Artists, Writers & Scientists Share their Stories
We explore environmental empathy with Ingrid Newkirk, Chiara Barzini, Erica Berry, Yann Martel, Georgi Gospodinov, Emmy van Deurzen, Jane Madgwick, Caroline Thompson, Helen Whybrow, Tom Crowther, Kristin Ohlson, Tim Hewlett, Kevin Trenberth, Carlo Ratti and David Montgomery.
We explore the landscapes of childhood and how memory shapes our view of the natural world with Max Richter, Amitav Ghosh, David George Haskell, Kristin Ohlson, Dan Werb, Eiren Caffall and Claire Potter.
It’s always very interesting that we have to make a case for art because we don’t have to make a case for fast food. Like, we don’t have to make a case for all of these sort of things in our lives that we do not need, and yet we have to make a case for beauty? We have to make a case for the soul? We have to make a case for humanity? We have to make a case for singing back the wounded world? That to me is fascinating.
As a psychotherapist, I've worked with thousands of people over my 53 years of practice, and I have had to learn to love each and every one of them. There is something about opening your heart and stopping judging and arguing, and listening again, inquiring until you find what is most lovable about another person, and that is a very difficult thing to do. We're all inclined to reject one another, even the people we love. It is very difficult to systematically seek to accord the other respect, your attention, your care, your capacity for appreciating and valuing what is good in them and what is possible for them in the future.
It’s always very interesting that we have to make a case for art because we don’t have to make a case for fast food. Like, we don’t have to make a case for all of these sort of things in our lives that we do not need, and yet we have to make a case for beauty? We have to make a case for the soul? We have to make a case for humanity? We have to make a case for singing back the wounded world? That to me is fascinating.
As a psychotherapist, I've worked with thousands of people over my 53 years of practice, and I have had to learn to love each and every one of them. There is something about opening your heart and stopping judging and arguing, and listening again, inquiring until you find what is most lovable about another person, and that is a very difficult thing to do. We're all inclined to reject one another, even the people we love. It is very difficult to systematically seek to accord the other respect, your attention, your care, your capacity for appreciating and valuing what is good in them and what is possible for them in the future.
I think first of all that in order to have disillusion, you need to have illusion and I really want to sort of take a stand in the name of being a delusional person, you know? I do think illusions are necessary to our sense of creativity, and we need to fall in love with extreme projects, and we need to have ideas that are sometimes unsustainable. We need to dream big in order to be creative and feel alive. The illusions that are a part of Aqua are larger illusions. They're illusions that have to do with my adult life. They're connected to nature and the presence or absence of water, the illusion that we can keep sustaining a city even though the water has run out.
I think first of all that in order to have disillusion, you need to have illusion and I really want to sort of take a stand in the name of being a delusional person, you know? I do think illusions are necessary to our sense of creativity, and we need to fall in love with extreme projects, and we need to have ideas that are sometimes unsustainable. We need to dream big in order to be creative and feel alive. The illusions that are a part of Aqua are larger illusions. They're illusions that have to do with my adult life. They're connected to nature and the presence or absence of water, the illusion that we can keep sustaining a city even though the water has run out.
We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way. Literature gives you a more complex explanation. Literature tells personal stories.
Lincoln Center is multiple stages. I think probably over three dozen stages across 16 acres. It is a vast canvas in and of itself. And then we have this beautiful plaza that leads to this beautiful campus, and that’s the visual I think that most people have when they think of Lincoln Center is this beautiful fountain in the center and these three gorgeous buildings.It’s New York’s biggest plaza, and it feels very vibrant and beautiful. In the summer, we really take that plaza and we transform it into a dance floor. So this idea of also interrupting what people’s notion of Lincoln Center is because it’s a space that is very aspirational, which is a great thing.
We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way. Literature gives you a more complex explanation. Literature tells personal stories.
So synanthropes are animals that have adapted to human-modified environments, and the Greek translation essentially is together with humans, so synanthrope. And they're a fascinating subset of wild animals that they're all around us, but we don't really notice them. And so in this new book, I was excited about writing something that had to do with the natural world. I was excited about writing something that touched on climate change and the way that the world was changing, but maybe not with such a sort of dirgey approach or funereal approach. Something that actually explored the wonder of the world as it is and as we experience it around our communities in our cities and towns. And I had come across this word synanthrope in the research for my last book, The Invisible Siege, which was about the rise of coronaviruses and the long scientific journey to find cures for COVID-19, and it just kind of stuck with me. There is this connection, of course, between wild animals and viruses and lots of questions about the origin of SARS-2, the virus that spread COVID-19 and caused the pandemic. And while that's touched on in the book a little bit, the vast majority of what I was excited to write about was just what these animals are doing in our cities. How is it that wild animals, raccoons, coyotes, all kinds of birds and animals as fragile as bats… These are not just insects and earthworms and things like that. These are very large predators that have nevertheless found a way to survive among us. And that in and of itself I think is just an amazing story and what I explore in this book.
Architecture should bring a true sensation of wellbeing. We were really lucky to experience that as children, and now as architects, we try to bring all that we learned into our practice.
For at least 150 years biological sciences emphasized individuality and aloneness. So individual species, individual genes, individual organisms. And that's a useful view, up to a point. I mean, it is true that I am an individual organism. I've got a skin, and then the air begins and there's a gap between me and the next person over. But that view is also utterly false in many ways, in that the human body is not just comprised of human cells. There are bacteria, fungi, and viruses, all these other creatures that we now know are essential to our health. Our minds are not solitary. They're formed in relation to other beings. Ecosystems work only through relationship. So relationship and interconnection, not separation. And atomism is in fact the fundamental nature of life. Even from the very, very first fossils that we have of living organisms way back more than 3 billion years ago, these little cells are sitting next to one another.
For at least 150 years biological sciences emphasized individuality and aloneness. So individual species, individual genes, individual organisms. And that's a useful view, up to a point. I mean, it is true that I am an individual organism. I've got a skin, and then the air begins and there's a gap between me and the next person over. But that view is also utterly false in many ways, in that the human body is not just comprised of human cells. There are bacteria, fungi, and viruses, all these other creatures that we now know are essential to our health. Our minds are not solitary. They're formed in relation to other beings. Ecosystems work only through relationship. So relationship and interconnection, not separation. And atomism is in fact the fundamental nature of life. Even from the very, very first fossils that we have of living organisms way back more than 3 billion years ago, these little cells are sitting next to one another.
Author SIRI HUSTVEDT Remembers Her Late Husband, PAUL AUSTER
Grief happens because you don't stop loving the person who died. The person doesn't exist in your reality anymore. The everyday is not colored and shaped by this other human being, but you don't stop loving the person. So grief is a particular kind of unrequited love. And probably without that dynamic relationship with this person, I would be someone else. And he would've been someone else. I mean, Paul died before me. But we were, I think, hugely important to the drama of becoming in our own lives.
Author SIRI HUSTVEDT Remembers Her Late Husband, PAUL AUSTER
Grief happens because you don't stop loving the person who died. The person doesn't exist in your reality anymore. The everyday is not colored and shaped by this other human being, but you don't stop loving the person. So grief is a particular kind of unrequited love. And probably without that dynamic relationship with this person, I would be someone else. And he would've been someone else. I mean, Paul died before me. But we were, I think, hugely important to the drama of becoming in our own lives.
DAISY FANCOURT · Author of Art Cure · Director of WHO Collaborating Centre on Arts & Health · Prof. Psychobiology & Epidemiology at UCL
Within society we seem to have separated the arts out, so they’re not so much a part of our daily lives. As I’ve become a mother and I have children now, it’s been really eye-opening to rediscover lots of arts things that I’d stopped doing in my own childhood. But now coming back to them I think probably the most meaningful one for me is one I describe in the book, which is about my younger daughter, Daphne, who was premature and unfortunately got incredibly ill with meningitis and was in intensive care when she was just a few days old.
We explore the internal dialogues of artists and writers to ask what it means to step into someone else's shoes and expand our sense of solidarity through stories. Jim Shepard, Neil Patrick Harris, Katie Kitamura, Laura Eason, Sharmeen Obaid-Chinoy, Benoit Delhomme, Etgar Keret, Viet Thanh Nguyen, Adam Moss, John Patrick Shanley and Nicholas Kristof share their stories.
Artists & Scientists on The Beauty & Fragility of Our Planet
The Earth is talking. Are we listening? In this special edition, we hear from our guests from across the arts and sciences. From composers and poets to forest ecologists and climate envoys, they tell the story of our planet. Moving beyond the data of destruction, we explore the intelligence of nature, the ethics of what we eat, and the empathy required to save our future.
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.
