MUSIC & DANCE — The Creative Process & One Planet Podcast
Inside the Mind of PETER WELLER, Actor, Art Historian, Director, Musician, Author - Highlights

Inside the Mind of PETER WELLER, Actor, Art Historian, Director, Musician, Author - Highlights

/

Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that’s supposed to be free, but music was leading the way. Whether it was Miles, Coltrane, Aretha, Leonard Cohen, Dylan, the music was extraordinarily influential and cutting-edge… Leon Battista Alberti is an interesting figure because he was a poet, painter, architect, and particularly an architect, writer, and humanist. He wrote this amazing book on painting that everyone has to read.

From RoboCop to the Renaissance w/ Actor, Art Historian, Director, Musician, Author PETER WELLER

From RoboCop to the Renaissance w/ Actor, Art Historian, Director, Musician, Author PETER WELLER

/

Art transcends time and culture—the beauty of it. People worry about the world now. I remind them to go live in 1968, a time of preparing to go to the moon while people died for their beliefs. This is a difficult time in a republic that’s supposed to be free, but music was leading the way. Whether it was Miles, Coltrane, Aretha, Leonard Cohen, Dylan, the music was extraordinarily influential and cutting-edge… Leon Battista Alberti is an interesting figure because he was a poet, painter, architect, and particularly an architect, writer, and humanist. He wrote this amazing book on painting that everyone has to read.

How can jazz & physics help solve real world problems? - NEIL JOHNSON, Head of Dynamic Online Networks Lab

How can jazz & physics help solve real world problems? - NEIL JOHNSON, Head of Dynamic Online Networks Lab

/

Professor of Physics · GWU · Head of the Dynamic Online Networks Lab

It gets back to this core question: Why AI comes out with what it does. That's the burning question. It's like it's bigger than the origin of the universe to me as a scientist, and here's the reason why. The origin of the universe, it happened. That's why we're here. It's almost like a historical question asking why it happened. The AI future is not a historical question. It's a now and future question.

How can we learn to speak the language of the Earth? - Highlights - TIOKASIN GHOSTHORSE

How can we learn to speak the language of the Earth? - Highlights - TIOKASIN GHOSTHORSE

/

Founder · Host · Exec. Director of First Voices Radio
Founder of Akantu Intelligence · Master Musician of the Ancient Lakota Flute

We have not adapted to Earth. She needs us to do that. Instead, we've tried to adapt Earth to our needs. Which is always an extraction, take away. Earth doesn't exist because of technology. Earth will always be here. So when it comes to animacy, I think it's a Western term also, and so we get away from the Western terms. We start seeing that, oh, we are becoming Earth as we're born into this physical dimension. We are becoming Earth. And then as we are living during this time, we're alive. We are becoming Earth. And when we are finished with this body, we are becoming Earth. 

TIOKASIN GHOSTHORSE - Founder/Host of First Voices Radio - Master Musician of the Ancient Lakota Flute

TIOKASIN GHOSTHORSE - Founder/Host of First Voices Radio - Master Musician of the Ancient Lakota Flute

/

Founder · Host · Exec. Director of First Voices Radio
Founder of Akantu Intelligence · Master Musician of the Ancient Lakota Flute

We have not adapted to Earth. She needs us to do that. Instead, we've tried to adapt Earth to our needs. Which is always an extraction, take away. Earth doesn't exist because of technology. Earth will always be here. So when it comes to animacy, I think it's a Western term also, and so we get away from the Western terms. We start seeing that, oh, we are becoming Earth as we're born into this physical dimension. We are becoming Earth. And then as we are living during this time, we're alive. We are becoming Earth. And when we are finished with this body, we are becoming Earth. 

Highlights - JULIAN LENNON - Singer-songwriter, Photographer, Doc Filmmaker, Exec. Producer of Common Ground

Highlights - JULIAN LENNON - Singer-songwriter, Photographer, Doc Filmmaker, Exec. Producer of Common Ground

/

Singer-songwriter · Photographer · Documentary Filmmaker
Founder of The White Feather Foundation
Executive Producer of Common Ground

I thought, wow, how are they going to bring this across in a way that isn't shoving things down people's throats? It's presenting information in a way that is creative, but also in a way that drives your curiosity into understanding, number one, why are we in the position that we're in? And number two, how can we fix this? What can we do to change all of this? And so, I initially got involved as an executive producer on Kiss the Ground, and I was blown away by how that film came out at the end. How well rounded it was, the flow of the film, the storytelling, and really feeding me information that I didn't even know previously. And so also watching that become a platform around the world was jaw-dropping. I mean, the fact that the belief and the understanding and the wisdom that came out of that project has touched so many hearts, minds, and souls around the world, that people are really single-handedly almost making change for the better around the world. Now, when Common Ground was presented, I did love that concept because Kiss the Ground had been very much a broad approach and about America, for the majority, really, and Common Ground was a much more...I mean, we're still dealing with the same subject matter obviously, but I think it felt great to come from a more personal aspect." 

JULIAN LENNON - Singer-songwriter, Photographer, Doc Filmmaker, Exec. Producer of Common Ground

JULIAN LENNON - Singer-songwriter, Photographer, Doc Filmmaker, Exec. Producer of Common Ground

/

Singer-songwriter · Photographer · Documentary Filmmaker
Founder of The White Feather Foundation
Executive Producer of Common Ground

I thought, wow, how are they going to bring this across in a way that isn't shoving things down people's throats? It's presenting information in a way that is creative, but also in a way that drives your curiosity into understanding, number one, why are we in the position that we're in? And number two, how can we fix this? What can we do to change all of this? And so, I initially got involved as an executive producer on Kiss the Ground, and I was blown away by how that film came out at the end. How well rounded it was, the flow of the film, the storytelling, and really feeding me information that I didn't even know previously. And so also watching that become a platform around the world was jaw-dropping. I mean, the fact that the belief and the understanding and the wisdom that came out of that project has touched so many hearts, minds, and souls around the world, that people are really single-handedly almost making change for the better around the world. Now, when Common Ground was presented, I did love that concept because Kiss the Ground had been very much a broad approach and about America, for the majority, really, and Common Ground was a much more...I mean, we're still dealing with the same subject matter obviously, but I think it felt great to come from a more personal aspect." 

ANTHONY JOSEPH - T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band

ANTHONY JOSEPH - T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band

/

T.S. Eliot Award-winning Poet, Novelist & Musician, Lead vocalist of The Spasm Band
Author of Sonnets for Albert

The life of Caribbean people is not really documented. So this idea of Caribbean life being fragmented is something that I've had in my mind for a long time. So when I came to write this collection for my father, I realized that it was the same process and what I had were fragments, especially with him, because he wasn't around in a physical sense all the time. So all I had were little photographs, scattered memories, and remembrances. They're little parts of his life and parts of my experience with him... I never disliked my father. I always loved him and always was fascinated and captivated by him.

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Highlights - Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

/

Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

Max Stossel - Award-winning Poet, Filmmaker, Creator of "Words That Move"

/

Award-winning Poet, Filmmaker & Speaker
Creator of the Stand-Up Poetry Special Words That Move

Technology has very much changed the way we read and take in information and shortened it into quick bursts and attention spans. We're living in a new world, for sure. And how do we communicate in this new world? Not just in a way that gets the reach, because there are whole industries aimed at what do I do to get the most likes or the most attention, and all of that, which I don't think is very fulfilling as artists.

It's sort of a diminishing of our art form to try and play the game because then we're getting the attention and getting the hits, as opposed to what do I really want to create? How do I really want to create it? How do I want to display this? And can I do it in a way that breaks through so that if I do it my way, it's still going to get the attention, great. But if it doesn't, can I be cool with that? And can I be okay creating what I want to create, knowing that that's what it's about. It's about sharing in an honest, authentic way what I want to express without letting the tentacles of social media drip into my brain and take over why I'm literally doing the things that I'm doing.

Highlights - Etgar Keret - Transdisciplinary Artist - Author - Cannes Film Festival Award-winning Director

Highlights - Etgar Keret - Transdisciplinary Artist - Author - Cannes Film Festival Award-winning Director

/

Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

Etgar Keret - Author - Cannes Film Festival Award-winning Director - Transdisciplinary Artist

Etgar Keret - Author - Cannes Film Festival Award-winning Director - Transdisciplinary Artist

/

Cannes Film Festival Award-winning Director
Author of Fly Already · Suddenly a Knock on the Door · The Seven Good Years

For me, there is something about art, it's not a monologue, it's a dialogue. Some people, it doesn't matter who they speak to, they will speak in the same way they would speak to a five-year-old or to an intellectual or to somebody who doesn't speak the language very well. They would speak the same way and they don't care because this is what they have to say, but I think that the natural thing in the dialogue is really to look into the eyes of the person you speak to and see when he understands or when she doesn't understand or when she's moved or when he's angry. And basically out of that, kind of create your own language.

Highlights - Oberon Sinclair - Founder CEO of Creative/Branding Agency My Young Auntie

Highlights - Oberon Sinclair - Founder CEO of Creative/Branding Agency My Young Auntie

/

CEO & Founder of Creative/Branding Agency My Young Auntie

If someone comes to me, and they say, “Oh, I have a new brand. It's a startup.” First of all, I have to like the person, they have to like me. It's a two way street. And that's the most important thing with anyone in life, not just work. In life, why do we make friends with who we make friends with? They are relationships. And if you connect with someone, magic will happen. If you don't connect with someone, and someone doesn't understand or have the same aesthetic or a similar way of thinking – you have to have something in common with someone. And if you have those qualities, which I look for, honesty and loyalty, and they're genuine, and you just know if you're going to get on with someone or not.

Oberon Sinclair - Founder CEO of Creative/Branding Agency My Young Auntie - Queen of Kale

Oberon Sinclair - Founder CEO of Creative/Branding Agency My Young Auntie - Queen of Kale

/

CEO & Founder of Creative/Branding Agency My Young Auntie

If someone comes to me, and they say, “Oh, I have a new brand. It's a startup.” First of all, I have to like the person, they have to like me. It's a two way street. And that's the most important thing with anyone in life, not just work. In life, why do we make friends with who we make friends with? They are relationships. And if you connect with someone, magic will happen. If you don't connect with someone, and someone doesn't understand or have the same aesthetic or a similar way of thinking – you have to have something in common with someone. And if you have those qualities, which I look for, honesty and loyalty, and they're genuine, and you just know if you're going to get on with someone or not.

Highlights - Gloria Pacis - Artist

Highlights - Gloria Pacis - Artist

/

Artist

I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing.

Gloria Pacis - Artist

Gloria Pacis - Artist

/

Artist

I just feel there is already a connection, something I have to come to, but that I'm trying to search it out or see what's already there. I feel that we are truly connected as a world. And I'm just trying to make people aware of an existing connection we already have, to send that message out there. And I like to do it in the form of...I guess you'd call it a mundane image, where it's not really about bells and whistles, but it's about something in it makes you want to look, and you want to know why. And it's because you've been there before, regardless of whether you are a dancer or that particular guy in the subway, you know you've been in his head in that mood that he's experiencing.

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

/

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”

/

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 - Sonnet L’Abbé - Poet, Songwriter, Editor of “Best Canadian Poetry in English”

Highlights - Sonnet L’Abbé - Poet, Songwriter, Editor of “Best Canadian Poetry in English”

/

Award-winning Poet · Songwriter · Author of Sonnet’s Shakespeare
Editor of Best Canadian Poetry in English

Sonnet’s Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean… And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian. One tries very hard. At least I did as a child, as a teenager, to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?

Sonnet L’Abbé - Award-winning Poet, Songwriter, Author of “Sonnet’s Shakespeare”

Sonnet L’Abbé - Award-winning Poet, Songwriter, Author of “Sonnet’s Shakespeare”

/

Award-winning Poet · Songwriter · Author of Sonnet’s Shakespeare
Editor of Best Canadian Poetry in English

Sonnet’s Shakespeare itself came out of thinking about the form of erasure, what working in that form could do and mean… And I was looking at critical writing about it, and I couldn't find anything that talked about the role of the poet who is doing that as censorial or as somehow violencing the original text. I was thinking about my resonance with the word erasure and thinking about censoring and deleting what somebody else has already said resonates with me as an analogy for being black, being mixed race, being racialized, and non-European in spaces that are predominantly Anglo-Canadian. One tries very hard. At least I did as a child, as a teenager, to just try to fit in and make my visible difference as minimal, as invisible as possible. So it's a way of thinking about erasing the self. And so I took that theme and thought, How do I show through a poetic erasure this dynamic of self-erasure and feeling erased?