Founder & CEO of Roetz · Manufacturer of Circular Bicycles & e-Bikes
I think the next crisis is going to be a materials crisis. The whole point of moving from a zero-sum game–like who makes the best cheapest product at the lowest price and can find lowest labor somewhere around the world so someone can be happy with a new laundry machine and buy another one in five years–that’s not going to work for us.
Founder & CEO of Roetz · Manufacturer of Circular Bicycles & e-Bikes
I think the next crisis is going to be a materials crisis. The whole point of moving from a zero-sum game–like who makes the best cheapest product at the lowest price and can find lowest labor somewhere around the world so someone can be happy with a new laundry machine and buy another one in five years–that’s not going to work for us.
托德·B·卡什丹 (Todd B. Kashdan) 博士是乔治梅森大学心理学教授，也是关于人类幸福感、好奇心、勇气和韧性领域的权威学者。 他发表了 220 多篇科学文章，被引用超过 35,000 次，并获得美国心理学会 颁发的早期职业心理学杰出科学贡献奖。 他是多本书的作者，其中包括《不服从的艺术：《如何有效地提出异议和反抗，好奇吗？》 和《你的黑暗面的好处》，已被翻译成超过十五种语言。 他的研究经常出现在《纽约时报》、《大西洋月刊》和《时代》杂志上，他的文章也出现在《哈佛商业评论》、《国家地理》和其他出版物上。 他是微软、梅赛德斯-奔驰、保德信、通用磨坊、美国国防部和世界银行集团等不同组织的主讲人和顾问。
APA Award-winning Author of The Art of Insubordination: How to Dissent and Defy Effectively
Curious? · The Upside of Your Dark Side
Leading Authority on Well-being, Curiosity, Courage & Resilience
We're really talking about principled rebels. And when we talk about insubordination, we're talking about most of us live in these social hierarchies, and there's the idea, this started in the military and still goes on, where if someone at a lower rank questions or challenges a command or a norm that someone of a higher rank, that's considered an act of insubordination. And one of the main problems of that, I think anyone who's listening can acknowledge, is it depends on the quality of the idea of the person who's raising the question. I just realized there was this whole body of literature on minority influence that no one had put together into a book for the general public, and considering the racial reckoning that occurred during COVID-19, the extra attention to diversity, to disadvantaged groups, every moment of society, it just feels like it's more and more relevant of what I've been working on.
自 2014 年以来，Rowin Snijder 一直与他的公司 Le Compostier/ 一起为社区堆肥项目/设计和建造“蠕虫酒店”。 蠕虫旅馆/是一种用于城市社区/有机堆肥的/生态系统架构。这些蠕虫旅馆为社区的自然生态提供了空间，并向人们展示了/我们如何可以利用有机废料来创建一个循环城市。同时Rowin Snijder， 也致力于社区建设/和生态教育/而且一直与不同的社会机构合作/将环境保护和食品健康教育的思想带给更多人。
Founder of Le Compostier, Creator of “Worm Hotels” for Community Composting
Know first of all that we are not separate from nature, but that we are part of it. To not even think of what is the benefit for me from it. I find it a very beautiful the concept of the food forest. Like you're actually building soil, and then the surplus is that you get some food back. To focus more on giving than on taking, especially for children.
What I like to teach my children–really look at what is your talent, what drives you and how you think you can use that to improve and to create more harmony. I think is very important. Do not think so much about what others expect from you, but what is really driving you? I think that's very important to find out and go for it.
Nature’s Songwriter
Producer · Multi-instrumentalist · Composer of Folded Landscapes
Music has the ability to transport you to a place and create a sort of internal landscape. And we all have life-changing things that happened to us. And I remember I made it as a way to kind of ease a busy mind. And perhaps I was missing home. I still call Orkney home, even though I'm not there every day. I'm a thousand miles away today, and I still call Orkney home. For example, when I hear the voice of the curlew, it transports me back to Orkney with such a jolt. In a heartbeat. And music can do that too. It's very transformative. Visual arts have the ability to do that too. And you could stare at a Rothko painting and cry and not quite know why. It can take days to figure out perhaps certain meanings from it. But music I think is quite instant. It can really do that.
Nature’s Songwriter
Producer · Multi-instrumentalist · Composer of Folded Landscapes
Music has the ability to transport you to a place and create a sort of internal landscape. And we all have life-changing things that happened to us. And I remember I made it as a way to kind of ease a busy mind. And perhaps I was missing home. I still call Orkney home, even though I'm not there every day. I'm a thousand miles away today, and I still call Orkney home. For example, when I hear the voice of the curlew, it transports me back to Orkney with such a jolt. In a heartbeat. And music can do that too. It's very transformative. Visual arts have the ability to do that too. And you could stare at a Rothko painting and cry and not quite know why. It can take days to figure out perhaps certain meanings from it. But music I think is quite instant. It can really do that.
作为循环经济之父，沃尔特·斯塔赫尔 (Walter R. Stahel) 是产品生命研究所（瑞士）的创始人兼所长，该研究所。是欧洲历史最悠久的致力于制定可持续战略和政策的咨询公司。 他同时是巴黎蓬特商学院循环经济研究中心的高级研究员，也是萨里大学工程与物理科学系的客座教授。 此外，他也是罗马俱乐部的正式会员。 他被萨里大学和蒙特利尔大学授予荣誉博士学位，并荣获材料、矿物和采矿研究所 2020 年的桑顿奖章，并著有《循环经济：用户指南》一书。
作为循环经济之父，沃尔特·斯塔赫尔 (Walter R. Stahel) 是产品生命研究所（瑞士）的创始人兼所长，该研究所。是欧洲历史最悠久的致力于制定可持续战略和政策的咨询公司。 他同时是巴黎蓬特商学院循环经济研究中心的高级研究员，也是萨里大学工程与物理科学系的客座教授。 此外，他也是罗马俱乐部的正式会员。 他被萨里大学和蒙特利尔大学授予荣誉博士学位，并荣获材料、矿物和采矿研究所 2020 年的桑顿奖章，并著有《循环经济：用户指南》一书。
Executive Director of the Pritzker Architecture Prize
Fmr. Executive Director of Venice Biennale (Dept. of Visual Arts & Architecture)
When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.
Executive Director of the Pritzker Architecture Prize
Fmr. Executive Director of Venice Biennale (Dept. of Visual Arts & Architecture)
When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.
Award-winning Cinematographer
Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee’s BlacKkKlansman
That's all I can do on a movie. I can't really make a movie good or not because that's decided by the spectator. That's not in my control. All I can do is give it everything that I have. Like that's just the love I have to give. So why bring in all these other things? Just set it up so you can give it everything that you've got each time. In those theoretical considerations about how a scene can function or be rendered or shot or executed or all these things, just think of it as, "Oh, this is the challenge." I want authenticity. How do we create an environment where that's more likely to happen? Because it's never going to be something that I can enforce, and the more I try to enforce it, the less likely it'll happen. For me, the more risky things, the more things that defied expectations are really important to me. I guess it even goes down to just novelty. How do you create a need or a yearning? And the spectator, you create a particular rhythm and then you change that rhythm, and then it's almost like you try to sensitize your spectator to these ideas by defining a particular rhythm that you've set for them.
Award-winning Cinematographer
Blonde starring Ana de Armas · Beyonce: Lemonade · Spike Lee’s BlacKkKlansman
That's all I can do on a movie. I can't really make a movie good or not because that's decided by the spectator. That's not in my control. All I can do is give it everything that I have. Like that's just the love I have to give. So why bring in all these other things? Just set it up so you can give it everything that you've got each time. In those theoretical considerations about how a scene can function or be rendered or shot or executed or all these things, just think of it as, "Oh, this is the challenge." I want authenticity. How do we create an environment where that's more likely to happen? Because it's never going to be something that I can enforce, and the more I try to enforce it, the less likely it'll happen. For me, the more risky things, the more things that defied expectations are really important to me. I guess it even goes down to just novelty. How do you create a need or a yearning? And the spectator, you create a particular rhythm and then you change that rhythm, and then it's almost like you try to sensitize your spectator to these ideas by defining a particular rhythm that you've set for them.
Circular Economy & Design Expert · Founder of The Circular Way
Author of Danish Design Heritage & Global Sustainability
Putting design first, it really enables us to shape a future that we don't yet know. But we need to be super tactile and practical about it as well. And then seeing that is something that design very much has the ability to do. And at the same time, having this growing frustration that wherever you go, wherever you talk about sustainability, it was a compromise. It was something that meant uglier, less convenient, more expensive, all these different things, but then diving into the Danish Design heritage, seeing that what set them apart was that after the World Wars, they had a social purpose of democratizing and rebuilding the welfare state, and that was not something that lessened the final result. On the contrary, it heightened the ambition, the final design, and the solutions.
Circular Economy & Design Expert · Founder of The Circular Way
Author of Danish Design Heritage & Global Sustainability
Putting design first, it really enables us to shape a future that we don't yet know. But we need to be super tactile and practical about it as well. And then seeing that is something that design very much has the ability to do. And at the same time, having this growing frustration that wherever you go, wherever you talk about sustainability, it was a compromise. It was something that meant uglier, less convenient, more expensive, all these different things, but then diving into the Danish Design heritage, seeing that what set them apart was that after the World Wars, they had a social purpose of democratizing and rebuilding the welfare state, and that was not something that lessened the final result. On the contrary, it heightened the ambition, the final design, and the solutions.
Founder & CEO of Closed Loop Partners
Former Deputy Commissioner of Sanitation, Recycling & Sustainability, NYC
We live in buildings and cities because that’s what generates a living for a lot of people, but where we’re most comfortable as humans is when we’re in nature. Your generation owns this. Don’t let anybody take it from you or damage it because you own it. The next generation is the one that owns it and view it with a sense of ownership and a sense of pride and a sense of protection because there are a lot of benefits you get from nature.
Founder & CEO of Closed Loop Partners
Former Deputy Commissioner of Sanitation, Recycling & Sustainability, NYC
We live in buildings and cities because that’s what generates a living for a lot of people, but where we’re most comfortable as humans is when we’re in nature. Your generation owns this. Don’t let anybody take it from you or damage it because you own it. The next generation is the one that owns it and view it with a sense of ownership and a sense of pride and a sense of protection because there are a lot of benefits you get from nature.
Pulitzer Prize-winning Poet · Director of Creative Writing Program · Emory University
Editor of How We Do It: Black Writers on Craft, Practice, and Skill
As writers, it's our job to write what will become clichés. Not to write clichés, but to be original enough that we make something that people are still saying for hundreds of years to come. And if that's what you're doing, that's pretty powerful. When I'm writing a poem I'm making a world. And if I can stick to that, then I have to believe that once a poem is out in the world, another world has been made, another way of living, another way of thinking, another way of seeing things.
Pulitzer Prize-winning Poet · Director of Creative Writing Program · Emory University
Editor of How We Do It: Black Writers on Craft, Practice, and Skill
As writers, it's our job to write what will become clichés. Not to write clichés, but to be original enough that we make something that people are still saying for hundreds of years to come. And if that's what you're doing, that's pretty powerful. When I'm writing a poem I'm making a world. And if I can stick to that, then I have to believe that once a poem is out in the world, another world has been made, another way of living, another way of thinking, another way of seeing things.
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.
