Tech, Innovation & Society - The Creative Process: Technology, AI, Software, Future, Economy, Science, Engineering & Robotics Interviews

How has music transported you? Where do you find inspiration from the natural world? Where do you find moments of every day magic? Erland Cooper is a Scottish composer, producer, and multi-instrumentalist from Stromness, Orkney. He has released three acclaimed studio albums, four additional companion albums, and multiple EPs, including a trilogy of work inspired by his childhood home. His work combines field recordings with traditional orchestration and contemporary electronic elements. Through music words and cinematography, he explores landscape, memory, and identity. Cooper also works across mixed media projects, including installation, art, theater, and film. He is widely known for burying the only existing copy of the master tape of his first classical album in Scotland, deleting all digital files, and leaving only a treasure hunt of clues for fans and his record label alike to search for it. The tape has recently been found.“One of our great British artists is Brian Eno, and he spoke a lot about limitations. I had the great joy of having a conversation. We ended up chatting for a couple of hours and he said, 'Oh, I want to show you something. I want to show you my library, and this tool I've created!' His Sonic Library, which is decades of audio material. (I have something similar. I call it an orphanage of sound. These files and folders that will eventually find a home.) But he's created a piece of software using algorithms that will at random pull out sounds and play them. And he can set certain parameters: I want a string sound to be here. And I'd like some bass sounds to come in. And I'd like some drum sounds, but it's just choosing these layers and playing them all at the same time. Again, a bit like the cacophony of birdsong. It's a bit of a mess initially, but then you can edit, and you start to refine. And in those limitations that have come out of this tool - and this is the point I guess I'm trying to make - is that it can be used as a tool to set limits or to burst limits. Or to mix things up. Out of that editing process, you can output something that to your ear sounds good to somebody else's ear."www.erlandcooper.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastPhoto by Alex Kozobolis

"About 15 years ago, we still didn't have 3G, 4G, 5G internet, that only started about 15 years ago. And then only 10 years ago we saw the real rise of social media with Facebook giving you a like button and becoming a dominant means of telecommunications. And we show in our work that the spread of 3g, 4G mobile, broadband internet, and social media have also contributed to the rise of populism. Why? Because a populist message travels faster and more broadly and more convincingly on social media simply because of the model of social media. Where the idea of creating the social media space is to make sure that your retention is kept, and of course, attention is more likely to be attracted by critical, negative, and outrageous messages. These are anti-elite messages. These are actually quite often also false messages, but they travel faster on social media. And so social media has also contributed to the rise of populism."What is a spin dictator? What does tyranny look like in the 21st century? Why is populism on the rise? And how do we reinvent democracy?Sergei Guriev is the co-author of Spin Dictators: The Changing Face of Tyranny in the 21st Century. Guriev is Provost and a professor of economics and at Sciences Po in Paris. He is a former Chief Economist of the European Bank for Reconstruction and Development, London, and a former Rector of the New Economic School in Moscow in 2004-13.https://sites.google.com/site/sguriev/https://spindictators.com/www.sciencespo.fr/department-economics/en/researcher/sergei-guriev.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What is a spin dictator? What does tyranny look like in the 21st century? Why is populism on the rise? And how do we reinvent democracy?Sergei Guriev is the co-author of Spin Dictators: The Changing Face of Tyranny in the 21st Century. Guriev is Provost and a professor of economics and at Sciences Po in Paris. He is a former Chief Economist of the European Bank for Reconstruction and Development, London, and a former Rector of the New Economic School in Moscow in 2004-13."About 15 years ago, we still didn't have 3G, 4G, 5G internet, that only started about 15 years ago. And then only 10 years ago we saw the real rise of social media with Facebook giving you a like button and becoming a dominant means of telecommunications. And we show in our work that the spread of 3g, 4G mobile, broadband internet, and social media have also contributed to the rise of populism. Why? Because a populist message travels faster and more broadly and more convincingly on social media simply because of the model of social media. Where the idea of creating the social media space is to make sure that your retention is kept, and of course, attention is more likely to be attracted by critical, negative, and outrageous messages. These are anti-elite messages. These are actually quite often also false messages, but they travel faster on social media. And so social media has also contributed to the rise of populism."https://sites.google.com/site/sguriev/https://spindictators.com/www.sciencespo.fr/department-economics/en/researcher/sergei-guriev.htmlwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color.From the beginning, it's always been one of my major concerns that I don't always like human intervention in natural landscapes. And it was something that I was really conscious of when I first started. So, first and foremost, I made attention to the fact that it needed to be made from materials that didn't pollute in any way, that were sustainable, and that would last for a very long time. It takes reefs hundreds of years to fully get established. So the materials had to live up to that. They also had to not be displaced by all the strong forces and energy that are prevalent underwater. And they also had to foster marine life. I also found out that, they were very good at actually controlling how tourists interact with our marine areas. So many of the projects are actually to draw visitors away from natural areas and to bring them to an area where there's a sandy substrate where their impact is lessened."What if museums weren’t confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren’t confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color.From the beginning, it's always been one of my major concerns that I don't always like human intervention in natural landscapes. And it was something that I was really conscious of when I first started. So, first and foremost, I made attention to the fact that it needed to be made from materials that didn't pollute in any way, that were sustainable, and that would last for a very long time. It takes reefs hundreds of years to fully get established. So the materials had to live up to that. They also had to not be displaced by all the strong forces and energy that are prevalent underwater. And they also had to foster marine life. I also found out that, they were very good at actually controlling how tourists interact with our marine areas. So many of the projects are actually to draw visitors away from natural areas and to bring them to an area where there's a sandy substrate where their impact is lessened."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"We've lost something like 85% of oyster reefs globally. In Australia it's over 99%. We've smashed this ecosystem to smithereens. It covered something like 7,000 kilometers of coastline and the flat oyster reef, for example, the flat oysters, one type of oyster that we work with were completely removed from the Australian mainland, and about 5,000 kilometers of reef destroyed in a very short period of time. And because of the intensity with which the coastlines were modified following European settlement of Australia, they haven't been able to come back naturally.  We've been using healthy marine sounds with underwater speakers to attract oysters to these reefs. So when the historical native habitat was lost, it also lost the sound that was associated with those reefs, that sound created by the millions of animals that live in that complex habitat. Now there's recognition that anthropogenic noise, noise from shipping and motorboats, and other urban noise is masking the natural sounds of the sea and dominating the soundscape as we call it. We're hoping that we can counteract some of those negative impacts of anthropogenic noise by playing healthy marine sounds."We have lost around 85% of oyster reefs. That’s not only the loss of oysters but also the habitat they provide other marine animals and plants. Oysters are amazing, not only do some create pearls but as sequential hermaphrodites, they can switch between male and female almost on a daily basis.Dr. Dominic McAfee is a researcher at the University of Adelaide in Australia. His work centers around restoring lost marine ecosystems, specifically shellfish reefs. Along with employing novel technology and reef restoration projects, he seeks to understand how oysters enhance the resilience and function of coastal ecosystems. He seeks to develop conservation messaging strategies that enhance public engagement via conservation optimism.https://researchers.adelaide.edu.au/profile/dominic.mcafeewww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

We have lost around 85% of oyster reefs. That’s not only the loss of oysters but also the habitat they provide other marine animals and plants. Oysters are amazing, not only do some create pearls but as sequential hermaphrodites, they can switch between male and female almost on a daily basis.Dr. Dominic McAfee is a researcher at the University of Adelaide in Australia. His work centers around restoring lost marine ecosystems, specifically shellfish reefs. Along with employing novel technology and reef restoration projects, he seeks to understand how oysters enhance the resilience and function of coastal ecosystems. He seeks to develop conservation messaging strategies that enhance public engagement via conservation optimism."We've lost something like 85% of oyster reefs globally. In Australia it's over 99%. We've smashed this ecosystem to smithereens. It covered something like 7,000 kilometers of coastline and the flat oyster reef, for example, the flat oysters, one type of oyster that we work with were completely removed from the Australian mainland, and about 5,000 kilometers of reef destroyed in a very short period of time. And because of the intensity with which the coastlines were modified following European settlement of Australia, they haven't been able to come back naturally.  We've been using healthy marine sounds with underwater speakers to attract oysters to these reefs. So when the historical native habitat was lost, it also lost the sound that was associated with those reefs, that sound created by the millions of animals that live in that complex habitat. Now there's recognition that anthropogenic noise, noise from shipping and motorboats, and other urban noise is masking the natural sounds of the sea and dominating the soundscape as we call it. We're hoping that we can counteract some of those negative impacts of anthropogenic noise by playing healthy marine sounds."https://researchers.adelaide.edu.au/profile/dominic.mcafeewww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"I was talking about this with someone the other day, about how there could be AI narrating audiobooks. But what I think it really comes down to is someone with a soul. It's not just the meat and potatoes of the plot of the book, but the actual quality of storytelling, the character development, the message behind the story, things like that. You know, some of the subtle nuances that I think machines will never be able to do, because they'll never have a soul. You know, they'll never be able to fully replicate. They can get very, very close.The Writers Strike in Hollywood. The main reason why the writers are striking, of course, is because it comes down to the bottom line, which is, you know, the dollar. The fact that studios don't want to be precluded from being able to use AI in the place of writers is what's really salting the wounds, but I don't see it, at least not in the very, very near future happening. One, because, like we talked about, no soul in the machine, but two, the technology is a predictive technology. So it's sort of like you ask it a question or you begin writing a sentence and it can predict the next five words and then kind of build upon that. And it can only draw upon what's already out there in its existing knowledge base from the internet, from whatever people ask it. It's not going to have lived experiences like you and me. And the technology is not at the point yet where I think it could be writing a novel. There are a lot of text limitations to it, but I think if it ever did come to pass... Let's imagine a world where AI is like there was a ghost in the machine and could convince almost anyone. I think you'd have a lot of pushback from readers. You'd have a lot of pushback from writers and people who work within the publishing industry."Mark Gottlieb is a Vice President and top-selling literary agent at Trident Media Group. He represents a wide range of authors across genres, many of whom have been awarded prestigious prizes and have secured places on the New York Times bestseller list. Among other achievements, Mark has successfully optioned and sold books to film production companies where they were adapted into blockbuster hits, beloved by audiences and critics.In addition to his work as an agent, Mark lectures on his experiences and craft at such noted venues as the Yale Writers’ Workshop, Cambridge University’s MSt in Creative Writing program, Columbia Publishing Course, and Sarah Lawrence College Writing Institute. He founded Emerson College's Wilde Press, and the  Stamford Literature, Arts & Culture Salon (SLACS), where he currently serves as president.www.tridentmediagroup.com/agents/mark-gottliebwww.tridentmediagroup.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

As we're entering a world of advanced AI, what is the future of books? What makes stories enduring? And what role do literary agents play in nurturing authors and bringing great stories to the world?Mark Gottlieb is a Vice President and top-selling literary agent at Trident Media Group. He represents a wide range of authors across genres, many of whom have been awarded prestigious prizes and have secured places on the New York Times bestseller list. Among other achievements, Mark has successfully optioned and sold books to film production companies where they were adapted into blockbuster hits, beloved by audiences and critics.In addition to his work as an agent, Mark lectures on his experiences and craft at such noted venues as the Yale Writers’ Workshop, Cambridge University’s MSt in Creative Writing program, Columbia Publishing Course, and Sarah Lawrence College Writing Institute. He founded Emerson College's Wilde Press, and the  Stamford Literature, Arts & Culture Salon (SLACS), where he currently serves as president."I was talking about this with someone the other day, about how there could be AI narrating audiobooks. But what I think it really comes down to is someone with a soul. It's not just the meat and potatoes of the plot of the book, but the actual quality of storytelling, the character development, the message behind the story, things like that. You know, some of the subtle nuances that I think machines will never be able to do, because they'll never have a soul. You know, they'll never be able to fully replicate. They can get very, very close.The Writers Strike in Hollywood. The main reason why the writers are striking, of course, is because it comes down to the bottom line, which is, you know, the dollar. The fact that studios don't want to be precluded from being able to use AI in the place of writers is what's really salting the wounds, but I don't see it, at least not in the very, very near future happening. One, because, like we talked about, no soul in the machine, but two, the technology is a predictive technology. So it's sort of like you ask it a question or you begin writing a sentence and it can predict the next five words and then kind of build upon that. And it can only draw upon what's already out there in its existing knowledge base from the internet, from whatever people ask it. It's not going to have lived experiences like you and me. And the technology is not at the point yet where I think it could be writing a novel. There are a lot of text limitations to it, but I think if it ever did come to pass... Let's imagine a world where AI is like there was a ghost in the machine and could convince almost anyone. I think you'd have a lot of pushback from readers. You'd have a lot of pushback from writers and people who work within the publishing industry."www.tridentmediagroup.com/agents/mark-gottliebwww.tridentmediagroup.comwww.creativeprocess.info www.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Richard Vevers is the Founder and CEO of The Ocean Agency. He is a fellow of The Explorers Club and an Adjunct Professor at the University of Rhode Island. He is best known for his leading role in the Emmy Award-winning documentary Chasing Coral on Netflix and his work has been featured in numerous publications and documentaries. Before diving into ocean and coral reef conservation, Vevers worked at some of the top London advertising agencies and then as an artist and underwater photographer. This background guides his unique creative and business-thinking approach to ocean conservation that includes inventing the camera that took Google Street View underwater, pioneering virtual reality ocean education, currently available to over 90 million kids, leading the most comprehensive underwater photographic survey of the world’s coral reefs, and developing a science-based global plan 50 Reefs."So I try to approach things in a different way to be a bit more disruptive. I think individual actions are important, but I think you need to turn it on its head so that it is very scalable, and often we focus on the negative. This is a transformative time, and we need to start thinking smarter about the solutions and how we live our lives. And so what I've tried to do is reframe climate action as something that is exciting and an opportunity. This is a transformative time when we need big ideas and there are opportunities for people doing what people do best - coming up with great ideas."www.theoceanagency.orgwww.50reefs.orgwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast