PAULA PINHO

PAULA PINHO

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Director of Just Transition at the European Commission Directorate-General for Energy

She is responsible for Just Transition, Consumers, Energy Efficiency, Innovation and Energy security. She has been previously Head of Unit at the Directorate-General Energy in the European Commission. She was responsible for Energy Strategy and Policy coordination and then for Renewables and Energy System Integration Policy and Decarbonisation and Sustainability of Energy Sources. She was Acting Director for Energy Policy where she has overseen notably the work of international energy relations, financial instruments and inter-institutional relations.

BILL HARE

BILL HARE

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Founder & CEO of Climate Analytics · Physicist · Climate Scientist

Net-zero is a big idea. It’s a big theme. And, unfortunately, what's going up are many ways to look like you're doing net-zero when you're not. So in the ideal world, getting to net-zero means essentially reducing your emissions, and then, where you have residual emissions left, that means you might need to have negative emissions. For example, it's relatively easy to decarbonize the power sector completely, and you can do it quickly and cheaply in most places, but you’re always going to be left with some levels of emissions from agriculture.

ROB BILOTT

ROB BILOTT

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Environmental Lawyer · Partner Taft Stettinius & Hollister LLP
Author of Exposure: Poisoned Water, Corporate Greed, and One Lawyer’s Twenty-Year Battle Against DuPont

It's kind of a scary thought. We've got these PFAS (per- and polyfluoroalkyl substances), you hear them now referred to as forever chemicals because these chemicals–none of these existed on the planet prior to World War II–they're fairly recent invention and they have this unique chemical structure that makes them incredibly useful in a lot of different products, manufacturing operations, but also that same chemical structure makes them incredibly persistent and incredibly difficult to break down once they get out into the environment, into the natural world, into our soil, into our water. They don't break down under natural conditions. Or it may take thousands or millions of years for those chemicals to start breaking down. The science has slowly been revealed to the world about what these chemicals can do, we are seeing that they can have all kinds of toxic effects And unfortunately, we’re finding that those things can happen at lower and lower dose levels.

JANE MADGWICK

JANE MADGWICK

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Ecologist & CEO of Wetlands International
Co-author of Water Lands: A vision for the world’s wetlands and their people
Wetlands naturally absorb twice the amount of carbon than all the world’s forests combined.
I think everybody at school learns about the water cycle. That rings a bell with everybody. Maybe this is a good hook to show the place of wetlands in capturing and purifying and the story of water. And then in turn how this links to what we’re seeing every year: droughts, floods, fires, heat waves which are devastating and life-threatening. I think this may be one of the easiest routes in educating people, connecting wetlands with water and the direct impact of that.

JERICHO BROWN

JERICHO BROWN

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Pulitzer Prize-winning Poet
Author of The Tradition & The New Testament

I just want to make the poems like a living being…There are moments that I’m not at the desk, but I’m living life. And living life is actually what leads to writing. You have to have experiences to write about. Whether or not you are aware of those experiences as you are writing them down because if you’re doing music first, maybe you’re not aware of what you’re writing. And yet, those experiences are what come to fruition in your writing. You become aware. Oh, I did come on that roller coaster that time that I haven’t thought about in twenty years. Oh I did make love to that cute person that I haven’t thought about in ten years, but you’ve got to make love, you’ve got to get on roller coasters, you’ve got to get your heart broken. You’ve got to dance. You gotta get out and do things and that, too, is a part of writing. You have to trust you’re a writer by identity. And if you can trust that you’re a writer by identity, then you don’t have to be at a desk.

LAURENT LE BON

LAURENT LE BON

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Fmr. President Musée Picasso
President Centre Pompidou

Picasso is a symbol of the creative process.
Always in metamorphosis. Always in transformation. Sometimes when you become wealthy and famous, you stop having the energy of the creative process, but if you see the whole span of his career, you have 50,000 works of art in all mediums. So the main mission of the museum is to display like a kaleidoscope, and we have always a new angle, a new direction.

PROF. BAYYINAH BELLO

PROF. BAYYINAH BELLO

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Founder of Fondasyon Felicitee
Afrodescendant Ourstorian, Educator, Writer & Humanitarian

It’s true. In Haiti, to a large degree more women were involved in the Revolution, in the war, in the fighting for the nation for the very simple reason that women had more opportunities. After a certain time, we became invisible. Once you’re in your 60’s, you are missing a few front teeth, in fact, some of the women used to take a stone and break up their front teeth so that they wouldn’t be noticed anymore. “That’s just an old lady with no front teeth. Okay, she goes about her business, nobody looks at her. She can do nothing.” And those were the fighters–the greatest fighters of our revolution.

OSPREY ORIELLE LAKE

OSPREY ORIELLE LAKE

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Founder & Executive Director of the Women's Earth & Climate Action Network International
Author of Uprisings for the Earth: Reconnecting Culture with Nature & Artist

There’s a wide range of reasons that we really need to understand the root causes of a lot of our social ills and environmental ills. I think we need to continue to come back to this question of how we heal this imposed divide between the natural world and human social constructs. And that healing is key to how we’re going to really unwind the perilous moment that we face right now. How do we reconnect with the natural world? Not just intellectually, but in a very embodied way.

MASTER SHI HENG YI

MASTER SHI HENG YI

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35th Generation of Shaolin Masters
Headmaster of the Shaolin Temple Europe

Just getting to know what is Buddhism, which is the foundation of every monastery. The Shaolin Temple is in the core, first of all, it’s a Buddhist monastery and when you are starting to read about Buddhism, one of the key sentences, in the beginning, is: With your thoughts, you are creating the world.

SUSAN FISHER STERLING

SUSAN FISHER STERLING

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Director · National Museum of Women in the Arts

I came to work at the National Museum of Women in the Arts thirty-two years ago. I really took to the idea that the museum was controversial, that a lot of men said, "Why do you need a women's museum? There are so many other museums. Why do women have to be separated?"

MIKE PONDSMITH

MIKE PONDSMITH

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Creator of Cyberpunk · Origins Award-Winning Game Designer

One of the things I’ve noticed is that a lot of those younger people are actually much nicer than they need to be. And they have to realize that this is going to be your world. It turns out the way you want to make it and so you should be thinking now about what you want out of this. What do you want that world to be? Do not wait around until the two generations beyond you have gone ahead and done it the way they want it because, by the time they get done, you’re not going to have the chance to shift it to where you want it. So start thinking now about where do you want to be? What is the future you want? And don’t be nice about it, just go ahead and start planning it now.

DAVID HOLLANDER

DAVID HOLLANDER

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Showrunner · Writer · Director

They are very different skill sets and very different ways of approaching storytelling. Writing is very private. I find writing to be very difficult. I have an idea. I have a feeling, and then I write into it. That part of the process is the most painful and the most demanding. Directing is easier. It’s a very different skill set. It’s applying a story to the technique of how you film it, how it’s going to work. That part is so simple. The writing is brutally hard. There’s an architecture to every season that you write in television. I have to see the whole story. This big twelve-hour story. There’s a lot of math in that. There’s a lot of Where am I going? and How is it going to feel? Because at the end of the day, all I’m doing is trying to make people feel something.

HALA ALYAN

HALA ALYAN

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Dayton Literary Peace Prize Winning Novelist, Poet & Clinical Psychologist

We become the stories we tell ourselves…I started writing around the time I learned English because we moved to the States soon after my fourth birthday, and so I was here for kindergarten into elementary school. I grasped this new language just as I was learning how to also put things onto the page. Those two things really happened at the same time for me. I entered this world where I felt very different and very other, for all intents and purposes I was set to be raised in Kuwait. And then that of course got turned upside down after the invasion by Saddam. I think that so much of my trying to make sense of the world had to do with the displacement, exile and these experiences that my parents had experienced but then that I had as well as we were fleeing the war. It’s hard to know because I think that language was being formed in my brain at the same time that these things were happening.

MARK SELIGER

MARK SELIGER

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Photographer

I always tell people the worst picture can ever take is one you don't take. And that is a simple philosophy. If you don't go out there and do the work, then you will never know. You may think there's going to be another great snowstorm. You might think there's going to be another great moment where a block is going to have a certain kind of rhythm or a culture is going to have a certain amount of innocence or a musician is going to be as reluctant or vulnerable or sympathetic. You just have to embrace the moment and do the work.

JANET BURROWAY

JANET BURROWAY

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Award-Winning Novelist, Playwright & Author of Most Widely Used Creative Writing Text in America

There’s a lot of controversy about that idea at the moment, about whether fiction is truly empathic and how much freedom the imagination should have because, as one of my friends says, the imagination is not free. It comes from all of the places that we come from. So it’s a controversial notion, but I am firmly on the side of literature is empathic. In fact, I think that all the arts are empathic because all the arts basically say, ‘Wait a minute. Look at it this way.’ And they allow us to see from some other vantage point than our extremely self-interested selves.

JEANNIE VANASCO

JEANNIE VANASCO

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Award-Winning Memoirist, Author & Educator

What interested me about this particular experience is that I didn’t have the language to attach to it in the way I had the language to attach to a later experience that I would have no trouble calling rape, but happened to me and I call Mark in the book. I didn’t know what to call that for the longest time, so I didn’t know what to feel about it, and so as a writer that interests me. When I don’t have the words for something, when I sense that inevitably I’m going to fail.


JENNY BHATT

JENNY BHATT

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Writer, Literary Translator, Book Critic & Host of Desi Books Podcast

People talk about the work life, the line between your work and your life and keeping them separate and keeping the balance. For me, it’s always been that my work defines who I am and who I am in my personal life also defines who I am at my workplace. I don’t know how you separate those identities because I take all my belief systems and who I am to my workplace.