Podcasts about Creativity

The Universe only ever has three answers for your desires: Yes, not right now, or something better is on the way. In this electric live episode, recorded in Toronto, Gabby teaches you how to stop blocking that "something better." She explains exactly why "future tripping" strangles your manifestations and guides you through a powerful 24-hour surrender experiment to release control and find immediate relief. Listen now to stop forcing outcomes and start attracting the miracles that are waiting for you.Join Gabby's 21-Day Manifesting Challenge! Hundreds of thousands of people have used this challenge to manifest their dream jobs, partners, and homes. Sign up here LINK Read my #1 NYT Bestselling book: Self Help: This Is Your Chance to Change Your Life. http://bit.ly/4j1asmAIf you feel you need additional support, please consult this list of safety, recovery, and mental health resources.Disclaimer: This podcast is intended to educate, inspire, and support you on your personal journey towards inner peace. I am not a psychologist or a medical doctor and do not offer any professional health or medical advice. If you are suffering from any psychological or medical conditions, please seek help from a qualified health professional.Produced by Dear MediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today, we're welcoming Robin Landa back to the show. I first interviewed Robin in February 2023 about her book The New Art of Ideas, and I'm thrilled to continue that conversation.Robin is a distinguished professor at Kean University and a globally recognized expert in creativity and branding. She received the 2024 Gold Design Education Recognition Award, was named by the Carnegie Foundation among the ‘Great Teachers of Our Time,' and will be inducted into the New Jersey Advertising Hall of Fame in 2025.Robin 's Website @proflanda on Instagram Robin 's Facebook page Robin on YouTube Author of 25 books—including Graphic Design Solutions, Strategic Creativity, Advertising by Design, and Shareworthy (with Greg Braun)—Robin now turns to her new release: Branding as a Cultural Force: Purpose, Responsibility, and ResonanceFrom The New Art of Ideas to Cultural ForceRobin, when we talked in February 2023, you laid out a practical pathway for generating and shaping ideas. What's evolved in your thinking since then—and how did that trajectory lead to Branding as a Cultural Force?Branding as a Vehicle for Systemic ChangeYour new book argues that branding can—and should—shape culture, not just reflect it. What catalyzed this call to action, and how does it challenge conventional brand playbooks?From Product Stories to Cultural MovementsWhich brands or campaigns today truly function as cultural forces? What makes them work—and what can creative teams learn about purpose, responsibility, and resonance?Authenticity, Accountability, and RiskWhen brands take a stand, what's the right balance between authentic purpose and measurable responsibility? How should leaders navigate backlash, skepticism, and “purpose-washing”?Teaching Creative CourageYou've shaped thousands of careers through teaching, mentoring, judging, and writing. What practices help people move from safe, incremental ideas to bold, world-shaping concepts—without losing strategic clarity?The Next Generation of Brand LeadersWith AI, rapid cultural shifts, and fragmentation of attention, what skills—and mindsets—will define tomorrow's most effective brand leaders?Thanks to our sponsor, White Cloud Coffee—fueling creative conversations everywhere. Listeners, enjoy 10% off your first order at whitecloudcoffee.com.And before you go, remember to download your free e-book of Your World of Creativity when you visit mark-stinson.com.

In this latest AMA episode, Matt and Dr. Eti Ben Simon explore the complex web connecting sleep to our health and daily lives. They investigate the gut-brain axis, discussing how sleep deprivation alters the microbiome and whether probiotics can restore balance. The conversation also addresses the heavy toll of bereavement, examining the bidirectional link between acute grief and insomnia while offering evidence-based strategies to manage sleep during times of loss.The discussion shifts to creativity, revealing how REM sleep acts as "informational alchemy" to fuel innovation for artists and scientists alike. Matt and Eti share practical tips for harnessing sleep for breakthroughs, including Edison's famous napping technique. Finally, they cover the dangers of microsleeps - brief, uncontrollable lapses in attention - highlighting the risks of drowsy driving and how emerging technology can help save lives.Please note that Matt is not a medical doctor, and none of the content in this podcast should be considered medical advice in any way, shape, or form, nor prescriptive in any way.Podcast partner, AG1, is one that Matt relies upon for his foundational nutrition. Their new science-backed Next Gen formula features upgraded probiotics, vitamins, and minerals. Start your subscription today to get a FREE bottle of Vitamin D3+K2 and 5 free travel packs with your first order at drinkag1.com/mattwalker.In a supplement industry where trust is critical, Matt uses podcast supporter Puori. Their protein powders are free from hormones, GMOs, and pesticides, with every single batch third-party tested for over 200 contaminants. For protein you can trust, save 20% at puori.com/mattwalker.Another sponsor is UPLIFT Desk whose V3 Standing Desk helps boost circulation and concentration with a sturdy, customizable design that gets you moving while you work. Visit upliftdesk.com/walker and use code WALKER for 4 free accessories and a 15-year warranty.As always, if you have thoughts or feedback you'd like to share, please reach out to Matt:Matt: Instagram @drmattwalker, X @sleepdiplomat, YouTube: https://www.youtube.com/channel/UCA3FB1fOtY4Vd8yqLaUvolgEti: X @etoosh, Instagram https://www.instagram.com/eti_bensimon/,  or email at etoosh@gmail.com

Today's guest is Roti Brown, the Los Angeles–based creative director, host, and content creator known for her cinematic tablescapes, cultural fusion recipes, and modern approach to gathering. Roti's rise has been anything but conventional—after studying political science and briefly considering law school, she found her way into the worlds of fashion, content, and food, ultimately carving out a creative career all her own. Roti has built an unexpected path that blends cooking, storytelling, visual direction, and a deep love of community. Her journey included restaurant work, early internships in media and fashion, a major role at Jenni Kayne, and a two-year stint as creative director for Ashley Tisdale French, before ultimately deciding to bet on herself full-time.Thank you to JW Marriott for supporting our show. Order The Cake IssueTickets for our Working Lunch event in Charleston on Thursday, December 11th, hereSubscribe to our SubstackJubilee NYC 2026 tickets hereCheck out Cherry Bombe on ShopMyMore on Roti: Instagram, Flavor GardenMore on Kerry: Instagram

Our mission is to foster personal and cultural transformation through Love, Creativity, and Justice. We are a diverse community that seeks to live our faith in an authentic way, we long for the undiluted gospel, and for the world to see and know how good God really is. Listen Here:  Spotify: https://expression58.org/spotify Apple Podcasts: https://expression58.org/apple Follow us: Website: https://www.expression58.org Facebook: https://www.facebook.com/expression58/ Instagram: https://www.instagram.com/expression58/ YouTube: https://www.youtube.com/user/Expression58media   

This episode is a deep dive into why having fun is not optional for men's mental health—it is the silver bullet that so many guys are missing. From the outside, men are told to grind harder, stay stoic, and carry everything alone, but inside, loneliness, stress, and emotional exhaustion are quietly stacking up. Having fun becomes a radical act of rebellion against isolation, shame, and emotional numbness. John and Will unpack how having fun and playful presence can pull men out of their heads and back into their hearts, bodies, families, and communities, opening the door to real connection, creativity, and relief.Loneliness in men is now recognized as a genuine health risk, not just a feeling to tough out, and it is strongly linked to anxiety, burnout, depression, and even physical illness. In this conversation, John and Will explore how lightening up and making space for joy can interrupt that spiral. When men stop treating life as a never-ending performance review and start allowing play, silliness, and hobbies that feel good, their nervous systems calm down, stress chemistry shifts, and it becomes easier to open up, reach out, and let people in.You'll hear how simple practices—like reclaiming old passions, trying new playful activities, or bringing a sense of humor into daily routines—can build resilience and emotional flexibility. Research shows that enjoyable leisure and playful mindsets boost mood, sharpen focus, improve problem-solving, and enhance relationships, all of which are crucial for men who feel stuck, burnt out, or alone. This episode connects those insights directly to real life: how having fun with friends, partners, kids, or even solo can be the bridge from isolation to intimacy, from rigid seriousness to grounded presence.The tone is honest, unpolished, and real—no fake positivity, no macho posturing. If you're a man feeling the weight of loneliness, or you love a man who seems checked out, this conversation offers both language and tools to shift the story. You'll walk away with a new understanding of why having fun is not childish or trivial—it is a serious strategy for protecting men's mental health, rebuilding friendships, and rediscovering what it feels like to be fully alive.Feeling stuck? If you need help getting out of your rut, Will can help - head to willnotfear.com to learn more about his coaching to get you off the hamster wheel. More from MTM at: https://mentalkingmindfulness.com/ Chapters:00:00 - Introduction02:54 - Playfulness as a Tool for Connection05:45 - The Consequences of Losing Playfulness08:57 - Creativity and Brain Development11:51 - Playfulness in Adulthood14:51 - The Role of Fun in Mental Health17:41 - Breaking Free from Societal Expectations20:36 - Finding Joy in Everyday Life23:41 - The Courage to Be Playful26:53 - The Connection Between Play and Success29:47 - Embracing Vulnerability and Fun32:44 - The Adventure of Playfulness35:28 - The Playful Spirit of Jesus38:32 - Final Thoughts on PlayfulnessHosted on Ausha. See ausha.co/privacy-policy for more information.

You'll always find reasons not to do the thing, but what if seeing them as signs to not it, it's your dreamshitter's way of stopping you from doing the scary things you want to do?

Can peak success still leave you searching for true purpose? In this episode of Seek Go Create, Howard Chang—the artist behind the Teenage Mutant Ninja Turtles toys—joins Tim Winders to share how failing quickly and embracing faith transformed his journey from designing pop icons to creating Ancients, a bold new venture reimagining biblical heroes as futuristic warriors. Dive into a story of creativity, resilience, and purpose where nostalgia meets conviction, and discover how faith and innovation can reshape culture. If you're ready for an honest conversation that blends creativity, business, and spiritual growth, this is one episode you don't want to miss!“The more you fail, the more you grow.” - Howard Chang Access all show and episode resources HEREAbout Our Guest:Howard Chang is an accomplished artist and entrepreneur best known for his influential work designing Teenage Mutant Ninja Turtles toys—a globally successful and culturally iconic franchise. With a background spanning creative design, manufacturing, and tech, Howard Chang blends business acumen with imaginative artistry. He is currently pioneering "Ancientz," a bold new project that reimagines biblical heroes as futuristic warriors, aiming to inspire the next generation with stories rooted in purpose, creativity, and faith.Reasons to Listen: Discover the untold story behind the Teenage Mutant Ninja Turtles toy craze and how Howard Chang helped shape an iconic franchise.Get a behind-the-scenes look at turning failure into growth, and how fast-tracked “failing quickly” paved the way for creative and business breakthroughs.Dive into the creation of “Ancientz,” a bold new project reimagining biblical heroes as futuristic warriors, blending pop culture, faith, and innovation.Episode Resources & Action Steps:Resources Mentioned in This Episode:Ancientz Website: Visit Ancientz.com (with a "z") to see Howard Chang's faith-inspired, futuristic toy line and sign up for email updates.Ancientz Instagram: Follow Ancientz on Instagram for the latest updates, behind-the-scenes content, and project progress.San Diego Comic Con: Mentioned as a hub for pop culture fans and a place where nostalgia and fandom thrive. If you're interested in toys, comics, or creative inspiration, consider visiting or following news from San Diego Comic Con.Action Steps for Listeners:Check Out Ancientz: Visit the Ancientz website and follow on Instagram to support and stay updated on the launch of a new, creative pop-culture brand blending faith and futuristic design.Reflect on “Fail Quickly”: Adopt the mindset of failing quickly, as discussed by Howard Chang. If you start a new creative project or business idea and it's not working, don't spend years dragging it out—learn from it, pivot, and grow.Incorporate Quiet Time for Creativity: Take time to pause and reflect before launching into a new creative pursuit, just as Tim Winders and Howard Chang discussed. Set aside moments for prayer, quiet, or...

Inna Segal, a pioneering intuitive healer and the bestselling author of The Secret Language of Your Body. Inna has dedicated over two decades to helping individuals unlock the secrets of their body's wisdom, facilitating profound healing on physical, emotional, and energetic levels.​Through her transformative teachings and intuitive insights, Inna empowers people to reconnect with their inner guidance, fostering self-healing and personal transformation. Her work has touched countless lives, offering tools and practices that bridge the gap between mind, body, and spirit.​In this episode, we'll delve into Inna's journey, explore the principles behind her healing approach, and discover how tuning into our body's innate intelligence can lead to lasting well-being.​Whether you're new to the world of intuitive healing or seeking more profound understanding, this conversation promises to be enlightening and inspiring.​For more, visit: https://www.innasegal.com/Send us a textSupport the show Contact me at: postcardstotheuniverse@gmail.com Shout out and follow on IG - @postcardstotheuniverse https://linktr.ee/postcardstotheuniverse Thank you and keep listening for more great shows!

A lot of adults feel they've lost touch with the ability to get messy… and also just mess up. Scientists call that childlike, everyday experimentation, “prosaic creativity.” And it's more accessible—even as adults—than many tend to think.

What happens in kids' brains… when they're improvising? Today, we learn how brains work in childhood, and how that's linked to creativity. Then, a woman in prison discovers her inner beauty. And, a new series captures San Francisco at the height of the AIDS epidemic. We hear a conversation with the host of “When We All Get To Heaven.” 

Have you ever paused to consider where you truly are in your growth as a coach and what your current stage of development reveals about the way you show up for your clients? In this episode, we walk through the evolving arc of our professional identity and the way our presence deepens as we move from doing coaching to being a coach. It is a journey rich with curiosity, discomfort, insight, and ultimately, transformation. During the conversation, we unpack the three broad stages of coach maturity. We explore the ways we develop from novice coach to intuitive practitioner and eventually to a place where we work with the wider system that sits around each client. As we revisit these stages, we were reminded of the moments in our own journeys when we grappled with self-doubt, longed for structure, and later found liberation in silence, emergence, and reflective practice. We discuss what this pathway can look like in real life. Early on, the focus often sits on learning models like GROW or CLEAR, trying to get coaching "right", and wondering whether you are offering enough value. As maturity builds, the focus shifts toward deep relational awareness. Questions such as how we are being together begin to matter more than the specific tools we use. There is more acknowledgment of intuition, pattern spotting, boundaries, ethics, and the energy in the space between coach and client. As the journey progresses, the coaching relationship becomes a gateway into something broader. We delve into the systemic nature of coaching and what happens when we are able to sit in not knowing without fear. This phase is rich, existential, and deeply grounding. It calls for humility, self-awareness, regulated presence, and the ability to hold space for emergence. We reflect on how this stage can be both liberating and challenging. At times we have found it confronting, and at others we have found it to be the most expansive area of professional growth. Throughout this episode, the recurring theme for me is that coaching maturity is not time served. It is about what we integrate, how we reflect, and the courage we bring to our own development. Every phase offers value. Every phase has its purpose. And every coach will move through the continuum in their own way. Our hope is that this conversation sparks meaningful self-reflection and gives you a clearer sense of where you are today and where your next stretch might be.   Timestamps: 00:00 Welcome and introduction to coaching maturity 01:20 Why the competency frameworks can feel confusing 02:17 From doing coaching to being a coach 03:35 The ongoing evolution of a coach 05:01 Coach maturity as continual development rather than destination 06:29 Stage one indicators and early coaching experiences 08:25 Navigating self doubt and value questions 09:50 Transitioning into a more relational coaching style 11:20 Deep listening, intuition and pattern spotting 12:45 Creativity and presence in coaching 14:11 How the coaching space mirrors client experiences 16:08 Sitting with not knowing and supporting emergence 18:05 Humility and letting go of ego 19:34 How supervision supports growth 20:31 Using coaching maturity reflections as a development catalyst 21:30 Why different clients need different levels of maturity 22:55 Maturity is not time served 24:18 Understanding learning edges 25:44 Encouragement for self-reflection and next steps 26:08 Coaching training quiz and CPD options   Key Lessons Learned: Coaching maturity evolves from doing coaching to embodying the role of coach in a grounded, relational way Early stages often include self-doubt, reliance on tools, and a desire to get things right Growth involves increased trust in intuition, deeper presence, and comfortable use of silence Systemic awareness becomes central as maturity develops Reflective practice and supervision accelerate progression Not knowing can be a powerful portal for insight and emergence Maturity is not about years of experience but about integration and self-awareness   Keywords: coaching maturity, coach development, reflective practice, coaching presence, coaching intuition, systemic coaching, coaching evolution, coaching confidence, professional coaching skills, coaching competence   Links and Resources: www.igcompany.com/ilmcall www.mycoachingcourse.com 

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Hi my loves

Humble the Poet (Kanwer Singh) opens up about the years nobody saw — the debt, the failed deals, the fear, the self-judgment — and how these became the foundation for his creative success and his powerful new book, Anxious. We explore his 90-day nervous system reset, what anxiety really is (and isn't), how to stop outsourcing your safety, and why progress is simple but never easy. If you've ever felt overwhelmed, stuck, or tangled in your own thoughts, this episode will feel like a blueprint for reclaiming your mind and building real inner capacity.This is mental fitness at its most practical, honest, and human.Timestamps:00:00 — Who are you?01:00 — Humble breaks down the mechanics of words, poetry, and meaning02:00 — Childhood creativity: the first book and early signs of a writer04:00 — Performing for the first time and peeling off the layers of insecurity06:00 — The four-year tunnel: debt, denial, and rebuilding from zero10:00 — Extreme frugality and the financial habits that changed everything14:00 — Fear, creativity, and learning to feed the wallet vs. the ego17:00 — Discovering business as a creative art form23:00 — Harmony vs. balance: reframing how creatives work25:00 — Curiosity as courage: shifting away from fear-based judgment27:00 — How anxiety blocks opportunity — and why the pendulum has swung too far30:00 — Why anxiety is a signal, not a disease32:00 — The 90-day nervous system reset: dopamine, abstinence, and awareness37:00 — Identifying real addictions: validation, reassurance, overthinking42:00 — Sitting with discomfort: the foundation of mental fitness45:00 — Redefining freedom and building inner capacity49:00 — The burn of real growth — and why Humble sticks with it51:00 — The simplest mental fitness practice: sit quietly for 10 minutes54:00 — Simple vs easy, slow progress, and compassionate self-talk****Get your copy of Personal Socrates: Better Questions, Better Life Connect with Marc >>> Website | LinkedIn | Instagram |*A special thanks to our mental fitness + sweat partner Sip Saunas.

Join Andrea Samadi as she reviews Dr. Shane Creado's insights on why sleep is a core pillar of brain health, how chronic sleep deprivation harms reaction time, inflammation, pain perception, and why children pay the highest price. Learn practical sleep strategies—consistent schedules, light management, wind-down routines—and how the Silva Method's mind-training can deepen restorative sleep for athletes, high performers, and families. Welcome back to SEASON 14 of The Neuroscience Meets Social and Emotional Learning Podcast, where we connect the science-based evidence behind social and emotional learning and emotional intelligence training for improved well-being, achievement, productivity and results—using what I saw as the missing link (since we weren't taught this when we were growing up in school), the application of practical neuroscience. I'm Andrea Samadi, and seven years ago, launched this podcast with a question I had never truly asked myself before: (and that is) If productivity and results matter to us—and they do now more than ever—how exactly are we using our brain to make them happen? Most of us were never taught how to apply neuroscience to improve productivity, results, or well-being. About a decade ago, I became fascinated by the mind-brain-results connection—and how science can be applied to our everyday lives. That's why I've made it my mission to bring you the world's top experts—so together, we can explore the intersection of science and social-emotional learning. We'll break down complex ideas and turn them into practical strategies we can use every day for predictable, science-backed results. This week, we move onto PART 2 of our review of EP 72[i] with Shane Creado, MD and his book Peak Sleep Performance for Athletes recorded back in July of 2020. In PART 1[ii], we covered: How strategic napping, morning brain habits, and even the Silva Method all work together to reset your brain, boost performance, and transform your health from the inside out. Today, PART 2 we will continue with our review, diving a bit deeper into sleep deprivation and its impact of performance (whether you are an athlete, or just someone looking to improve productivity). PART 3, next week, we will go a bit deeper into the impacts of concussions and brain injuries on our sleep and performance. Just a reminder: Dr. Creado is a double board-certified sleep medicine doctor and psychiatrist who practices functional sleep medicine, integrative psychiatry, and sports psychiatry. He brings all of these specialties together to uncover the underlying factors that sabotage our sleep and then treats them comprehensively, helping people to achieve their health and performance goals with sleep at the forefront As we work through our reviews, we will spend a considerable amount of time on this important health staple that's scientifically proven to boost our physical and mental health. For today's EP 379, and PART 2 of our review of our 2020 interview with Dr. Shane Creado, we will cover: ✔ Sleep as a core pillar of health according to Dr. Shane Creado, author of Peak Sleep Performance for Athletes. ✔ Sleep deprivation is a national crisis and kid's pay the highest price. ✔ 7 Well-Known Tips for Improving Sleep ✔ Applying the Silva Method to Reset and Improve Our Sleep ✔ Important sleep tips for athletes and high performers   Let's go back to 2020 and revisit what Dr. Creado had to say about sleep. CLIP 1 — Why Sleep Is Non-Negotiable for Brain Health Short Explanation: In Clip 1, Dr. Shane Creado explains that sleep is a foundational pillar of brain health, equal in importance to exercise and nutrition. He emphasizes that without optimizing sleep, it is impossible to truly optimize learning, emotional regulation, focus, or performance. Dr. Creado highlights that chronic sleep deprivation is widespread in the U.S., often unnoticed, and especially damaging for children—where lack of deep sleep suppresses growth hormone, increases obesity risk, and raises the likelihood of developing mental-health challenges later in life. His message is clear: when sleep improves, the entire “fabric” of life and health begins to change. VIDEO 1 – Click Here to Watch In our next video clip from Dr. Creado, I ask him to dive deeper into optimizing our brain health with a quote from his book that reads “your brain health and sports performance cannot be optimized unless your sleep is optimized. And once this is achieved your quality of life will skyrocket. When you sleep well, the fabric of your life will change. And when this happens, it will have a ripple effect.” This sounds like a simple concept, but for those of us who have been working on improving this pillar, we know it's one of those concepts that easier said, than done. Let's hear Dr. Creado's thoughts on my question- And Dr. Creado replied that “sleep is one of the pillars of brain health along with exercise and nutrition. And we need to make sure we're getting the right amount of sleep. Most adults and most teenagers don't know about this but a vast majority, 70 million Americans suffer from a sleep problem. And way more than those suffer from sleep deprivation, chronic sleep deprivation. If a child is deprived of sleep, their growth hormone levels will be suppressed because deep sleep is where growth hormone levels peak, so basically you are going to be stunting your growth. Over 80% of kids who are sleep deprived go on to develop obesity. There's a huge overlap between kids who are chronically sleep deprived who manifest mental health conditions later in life.”

Join dental entrepreneurs George Hariri, Matt Guarino, and Matt Ford as they break down the realities of running their national DSO, Shared Practices Group. They tackle the triumphs and tribulations of scaling a business, answer your burning questions (submit yours at bdppod.com), and delve into life's other adventures - from health and parenting to sports and politics. It's business, banter, and everything in between. Tune in and join the BDP community today!

Centering collaborations and frictions around a Japanese town's pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation. Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan. Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology. Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan. Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Centering collaborations and frictions around a Japanese town's pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation. Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan. Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology. Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan. Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Centering collaborations and frictions around a Japanese town's pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation. Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan. Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology. Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan. Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Centering collaborations and frictions around a Japanese town's pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation. Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan. Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology. Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan. Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Centering collaborations and frictions around a Japanese town's pottery industry, Crafting Rural Japan: Traditional Potters and Rural Creativity in Regional Revitalization (Routledge, 2024)n discusses the place of creative village policy in the revitalization of rural Japan, highlighting how rural Japan is moving from a state of regional extinction to regional rejuvenation. Using the case study of Tamba Sasayama in Hyogo Prefecture, where collective initiatives by local government and the role of the local traditional potters are invested in fostering an aura of creativity in the region, the book examines the complex social relations and the intertwining values of different actors to illustrate how a growing outlook on creativity, rurality, and rural creativity requires a renewed perspective on and of rural Japan. Based on extensive field research, Crafting Rural Japan will be a valuable resource for students and scholars of Japanese studies, rural studies, and anthropology. Shilla Lee is a postdoctoral researcher at the Institut für Modernes Japan, Heinrich-Heine-Universität Düsseldorf. Her work explores contemporary craft and its entanglements with social change and post-growth perspectives emerging from rural Japan. Yadong Li is a socio-cultural anthropologist-in-training. He is registered as a PhD student at Tulane University. His research interests lie at the intersection of political ecology, critical development studies, and the anthropology of time. More details about his scholarship and research interests can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Engaging in creative activities like music, dance, art, or gaming helps your brain stay up to seven years biologically younger than your actual age Even short periods of creative learning, such as 30 hours of focused practice, improve brain function and reduce biological brain age by about three years Creativity strengthens communication between brain regions responsible for attention, coordination, and problem-solving, helping maintain clarity and focus as you age You don't need to be an artist to benefit — everyday creative choices like journaling, cooking intuitively, or designing your space keep your brain flexible and resilient Regular creative engagement supports better mood, stronger memory, and faster thinking, offering one of the simplest and most enjoyable ways to preserve long-term brain health

In this special AMA episode, Paul F. Austin answers the most common, and most nuanced questions emerging from recent trainings, webinars, and community sessions. Drawing from a decade of experience in microdosing, facilitation, and practitioner training, Paul explores how to choose the right microdosing protocol, the relationship between nervous system health and performance, the role of psychedelics in coaching, and the ethical boundaries practitioners must uphold. He also discusses SSRI tapering, creativity, leadership, and how to guide clients through integration with clarity and skill. Highlights How to choose a microdosing protocol Why nervous system health comes first Microdosing vs. macrodosing for integration SSRIs, tapering, and safe sequencing Creativity and leadership with microdosing Embodiment as the key to integration Coaching vs. therapy in psychedelic work Ethical boundaries for practitioners Episode Links Free Webinar on Dec 11, 2025: Social Media, Psychedelics, and the Law: What Practitioners Need to Know Practitioner Certification Program Microdosing Practitioner Certification

Struggling to break free from self-judgment and unhealthy habits, even when you know the "right" steps?Brigitte Cutshall welcomes Freedom Coach and writer, Kayla MacDonald, to discuss her journey from traditional health coaching to focusing on "food freedom" and inner "warrior work".Kayla reveals why your food struggles might not be about food at all, but rather a distraction from stepping into your true power and creativity.3 KEY TAKEAWAYS:(1) Food struggles are often about power, not pounds.(2) Embodiment beats strategy alone.(3) Creativity accelerates healing.Connect with Kayla MacDonald at https://EmbodiedWritingWarrior.com on Instagram @EmbodiedWritingWarrior. Check out her podcast of the same name, featuring nearly 200 episodes with journal prompts and embodied activations to help you integrate what you learn.

In this episode of Healthy Mind, Healthy Life, Avik sits down with technologist and human strategist Stephanie Sylvestre to unpack the real question on everyone's mind. how do we use AI to uplift humans, not replace them. Stephanie shares how digital twins, vetted data and human in the loop design can expand access to mentorship, grow self agency and help people in low resource environments rise inside a tech driven world. From colorism and the erasure of Black history to job displacement fears and AI hallucinations, Stephanie calls out the realities without sugar coating, then reframes AI as a strategic tool for resilience, creativity and social mobility. This is a grounded, no nonsense conversation about using technology to scale belief, belonging and impact, especially for black and brown communities and anyone who has ever felt underestimated. About The Guest: Stephanie Sylvestre is a founder, innovator and strategist who builds AI solutions that center real people, not just algorithms. With a background in economic development and decades in technology and leadership, she now focuses on digital twins, AI mentoring and using vetted, bias aware data to increase self esteem, self agency and access to opportunity. Her work includes creating AI powered digital mentors and preserving Black history and lived experience in immersive, tech enabled ways. Key Takeaways: AI is not just about automation. when configured with vetted, high quality data and a clear purpose, it can act as a digital mentor, helping people take risks, grow confidence and see new paths. Self agency is the real unlock. people who believe they can influence their lives ask different questions, negotiate differently and create options instead of accepting fixed limits from jobs, policies or social norms. Many people self reject before the world rejects them. shifting from “I can't” to “Let me see what's possible” is a core mindset shift for careers, creativity and mental health in a tech driven world. AI hallucinations are a feature to manage, not a reason to run away. just like human conversations, we should trust but verify, keep humans in the loop and use AI as “copy, paste, edit,” not as absolute truth. Creativity and resourcefulness, especially in low resource environments, are underrated strategic advantages. these experiences train people to solve complex problems that AI alone cannot handle. Tech can help heal identity and belonging gaps by scaling representation. digital twins and AI tools can make it normal to see black and brown leaders, shifting what younger generations believe is possible for themselves. How Listeners Can Connect With Stephanie Sylvestre  : You can connect with Stephanie here. LinkedIn. LinkedIn  or search “Avatar Buddy” and send a direct message referencing this Healthy Mind, Healthy Life episode Email. stephanie@avatarbuddy.ai   Want to be a guest on Healthy Mind, Healthy Life. DM on PM. Send me a message on PodMatch DM Me Here. https://www.podmatch.com/hostdetailpreview/avik Disclaimer. This video is for educational and informational purposes only. The views expressed are the personal opinions of the guest and do not reflect the views of the host or Healthy Mind By Avik™️. We do not intend to harm, defame, or discredit any person, organization, brand, product, country, or profession mentioned. All third party media used remain the property of their respective owners and are used under fair use for informational purposes. By watching, you acknowledge and accept this disclaimer. Healthy Mind By Avik™️ is a global platform redefining mental health as a necessity, not a luxury. Born during the pandemic, it's become a sanctuary for healing, growth, and mindful living. Hosted by Avik Chakraborty. storyteller, survivor, wellness advocate. this channel shares powerful podcasts and soul nurturing conversations on. • Mental Health And Emotional Well being• Mindfulness And Spiritual Growth• Holistic Healing And Conscious Living• Trauma Recovery And Self Empowerment With over 4,400+ episodes and 168.4K+ global listeners, join us as we unite voices, break stigma, and build a world where every story matters.

Landscape designer Steve Griggs joins Frank Schaeffer for a raw, funny, deeply human conversation about rising from a working-class New York childhood to becoming one of America's premier landscape artists — featured in Forbes, WSJ, HuffPost and Bravo's Backyard Envy.Steve reveals the truth about designing for the ultra-wealthy, why taste beats money every time, how stonework builds character, what 40 years in the dirt taught him, and why water + fire belong in every garden — from mega-estates to tiny balconies.Frank and Steve go deep on class, beauty, craftsmanship, fathers, work ethic, climate, art, and the joy of creating a space people never want to leave._____LINKSCheck out Steve's stunning book Straight DirtFollow Steve on Instagram @SteveGriggsDesignVisit Steve Griggs Design Online_____I have had the pleasure of talking to some of the leading authors, artists, activists, and change-makers of our time on this podcast, and I want to personally thank you for subscribing, listening, and sharing 100-plus episodes over 100,000 times.Please subscribe to this Podcast, In Conversation… with Frank Schaeffer, on your favorite platform, and to my Substack, It Has to Be Said. Thanks! Every subscription helps create, build, sustain and put voice to this movement for truth. Subscribe to It Has to Be Said. The Gospel of Zip will be released in print and on Amazon Kindle, and as a full video on YouTube and Substack that you can watch or listen to for free.Support the show_____In Conversation… with Frank Schaeffer is a production of the George Bailey Morality in Public Life Fellowship. It is hosted by Frank Schaeffer, author of The Gospel of Zip. Learn more at https://www.thegospelofzip.com/Follow Frank on Substack, Facebook, Twitter, Instagram, Threads, TikTok, and YouTube. https://frankschaeffer.substack.comhttps://www.facebook.com/frank.schaeffer.16https://twitter.com/Frank_Schaefferhttps://www.instagram.com/frank_schaeffer_arthttps://www.threads.net/@frank_schaeffer_arthttps://www.tiktok.com/@frank_schaefferhttps://www.youtube.com/c/FrankSchaefferYouTube In Conversation… with Frank Schaeffer Podcast

In this episode I discuss why strict scheduling goes against the way nature and human creativity actually function. Real progress often appears in spontaneous gaps throughout the day, much like discoveries and insights in science and art that arise unexpectedly rather than through planning.I explain that people struggle with this approach because they feel a kind of energy barrier before starting. This barrier is related to memory. We forget where we left off, so returning to a task feels heavier than it really is.I then describe how memory techniques can remove this barrier. When you keep the main structure of your projects in your mind, you can reenter your work at any moment and allow productivity to flow naturally with the rhythm of your life.Support the showBecome a premium member to gain access to premium content, including the Techniques and Mindsets Videos, visual concept summaries of each episode, community forum, episode summary notes, episode transcripts, q&a/ama sessions, episode search, watch history, watch progress and support.Join Now at nontrivialpodcast.com or patreon.com/8431143/join

How do you define creativity?Would you be able to spot creativity in the wild?What about creativity in the classroom?This endless human quest to define the seemingly undefinable, and somehow make it useful for educators, is what today's guests Tom Rendon and Zachary Stier set out to do, bringing together philosophy, neuroscience, and site visits, in a years-long collaboration that became Creativity in Young Children: What Science Tells Us and Our Hearts Know.In this conversation, Tom and Zach help me understand the counterintuitive ways creativity shows up in the world, in the human condition, and how we can cultivate creativity and connection in the classroom.

Fluent Fiction - Mandarin Chinese: Winning Waves: Trust and Creativity by the Sea Find the full episode transcript, vocabulary words, and more:fluentfiction.com/zh/episode/2025-12-06-23-34-02-zh Story Transcript:Zh: 在南方的海滨城市，一所高中坐落于海岸边，学校的教室窗户可以看到蔚蓝的海洋。En: In a southern coastal city, a high school is located by the shore, where the classroom windows provide a view of the azure sea.Zh: 冬天的寒风轻轻拂过，校园里却洋溢着学生们对即将到来的寒假的憧憬。En: The winter wind gently breezes through, yet the campus is filled with the students' anticipation of the upcoming winter break.Zh: 今天是文学课的期末小组项目展示日。En: Today is the final group project presentation day for literature class.Zh: 每个小组都在增加最后的润饰，教室里充满了紧张而兴奋的气氛。En: Each group is adding the final touches, making the classroom atmosphere tense yet exciting.Zh: 李梅是这个项目的负责人，她性格认真，希望每次展示都能获得好成绩。En: Li Mei is the leader of this project; she is a serious person who hopes every presentation can earn good grades.Zh: 蒋国是她的组员，比较随性，喜欢创新。En: Jiang Guo is her team member, more laid-back and fond of innovation.Zh: "李梅，别担心，我们的项目很棒！”蒋国笑着说。En: "Li Mei, don't worry, our project is great!" Jiang Guo said with a smile.Zh: 他相信自己的创造力能为项目增色不少。En: He believes that his creativity can greatly enhance the project.Zh: 但是，李梅不放心。En: However, Li Mei wasn't at ease.Zh: 她觉得蒋国的创意太随意，可能会影响成绩。En: She felt that Jiang Guo's ideas were too casual and might affect their grade.Zh: 她说：“蒋国，这次项目很重要，我们必须小心，不然会扣分。”En: She said, "Jiang Guo, this project is important. We have to be careful, or we might lose points."Zh: 随着时间的推进，李梅决定跟随蒋国的建议，给他一些创作自由。En: As time went on, Li Mei decided to go along with Jiang Guo's suggestion and gave him some creative freedom.Zh: 她虽然内心依然紧张，但她告诉自己这是一个学习的机会。En: Although she still felt nervous inside, she told herself that this was a learning opportunity.Zh: 演示开始了，李梅和蒋国站在讲台前，几组同学和老师在下面等待着。En: The presentation began, with Li Mei and Jiang Guo standing at the podium while their classmates and teacher waited below.Zh: 李梅尽力流畅地讲述着项目内容，突然蒋国适时地插入了一个即兴的故事，这让所有人眼前一亮。En: Li Mei did her best to smoothly present the project content, and suddenly Jiang Guo spontaneously inserted an impromptu story, capturing everyone's attention.Zh: 教室里安静了一瞬间，然后爆发出掌声。En: The classroom fell silent for a moment and then erupted in applause.Zh: 老师也露出赞许的微笑，最终给予了他们高分。En: The teacher also showed a approving smile and ultimately awarded them high marks.Zh: 结束后，李梅感叹：“谢谢你，蒋国。你的创意真的很棒。”En: Afterward, Li Mei sighed, "Thank you, Jiang Guo. Your creativity is truly amazing."Zh: 蒋国拍拍李梅的肩膀说：“团队合作，信任很重要。”En: Jiang Guo patted Li Mei's shoulder and said, "Teamwork and trust are very important."Zh: 从这一刻起，李梅意识到信任和创造力的重要性，成功不单是分数的体现，也需要合作与创新。En: From that moment on, Li Mei realized the significance of trust and creativity; success is not solely based on grades but also requires collaboration and innovation.Zh: 随着海浪声的低语，她觉得心情格外轻松。En: With the whispering sound of the waves, she felt particularly at ease. Vocabulary Words:coastal: 海滨azure: 蔚蓝anticipation: 憧憬presentation: 展示tense: 紧张serious: 认真laid-back: 随性innovation: 创新spontaneously: 适时地impromptu: 即兴applause: 掌声trust: 信任creativity: 创造力collaboration: 合作whispering: 低语ease: 轻松located: 坐落于shore: 海岸边gently: 轻轻breezes: 拂过upcoming: 即将到来的final touches: 最后的润饰freedom: 自由opportunity: 机会smoothly: 流畅地capturing: 眼前一亮silent: 安静erupted: 爆发significance: 重要性solely: 单

#thePOZcast is proudly brought to you by Fountain - the leading enterprise platform for workforce management. Our platform enables companies to support their frontline workers from job application to departure. Fountain elevates the hiring, management, and retention of frontline workers at scale.To learn more, please visit: https://www.fountain.com/?utm_source=shrm-2024&utm_medium=event&utm_campaign=shrm-2024-podcast-adam-posner.This episode is powered by WelcometoTimesSquare.com, the billboard where you can be a star for a day.” http://WelcometoTimesSquare.comThanks for listening, and please follow us on Insta @NHPTalent and www.youtube.com/thePOZcastFor all episodes, please check out www.thePOZcast.com SummaryIn this conversation, Matt Medved, co-founder and CEO of Now Media, shares his journey from human rights research to becoming a leading figure in Web3. He discusses the evolution of NFTs, the impact of AI on music, and the importance of storytelling in the digital age. Matt emphasizes the need for creators to find their unique voice and leverage technology to enhance their work. He also reflects on the challenges and opportunities within the rapidly changing landscape of digital culture and media.Takeaways- Matt Medved is a prominent figure in the Web3 space, known for his work with NFT Now and Now Media.- The evolution of NFTs and blockchain technology has transformed the creative landscape.- Human rights research experiences shaped Matt's perspective on storytelling and social impact.- Transitioning from journalism to technology was a natural progression for Matt, driven by his passion for innovation.- Building Billboard Dance was a pivotal moment in Matt's career, influencing the dance music scene.- AI is revolutionizing music creation, providing new tools for artists to enhance their creativity.- The NFT boom brought excitement but also challenges, leading to a market correction.- Now Media aims to cover the broader spectrum of digital culture beyond just NFTs.- Advice for young creators includes finding their unique voice and leveraging technology to enhance their work.- Matt's legacy will be defined by his commitment to empowering artists and telling important stories. Chapters00:00 Introduction to Matt Medved and Now Media01:57 The Evolution of NFTs and Blockchain Technology03:55 Matt's Background and Early Influences08:05 Human Rights Work and Its Impact on Matt's Career11:52 The Intersection of Music and Journalism14:43 Transitioning to Technology and Music Journalism18:58 Building Billboard Dance and Influencing the Genre22:44 The Rise of Bedroom Producers and Mental Health in Music26:43 Embracing Technology in Music Creation29:46 The Future of Digital Art and NFTs31:50 The Evolution of Bitcoin and NFTs34:56 The Impact of NFTs on the Music Industry38:55 Navigating the Challenges of Entrepreneurship41:52 Maintaining Journalistic Integrity in a Rapidly Changing Landscape45:21 The Shift from NFTs to Broader Digital Culture49:26 The Resurgence of Collectibles in a Digital Age51:16 AI's Role in Modern Dating and Creativity54:10 The Balance Between Innovation and Regulation01:00:31 Legacy and the Future of Digital Media01:02:20 Advice for Young Creators in a Digital World   

The holidays are here, and so is that energy—frantic, magical, and a tad overwhelming. But for children's book author and illustrator Matt Tavares, it's also the season of book signings and creative endeavors. Matt is an award-winning author and illustrator of nearly 30 books, among them the beloved Dasher series and its latest installment, Dasher and the Polar Bear. Matt joins us fresh off his book tour and right in the midst of holiday hustle to chat about raising two young adult daughters, and how storytelling and art keep the spirit of the season alive year after year. Don't miss Adam's Instant Regret which found him in an uncomfortable predicament!Topics Include:•  The journey to becoming a children's author and illustrator, even before having kids•  The creative process behind beloved holiday books like Dasher, including the origins and expansion of the series•  Navigating the collaboration and feedback loop with publishers, editors, and even family•  Exploring new genres such as graphic novels, and the role of children's reading habits in creative evolution•  The upcoming Dasher animated Christmas special for Disney+• And more!Links:Matt Tavares (homepage)Matt Tavares (Facebook)Matt Tavares (Instagram)Matt's Illustrated PrintsDasherHoopsCaspar BabypantsSpencer AlbeeModern Dadhood (website)AdamFlaherty.tvStuffed Animal (Marc's kids' music)MD (Instagram)MD (Facebook)MD (YouTube)MD (TikTok) #moderndadhood #fatherhood #parenthood #parenting #parentingpodcast #dadding #dadpodcast

Adam Munsterteiger and Brian Howell share their thoughts on Brennan Marion officially being announced as Colorado new offensive coordinator.

Comedians Keith Reza and Andy Dick reunite for a hilarious and insightful episode of the Reza Riffs podcast. This must-listen conversation dives deep into their careers, from early days in Chicago improv comedy troupes to iconic roles on beloved 90s sitcoms. Andy Dick shares exclusive behind-the-scenes stories from fan-favorite shows like News Radio and films like In the Army Now. Listen as they discuss Hollywood experiences, the craft of improvisational comedy, and Andy's unique comedic process. Packed with spontaneous humor, personal anecdotes, and teases of future projects, this episode is a treasure trove of entertainment industry insights for any comedy fan. Andy's Socials IG @andydick ... https://www.instagram.com/andydick/?hl=en FB https://www.facebook.com/andydick/ Chapters 00:00 Introduction and Comedy Roots 02:59 The Evolution of Comedy and Collaboration 05:46 Life on the Road and Comedy Shows 08:33 Behind the Scenes of Sitcoms 11:22 Improvisation in Film and Television 14:40 The Art of Writing and Creativity 17:23 Future Projects and Ideas 20:31 Personal Anecdotes and Humor 23:26 Final Thoughts and Farewell   Support the show on https://patreon.com/rezarifts61  Follow Keith on all social media platforms: FB: https://www.facebook.com/realkeithreza IG:https://www.instagram.com/keithreza  ALT IG:https://www.instagram.com/duhkeithreza  X:https://www.twitter.com/keithreza  TT:https://www.tiktok.com/keithreza  Book Keith on cameo at www.cameo.com/keithreza Check out my website for dates at https://www.keithreza.com/  Subscribe - Rate & Review on Apple Podcasts - Tell a friend :) Be a Rifter!     #RezaRiffs #ComedyPodcast #AndyDick #NewsRadio #BehindTheScenes #ImprovComedy #HollywoodStories #Sitcoms #PodcastInterview #ComedyLegends

In this engaging conversation, Paige Lindsey and Jaime Reynolds explore the multifaceted journey of creativity, motherhood, and the art world. They discuss the challenges of balancing family life with artistic pursuits, the impact of art education, and the importance of community in fostering creativity. Jaime shares her personal experiences of reclaiming her artistic identity, the joys and struggles of teaching art, and the significance of creating a sacred space for creativity. The conversation also touches on the business side of art, navigating uncertainty, and the role of rest in the creative process. Ultimately, they inspire listeners to embrace their unique artistic journeys and find fulfillment in their creative expressions.To follow and support Jaume Reynolds check out the following:Website - https://jaimereynolds.comInstagram - https://www.instagram.com/jaimereynolds_Substack - https://jaimereynolds.substack.comWinter Solstice 5 Day Watercolor Intensive (December 29 - January 2) - https://jaimereynolds.substack.com/i/179020653/substack-winter-solstice-watercolor-intensiveTakeaways-Starting a podcast can be a way to connect with others.-Balancing family and creativity is a constant challenge.-Art school experiences can vary greatly and impact one's journey.-Finding your artistic identity is a personal and evolving process.-Community support is crucial for artists.-Teaching art can be fulfilling and transformative for both teacher and students.Creating a sacred space for art can enhance the creative process.-Navigating the business side of art requires courage and adaptability.-Rest is essential for maintaining creativity and mental health.-Embracing uncertainty can lead to unexpected growth in one's artistic journey.

SummaryIn this episode of the Johnson City Living Podcast, host Colin Johnson speaks with Carrie Kindle, a creative arts teacher who is transitioning from traditional education to entrepreneurship with her new venture, Small Town Makers. The conversation explores Carrie's love for Johnson City, her artistic journey, and the mission of her business to make art accessible and approachable for everyone. They discuss the importance of community engagement, the After School Art Club, and Carrie's aspirations for the future, including the desire to create a collaborative creative space. The episode emphasizes the value of creativity in all individuals and encourages listeners to explore their artistic interests.TakeawaysCarrie Kindle is transitioning from teaching to entrepreneurship.Small Town Makers aims to make art accessible and approachable.The importance of community in fostering creativity.Carrie's background in art and teaching influences her business.The After School Art Club encourages creativity in children.Bite-sized art projects can help overcome intimidation in art.Collaboration and community support are vital for local businesses.Carrie's husband helps with the organizational aspects of her business.Creativity can be cultivated in everyone, regardless of skill level.The vision for Small Town Makers includes a collaborative creative space.Connect: https://www.facebook.com/people/Small-Town-Makers/61574424816231/Buy your next home, or list your current home with us!https://www.thecolinandcarlygroup.com/Be a guest on the Johnson City Living Podcast: https://www.johnsoncityliving.com/guests?fbclid=PAZXh0bgNhZW0CMTEAAaf_qLsH2l73s8fTV40Oebx8kSAGlIFS_y50ij7CRneeNX3I6NzzfQMUKP-7hw_aem_xHCpTZ5r_cOfc22X1DNvmw

"Creativity is something that moves through us, that rises through us from our core, from our roots towards expression." — Sofia AdlerThis episode is an invitation to explore creativity as energy, alive, moving, and rising from within. I'm joined by Sofia Adler, an energy worker, astrologer, and newly certified functional nutrition practitioner.Sofia is the founder of Sofia Adler Wellness, an online energy healing center that integrates mind, body, and spirit. Sofia defines creativity as something that comes from the body, not the mind.She shares what the energy of creativity wants to share with us through Energy Mapping. And also, shares about the importance of nourishment, and how honoring your body and spirit can unlock creative flow.Sofia speaks about composting old beliefs and tending to creative blocks with compassion. She reminds us that we do not have to force ideas into form. Instead, we can let creativity move through us from the inside out.Listen to the episode on Apple Podcasts and Spotify, or on your favorite podcast platform while you cook, clean, or create. Get the full show notes & transcript here.Leave a comment below or connect with us on Instagram @chefcarlacontreras & @sofiaadler_ to share your takeaway from the episode.xo CarlaPS: Join Cher and I inside Hit Send: Create, Complete, & Share Your Work. It's a three-week co-sprint container, starting December 5th for creatives and entrepreneurs who are done sitting on ideas and ready to share their work.Disclaimer: Always seek the counsel of a qualified medical practitioner or other healthcare provider for an individual consultation before making any significant changes to your health, lifestyle, or to answer questions about specific medical conditions. If you are driving or doing an activity that needs your attention, save the meditation practice for later. This podcast is for entertainment and information purposes only. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit chefcarla.substack.com/subscribe

THE PURPOSE OF TRAVEL—The world is adrift in travel magazines that tell you to go here and stay there, to order certain foods at “of-the-moment” restaurants. And when you go to these places you find yourself surrounded by other travelers like you, and the only locals you interact with are, maybe, the waiter, or your Airbnb host, or the tour guide taking you on a generic definitely-not-what-the-locals-do tour of the trendiest neighborhood in town. Or you might not even meet a local. Or ever stop looking at the screen on your phone.You will have ticked items off your travel bucket list, but will you have actually traveled? Travel becomes consumption and as with all manner of consumption, you are never quite sated, and hey, there's a media ecosystem out there to help you along.And then there's Ori. Founded by journalist Kade Krichko, Ori bills itself as a “travel, art and education platform” that allows local storytellers to tell their stories on a global scale. It is a magazine that understands travel is an experience first and foremost, and that traveling well means an immersion into people and places, an opportunity to grow and to heal.It's a magazine that assumes you should think about and experience the world around you, and that if you think about it and experience it enough, the world becomes a more interconnected and better place; it becomes a place of wonder.And isn't that why we travel?—This episode is made possible by our friends at Freeport Press. A production of Magazeum LLC ©2021–2025

Jill Rowe's creative path has been shaped by art, hospitality, and an enduring connection to nature. She began her career in fashion and the NYC art world before turning to film production and culinary work, opening her own restaurant in upstate New York and later running Danny Meyer's Union Square Café . Cooking, community, and the art of caring for people through the senses became the foundation of her work.Seeking a life more rooted in land and craft, Jill moved to the Hudson Valley, where she met her husband, photographer and author Matthew Benson, who restored Stonegate Farm into a vibrant ecosystem of organic produce, botanicals, and creative living. There, Jill co-founded Cultivate Apothecary, a skincare and wellness brand that unites her skills as a chef, sommelier, formulator, and gardener. Working directly with the botanicals she grows, she creates products and rituals designed to reconnect people to nature, nourishment, and themselves.Website:  CULTIVATE APOTHECARYUSE DISCOUNT CODE: https://cultivateapothecary.com/discount/spacewithcody20FRIENDS, THIS IS THE BEST HOLIDAY GIFT EVER! ✨ Thank you for tuning into Create the Space with Cody Maher! ✨I hope this episode sparked something in you—a shift, an insight, a reminder to create space for what truly matters.

After 11 years, 478 episodes, and countless conversations exploring the depths of human potential, this episode marks the final chapter of The Psychology Podcast in its current form. In this deeply meaningful farewell episode for Scott, he sits down with acclaimed science writer Annie Murphy Paul — fittingly, the very first guest ever featured on the show back in 2014. Together, they reflect on the podcast’s evolution, its mission, and the major themes that have shaped more than a decade of inquiry into what it means to be fully human. Scott opens up about why he’s choosing to step away: to recenter, recharge, and make space for his own continued growth. He discusses how the podcast landscape has transformed since he launched the show at a time when psychology podcasts were virtually nonexistent, and shares what he hopes listeners will carry forward from this body of work. This episode explores the seven core insights Scott has gleaned from hosting the show — themes that have come to define its spirit:• Being over doing• Creativity over efficiency• Self-actualization over achievement• Deep fulfillment over temporary happiness• Self-transcendence over self-enhancement… along with lessons about meaning, compassion, and human possibility. With honesty and gratitude, Scott takes a moment to thank the listeners who have supported the show since its inception — a community that made this journey possible week after week, year after year. If you get a chance, please leave a comment telling Scott what the show has meant to you. He would love to hear from you! See omnystudio.com/listener for privacy information.

Your worship team isn't just playing music. You're teaching theology and shaping hearts. So why are we settling for cover versions of songs when the church should be leading the world in creativity?  For centuries, the church birthed the world's greatest art: Bach's masterpieces, Handel's Messiah, hymns that shaped nations. But somewhere along the way, we stopped creating and started copying. Steele Croswhite, who toured with Foo Fighters and Maroon 5 before Jesus transformed his life, believes it's time to reclaim our creative calling.  After 20 years of ministry, Steele has built something revolutionary: a church where worship teams don't just play songs, they craft theological experiences that connect hearts to truth.   In this episode, discover:  Why worship leaders are actually theology teachers (and how your arrangements matter)  How the church went from creative pioneer to cultural follower and how to reverse it  The "Love God, Bless Saints, Win Lost" framework that transforms both music and hearts  The practical steps to help your musicians find their God-given voice  Listen now to hear what happens when creativity meets theology.   "The best bands in the world should come from the local church, because we're not just making music. We're making disciples." - Steele Croswhite  Worship Online is your new secret weapon for preparing each week. With detailed song tutorials and resources, you and your team will save hours every single week, and remove the stress from preparing for a set. Try a free trial at WorshipOnline.com and see the transformation!   Mentioned in the Episode  The Rock Music  ---  If you like what you hear, please leave us a review! Also, shoot us an e-mail at podcast@worshiponline.com. We want to know how we can better serve you and your church through this podcast.  Don't forget to sign up for your FREE 2-week subscription to Worship Online at WorshipOnline.com!  The Worship Online Podcast is produced by Worship Online in Nashville, TN. 

Struggling with self-doubt or a loud inner critic? In this episode, empathy expert, keynote speaker and bestselling author, Mimi Nicklin breaks down why self-empathy is the key to quieting that voice and unlocking deeper creativity, confidence, and clarity.We explore the neuroscience of empathy, the rise of loneliness, how listening transforms relationships, and why reconnecting with yourself is essential for creating your best work.You'll discover:What self-empathy is and how to practice itHow empathy impacts creativity and innovationTools to calm your inner critic and reduce anxietyHow to build stronger relationships through listeningWhy creatives need community more than everIf you're craving more confidence, creativity, and compassion, then this episode is for you.

In this episode of WV Uncommonplace, Jr welcomes the distinguished Lady Dhyana Ziegler, DCJ, Ph.D. — President & CEO of Z/Creators, LLC, Professor Emerita at Florida A&M University, award-winning multimedia creator, and one of the most accomplished voices in higher education and technology.With more than 35 years of experience as a professor, administrator, producer, writer, and digital innovator, Dr. Ziegler shares her remarkable journey across academia, media, and global leadership. She has authored four books, published over 60 scholarly works, and produced more than 100 multimedia projects. Her contributions span education, technology, creativity, and cultural impact.Dr. Ziegler's early career and path into higher educationHow she became a pioneering figure in technology and digital mediaThe evolution of academic leadership and digital transformationHer work as a multimedia writer, producer, and songwriterWhat drives her creativity after decades of accomplishmentsInsights from her global conference presentations and professional serviceThe mission behind Z/Creators, LLCAdvice for creators, educators, and leaders seeking longevity in their careersHer reflections and message to the WV Uncommonplace audienceLady Dhyana Ziegler, DCJ, Ph.D., is a scholar, creator, and visionary leader whose work spans education, media, and digital culture. She serves on numerous boards, continues to mentor rising professionals, and remains dedicated to expanding creative spaces for future generations.

As AI becomes becomes more pervasive in our daily work, we often wrestle with a big question: what should we automate and what should we protect as deeply human? We experience this profoundly in creative work. We are drawn to the speed and efficiency of... The post How Will AI Transform Creative Thinking? appeared first on Spencer Education.

In this raw and hilarious conversation, Josh sits down with Less Impressed More Involved (Jake Luigi) to talk about the real world of BJJ content creation — the burnout, the loneliness, the tech, the business, the passion, and why creators keep doing it anyway. From the Outlier Database to the creative grind, this is one of the most honest Jiu-Jitsu conversations you'll hear all year.Jiu-Jitsu for Imbeciles, feat. Rob Biernacki(FREE): https://www.bjjmentalmodels.com/isucksportshygiene.com Promo Code “ISUCK”Datsusara 10% OFF with Promo Code “ISUCK”: https://www.dsgear.com/ The Competitor's Journey: https://www.simplifyingjiujitsu.com/comp Champion's Stay Present: https://www.simplifyingjiujitsu.com/csp Join ISAJJ PRO(ALL of Josh's Courses in One Place): https://www.simplifyingjiujitsu.com/suckFollow the show on Instagram: https://www.instagram.com/isuckatjiujitsushow Check out the ISAJJ Youtube Channel: https://www.youtube.com/@JoshMcKinney

Sometimes on this podcast it's just a pleasure to listen to a great artist talk about the art! An “expert in 18th-century style” (The New Yorker), Nicholas McGegan is in his sixth decade on the podium. Following a 34-year tenure as Music Director of Philharmonia Baroque Orchestra & Chorale, he is now Music Director Emeritus. He is also Principal Guest Conductor of Hungary's Capella Savaria. McGegan's approach — intelligent, infused with joy, and never dogmatic — has led to engagements with many of the world's major orchestras, including those of Cleveland, Chicago, Los Angeles, New York, Philadelphia, San Francisco, Hong Kong, Sydney, London's Royal Opera House, and the Royal Concertgebouw; regular collaborations with choreographer Mark Morris; and appearances at the BBC Proms and the Edinburgh International Festival.His extensive discography includes more than 100 releases spanning five decades, including more than 40 with Philharmonia Baroque Orchestra and Chorale, and more than 20 with Capella Savaria. McGegan's recordings have garnered two Gramophone Awards and two GRAMMY nominations.He was made an Officer of the Most Excellent Order of the British Empire (OBE) “for services to music overseas.” McGegan is committed to the next generation of musicians, frequently conducting and coaching students in regular engagements at Yale, Juilliard, Harvard, the Colburn School, Aspen Music Festival, and more.https://www.nicholasmcgegan.com/https://www.instagram.com/nicholasmcgegan/https://www.facebook.com/nicholasmcgegan/Make sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! Your portfolio career is YOURS to design. If you are seeking inspiration, grab the first chapter of my book for FREE at the link below! You are allowed to thrive, and your artistry MATTERS.https://jennetingle.kit.com/c6e4009529

Some management companies build hotels. Olympia Hospitality builds identity. I spoke with Sara Masterson (President) and John Schultzel (Chief Growth Officer) about how Olympia blends independent spirit, strong brand partnerships, and mission-driven hospitality across destinations like Nantucket, Boston, Winter Park, the White Mountains, and beyond. On #NoVacancyNews, Sara and John explain how they combine boutique creativity with brand-backed consistency, how they think about technology adoption, and why community connection is becoming the core differentiator in both luxury and branded hotels. A big thanks to Actabl — Actabl gives you the power to profit. Visit Actabl.com. What we cover:

In this episode, Molly explores why holiday creativity is far more than a nostalgic pastime. New research highlighted in The Washington Post shows that engaging in creative activities, even at a beginner level, is associated with younger looking brains and stronger cognitive health.Molly explains how creative acts like crafting, drawing, baking and building stimulate multiple brain networks, reduce stress hormones, and support emotional regulation.She connects these findings to childhood holiday memories while discussing why those early creative experiences were neurologically important. Molly also shares how creativity can support habit change by providing a healthy reward pathway, reducing urges, and strengthening identity. The episode ends with simple, low pressure ideas for tapping into creativity during the holiday season.What You'll LearnWhy creativity often feels counterintuitive but is deeply supported by neuroscienceHow creative activities activate the motor cortex, prefrontal cortex, reward system and the default mode networkThe connection between creativity, reduced cortisol, and emotional regulationWhy childhood crafting strengthened attention, fine motor skills and dopamine pathwaysHow creativity supports behavior change and identity transformationWhy the holiday season is a perfect time to reconnect with play and creative explorationSimple, nostalgic creative ideas that help the brain settle and feel groundedKey Ideas from the EpisodeYou do not need talent to benefit from creativity; beginners gain the same cognitive advantagesThe brain responds to the creative process, not the quality of the final productHoliday crafts from childhood created sensory, emotional and learning experiences that supported brain developmentCreativity provides a self-generated way to shift emotional states and manage urgesCreative acts reengage curiosity, novelty and presence, which help the holidays feel richer and less overwhelmingSmall creative behaviors can be a meaningful substitute for less helpful coping habitsPractical Creative Ideas MentionedMake a paper snowflakeTry a salt dough ornamentDecorate a gingerbread house kitMake a single handmade holiday cardPaint pinecones with simple suppliesCreate a photo collage from the yearDo a puzzle or coloring pageTreat cooking as a creative actTry a new recipe or texture-based food projectRelated Think Thursday EpisodesThe Paradox of FreedomNovelty for Habit ChangeDefensive PessimismThe Neuroscience of Mental RestSilence Is GoldenBrain Time: Why the Mind Does Not Experience Minutes the Way the Clock Does ★ Support this podcast ★