about representation. I think that was the thing that was being championed: we need more people of color in books, movies, across all media. And then I think what we saw was an extremely cynical and capitalistic-minded ruthless optimization of that, where someone said: Oh, you want representation? Then we'll just throw in token people of color into projects. And then we'll check that box. And I think that became so prevalent in so many pieces of media that that became what we thought of as representation. I think it's a salvageable concept because, I mean, when I encountered books growing up, they were all with white people in them. Front to back, start to finish. It was just white characters. And so when I started writing stories of my own in school as a middle schooler they - surprise - they had white people in them, right? There were just white people talking about other white people. I went to public school in Queens. I knew very few white people. And so I think what representation does at its best is that it informs the boundaries of possibility. By seeing yourself represented in media, you become able to imagine your own stories transpiring in media and being made available for everybody else to witness.

And so I think the point of representation is not just if we do a checklist of this piece of media, can we find a person of color. But I think the idea of representation is more that we want to be expanding the realm of storytelling, expanding what's possible by telling these stories that are not normally told.

TOM LIN - Author of The Thousand Crimes of Ming Tsu - Andrew Carnegie Medal for Excellence in Fiction 2022

TOM LIN - Author of The Thousand Crimes of Ming Tsu - Andrew Carnegie Medal for Excellence in Fiction 2022

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Author of The Thousand Crimes of Ming Tsu
Winner of the Andrew Carnegie Medal for Excellence in Fiction 2022

When I was growing up, it was all about representation. I think that was the thing that was being championed: we need more people of color in books, movies, across all media. And then I think what we saw was an extremely cynical and capitalistic-minded ruthless optimization of that, where someone said: Oh, you want representation? Then we'll just throw in token people of color into projects. And then we'll check that box. And I think that became so prevalent in so many pieces of media that that became what we thought of as representation. I think it's a salvageable concept because, I mean, when I encountered books growing up, they were all with white people in them. Front to back, start to finish. It was just white characters. And so when I started writing stories of my own in school as a middle schooler they - surprise - they had white people in them, right? There were just white people talking about other white people. I went to public school in Queens. I knew very few white people. And so I think what representation does at its best is that it informs the boundaries of possibility. By seeing yourself represented in media, you become able to imagine your own stories transpiring in media and being made available for everybody else to witness.

And so I think the point of representation is not just if we do a checklist of this piece of media, can we find a person of color. But I think the idea of representation is more that we want to be expanding the realm of storytelling, expanding what's possible by telling these stories that are not normally told.

Highlights - MARK GOTTLIEB - Vice President & Literary Agent at Trident Media Group

Highlights - MARK GOTTLIEB - Vice President & Literary Agent at Trident Media Group

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Vice President & Literary Agent at Trident Media Group

There's a lot of apprenticeship in our industry because historically it had to be that way, otherwise what you would have in publishing - there's still a lot of this - is a bunch of English majors trying to make sense of how to run a business, right?Because book publishing or working at a literary agency - a talent agency for authors like I do - is at the crossroads of creative and business. And if you didn't have that kind of apprenticeship, someone to learn from at the company where you work, then we would all just be English majors just trying to feel our way in the dark.

I think that the important thing for people to really know about storytelling is that books are sort of like the oil paintings of the new media. It's a very fine art form, an old art form, and a story exists in everything, whether it's a photograph, a painting, a song, or a movie, it all began with a story. And stories have been here from the dawn of time. They're going to forever be in our existence, but I think people should just always have curious minds and seek out stories and storytelling and try to see the story in everything, not just look at things for face value.

MARK GOTTLIEB - Vice President & Literary Agent at Trident Media Group

MARK GOTTLIEB - Vice President & Literary Agent at Trident Media Group

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Vice President & Literary Agent at Trident Media Group

Sometimes I think fiction is sort of like self-help in disguise. After we go through a journey and a story, and we live the experience with the characters or the narrator, we come through the other side with a new understanding of everything. And in a way, like a message has been imparted to us on an even deeper level than if we just read it in a plain, nonfiction book that's trying to convey concepts to us. It makes it such that we've had almost an actual lived experience along with a character, which is a very, very powerful thing.

Highlights - Johnjoe McFadden - Author of “Life is Simple” - Prof. Molecular Genetics, Assoc. Dean - U of Surrey

Highlights - Johnjoe McFadden - Author of “Life is Simple” - Prof. Molecular Genetics, Assoc. Dean - U of Surrey

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Author of Life is Simple: How Occam’s Razor Set Science Free and Shapes the Universe
Co-author of Life on the Edge: The Coming of Age of Quantum Biology
Professor of Molecular Genetics & Assoc. Dean (Int’l) · University of Surrey

I think that's what art is all about is communicating these big, complex objects, which are ideas inside our head, but in a non-dissected way in which the object isn't completely dissected, or it's dissected in such a way it can be reassembled in somebody else's mind. So you get a full experience of what the artist had or as close as he or she can make it. So I think that to me is what art does. It's a way of communicating these wonderful ideas and feelings that we have inside our heads. And they're trapped there, and art allows you - by playing music or painting, or writing poetry... - it allows you to communicate this in this holistic kind of way.

Johnjoe McFadden - Author of “Life is Simple: How Occam’s Razor Set Science Free and Shapes the Universe”

Johnjoe McFadden - Author of “Life is Simple: How Occam’s Razor Set Science Free and Shapes the Universe”

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Author of Life is Simple: How Occam’s Razor Set Science Free and Shapes the Universe
Co-author of Life on the Edge: The Coming of Age of Quantum Biology
Professor of Molecular Genetics & Assoc. Dean (Int’l) · University of Surrey

I think that's what art is all about is communicating these big, complex objects, which are ideas inside our head, but in a non-dissected way in which the object isn't completely dissected, or it's dissected in such a way it can be reassembled in somebody else's mind. So you get a full experience of what the artist had or as close as he or she can make it. So I think that to me is what art does. It's a way of communicating these wonderful ideas and feelings that we have inside our heads. And they're trapped there, and art allows you - by playing music or painting, or writing poetry... - it allows you to communicate this in this holistic kind of way.

Highlights - Lars Chittka - Author of "The Mind of a Bee” - Founder, Research Centre for Psychology, QMUL

Highlights - Lars Chittka - Author of "The Mind of a Bee” - Founder, Research Centre for Psychology, QMUL

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Author of The Mind of a Bee
Founder of the Research Centre for Psychology, Queen Mary University of London

The world of bees is under threat, and that is not because bees are singled out, but because bees live in the environment that we all share and they are a kind of a canary in the coal mine for what's going on more largely in destroying our environment. And in a sense they are, I think, a useful sort of mascot and icon to highlight these troubles, but they are only a signpost of other things that are also under threat. We need the bee for our own food because they pollinate our crops, and they pollinate the flowers that we enjoy, but I think their utility for us is not the only reason to support them and their environment. I think the growing appreciation that the world that surrounds us is full of sophisticated and unique minds places on us a kind of onus and obligation to preserve the diversity of these minds that are out there and make sure that they continue to thrive.

Lars Chittka - Author of "The Mind of a Bee” - Founder, Research Centre for Psychology, QMUL

Lars Chittka - Author of "The Mind of a Bee” - Founder, Research Centre for Psychology, QMUL

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Author of The Mind of a Bee
Founder of the Research Centre for Psychology, Queen Mary University of London

The world of bees is under threat, and that is not because bees are singled out, but because bees live in the environment that we all share and they are a kind of a canary in the coal mine for what's going on more largely in destroying our environment. And in a sense they are, I think, a useful sort of mascot and icon to highlight these troubles, but they are only a signpost of other things that are also under threat. We need the bee for our own food because they pollinate our crops, and they pollinate the flowers that we enjoy, but I think their utility for us is not the only reason to support them and their environment. I think the growing appreciation that the world that surrounds us is full of sophisticated and unique minds places on us a kind of onus and obligation to preserve the diversity of these minds that are out there and make sure that they continue to thrive.

Highlights - Bruce Mau - Award-winning Designer, Author of “Mau MC24…24 Principles for Designing Massive Change”

Highlights - Bruce Mau - Award-winning Designer, Author of “Mau MC24…24 Principles for Designing Massive Change”

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Award-winning Designer, Artist & Educator
Co-founder & CEO of Massive Change Network
Author/Co-author of Mau MC24 · The Nexus · S, M, L, XL

I would like them to know just how powerful they are, that they have the power to shape the world. At some point, I realized that the world is produced. The world is designed and produced, and since we designed and produced it, we can redesign it. And you can play a part in designing it. You can play a part in that production. It doesn't have to happen to you. And I think, for too many people, too much power and too much control is concentrated in too few hands. People need to have the power to control and design their own life.

Bruce Mau - Author of "Mau MC24…24 Principles for Designing Massive Change in Your Life and Work”

Bruce Mau - Author of "Mau MC24…24 Principles for Designing Massive Change in Your Life and Work”

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Award-winning Designer, Artist & Educator
Co-founder & CEO of Massive Change Network
Author/Co-author of Mau MC24 · The Nexus · S, M, L, XL

I would like them to know just how powerful they are, that they have the power to shape the world. At some point, I realized that the world is produced. The world is designed and produced, and since we designed and produced it, we can redesign it. And you can play a part in designing it. You can play a part in that production. It doesn't have to happen to you. And I think, for too many people, too much power and too much control is concentrated in too few hands. People need to have the power to control and design their own life.