VIET THANH NGUYEN, ADA LIMÓN, JAY PARINI, JERICHO BROWN & ADAM MOSS Share Their Stories
How do writers develop their voice? How are writing and the arts paths back to the self, showing us what is important in life?
Katie Kitamura, Paul Lynch, Daniel Pearle, Hala Alyan, T.C. Boyle, Adam Alter, Shehan Karunatilaka, Daniel Handler a.k.a Lemony Snicket, and Ada Limón share their stories
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?
Conversation with SVEN NYHOLM, Prof. of Ethics of AI, LMU Munich · Lead Investigator, AI Ethics, Munich Center for Machine Learning · Author of Humans and Robots · The Ethics of Artificial Intelligence
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.
A Conversation with LD CHEN · A 4th Generation of Dacheng Quan · Head Coach of Oneness Institute of America & Europe
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.
A Conversation with Author DOUG WOODHAM
Fmr. President of the Americas at Christie’s · Managing Partner, Art Fiduciary Partners
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.
Starring CLAIRE DANES & MATTHEW RHYS
A Conversation with Showrunner, Exec. Producer HOWARD GORDON & Exec. Producer Writer DANIEL PEARLE
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.
Everything is Art. Everything is Politics.
I think art competes with reality. And art will give you the last words.
–AI WEIWEI
Katie Kitamura, Eiren Caffall, Jay Parini, Irvin Weathersby Jr., Natasha Hakimi Zapata, Audrea Lim & Dr. Bayo Akomolafe share their stories
How do our environments shape who we are and how we care for the world and each other? There are many solutions to climate change, inequality, and poverty around the world. How can we learn from them and transform our society?
A Conversation with Primatologist CHRISTINE WEBB
There are many ways in which I think human exceptionalism has seeped into the sciences, but one of the many ways is through the methodologies we use when we compare the intelligence of humans and other species. In particular, in my field, I’m a primatologist by training, comparing the cognitive abilities of humans with the abilities of our closest living relatives, the great apes. Many times, those studies compare the intelligence of captive chimpanzees who are living in highly restricted, manmade environments. Often, these chimpanzees have been separated from their biological mothers at birth. They're often separated from the group during testing. They're subjected to very human-centric experimental paradigms, like playing with plastic puzzle boxes or computer touchscreens, and we're measuring how they perform on these tasks.
A Conversation with Manager of Digital Media AMR HUSSEIN
Guggenheim Abu Dhabi is a unique concept. The idea behind the building itself is a dance. It's a living building because it's a dance between spaces. It's a dance between blocks of spaces and shapes and cones, and it's inspiring for the future because the legacy is a huge factor for every project. It's the legacy for young architects and for other architects. It gives them the space to dream more and to feel like it can be possible, and not to be shy. Present more bold ideas that can inspire creativity because you can't see this building and walk in without feeling like you want to be creative as well.
A Conversation with ARDI IMSEIS & CHRIS GUNNESS
When one looks at the relative power imbalance between the Palestinian people on one hand, including the paramilitaries that are clearly existing in Gaza, and the Israeli armed forces, they have been bombarded from land, sea, and air. They have been starved and are being starved. They have been chased from pillar to post by the hundreds of thousands, up and down this very small strip of land.
All of it can be attributed to a scorched-earth policy of these Israelis to destroy every aspect of civilian life that we are all familiar with: schools, homes, roads, religious buildings, governmental offices, hospitals, medical centers, and so on. The idea is not new by any means. Anyone familiar with Israel's settler colonial endeavor in Palestine, particularly around 1947, 1948, and 1949, will know that scorched earth tactics are a policy.
Race, Gold, IQ & the Capitalism of the Far Right
A Conversation with QUINN SLOBODIAN
The origin was really trying to make sense of that 2016-2017 moment and to ask whether the alt-right was, as we were being told, a return to the 1930s, a kind of awakening of the sleeping beast of white supremacy armed in the streets in the United States. There are many explanations, but I decided to take this kind of curious route in with the distorted readings and reinterpretations of the works of people like Ludwig von Mises and Friedrich Hayek. As a scholar of comparative literature, I wanted to write a revision based on Crack-Up Capitalism.
Conversation with Journalist MEL BUER
From my perspective, it just seemed like a way to terrorize a neighborhood and intimidate the people living there, and intimidate the city in a way that they've been trying to accomplish for the last six weeks, and it wasn't fun. So were there orders? There were no orders to disperse.
A Conversation with MANIJEH MORADIAN & PERSIS KARIM
I think one must frame what happened in Iran recently in the context of what is happening in the larger Middle East, which is that Israel and the United States principally are orchestrating a kind of regional shift in their power that can only be seen in light of what happened, and it continues to happen in Gaza and the wider Palestinian Territories, which is that Israel is, by virtue of signaling an aggressive move towards Iran, suggesting that it will continue unabated to exercise its will throughout the region, and that it also is interested in destroying Iranian support for Palestinian rights in the region.
Grupo Auto Defensa’s Courage & Love
A Conversation with DANIELA NAVIN, JEANETTE DE LA RIVA & MAXMILLIAN ALVAREZ
I think the community came together more when we started getting those notices about people being swept up by these supposedly ICE agents who are just covered up. So that was the thing that made us come out there and start defending everyone who doesn't want to come out to defend themselves.
We don't need to find an end solution, but it's a space where we can speculate, imagine, and practice our foresight. We can be part of a bigger imagination together with an institutional framework, which is really what we try to motivate as well when we communicate these exhibitions to our audience and speak with our guests about these works.
We can also sense that it's really a place where a lot of people like to enter these days. When you turn on a TV, look at a newspaper, listen to your radio, or speak with your friends, it seems like the world is falling apart on so many levels. It's such a challenging time. I think we can also offer this space for reflection and hopefully provide a reflection that gives some idea or feeling of agency. I think that is one of the places where we are really challenged, especially when we speak to kids and young people, as they often feel they have little agency in creating a better future for themselves. So, I believe we can really give that space to our audiences by showcasing some of these groundbreaking practices that are out there right now in contemporary art.
For me, it's this awe that I feel every time I meet an artist who has the courage to deal with what it means to be in the world as a human being and to tackle it from different ways and through different media. I always feel that through the collaborations I have with artists, I learn a little bit more about the world.
Poetry is like one of the great loves of my life, and I think it's probably the longest relationship I'll ever have. I read a lot of poetry. I also wrote these short stories even when I was pretty young, like in second grade, and the stories kept getting shorter and shorter. My family used to go to Damascus in Syria and Lebanon every summer for three months until 2011, when the Civil War broke out in Syria. In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. It's the first time I felt that I belong. To the extent that was true or not, I'm obviously irrevocably American. I speak broken Arabic. I don't think I could ever live in Lebanon or Syria. But for what it was worth at 15 years old, it was a life-changing trip. I wrote my first official poem on the plane back to San Diego from that trip, and I feel that was a formative moment for me. I felt that I had a story to tell and wanted to put it to paper in the form of poetry.
In 2015, we made our first return after that gap, and my father and I went to Lebanon for two weeks. Being back in one of my two homelands as a more fully formed person and not like a young child, I thought, "Wow, this is the first time I've been in an Arabic-speaking Arab place as a teenager."
There's something fundamental about the value of art and culture. Not just being integrated for vocational reasons, but because the experience of art and having a cultural element in one's life brings enjoyment, learning, relief, or any of the many experiences and feelings that art provides. I think this is quite fundamental as an element of life. Creativity is key in any career and also in personal life, especially in terms of problem-solving, relationships, kindness, compassion, and empathy. The arts, creativity, and the cultural world at large are not just nice to have; they are essential. Their value is fundamental, although sometimes it's extremely difficult to define in a way that aligns with what people might prefer. To see the arts lost from the developmental moments in one's life is tragic. Developmental moments in life come at all points in the arc of one's existence. To see that taken or diminished is unfortunate. Everyone involved in working with artists, artists themselves, or those who are creative knows this and believes in it.
A Conversation with Author · Filmmaker ETGAR KERET
Winner of Cannes Film Festival’s Caméra d’Or · Charles Bronfman Prize & Sapir Prize
When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.
I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.
A Conversation with Author · Filmmaker ETGAR KERET
Winner of Cannes Film Festival’s Caméra d’Or · Charles Bronfman Prize & Sapir Prize
When I write my stories, I don't want to solve things in life. I just want to persuade myself that there is a way out. Maybe I am in a cell, maybe I'm trapped. Maybe I won't make it, but if I can imagine a plan for escape, then I'll be less trapped because at least in my mind, there is a way. I think that my parents are survivors. They always talked about this idea of humanity. My parents always said to me, when you look at people, don't look at their political views; that's not important. Look at the way that they look at you. If they see you, if they listen to you, if they can understand your intention, even if it's a failing one, they're your people. And if they can't, it doesn't matter.
I think that when I came with my mother and father, they thought there are people, there are human beings, and there are people who want to be human beings but are still struggling. And you go with humanity; you go with the person who can go against his ideology if his heart tells him something.
The Creative Process: Podcast Interviews & Portraits of the World’s Leading Authors & Creative Thinkers
Inspiring Students – Encouraging Reading - Connecting through Stories
The Creative Process exhibition is traveling to universities and museums. The Creative Process exhibition consists of interviews with over 100 esteemed writers, including Joyce Carol Oates, Hilary Mantel, Neil Gaiman, Viet Thanh Nguyen, Tobias Wolff, Richard Ford, Junot Díaz, Marie Darrieussecq, Michel Faber, T.C. Boyle, Jay McInerney, George Saunders, Geoff Dyer, Etgar Keret, Douglas Kennedy, Sam Lipsyte, and Yiyun Li, among others. Artist and interviewer: Mia Funk.
