Podcasts about macarthur fellowship

This is one in a series about possible futures, which will be published in Booch News over the coming weeks. Episode 7 appeared last week. New episodes drop every Friday. Overview Peer-to-peer flavor-sharing platforms enabled home brewers to distribute taste profiles as digital files. Blockchain-verified SCOBY genetics allowed anyone to recreate award-winning kombucha flavors. Traditional beverage companies lost control as open-source fermentation recipes spread globally. This episode follows teenage hacker Luna Reyes as she reverse-engineers Heineken’s proprietary “A-yeast” strain and the century-old master strain used for Budweiser, releasing them under Creative Commons license, triggering a flavor renaissance that made corporate beverages taste like cardboard by comparison. Luna Reyes: The Seventeen-Year-Old Who Liberated Flavor Luna Reyes was brewing kombucha in her Oakland garage when she changed the course of human history. The daughter of Mexican immigrants, she had learned fermentation from her grandmother while teaching herself bioinformatics through YouTube tutorials and volunteering at the Counter Culture Labs Maker Space on Shattuck Avenue. By fifteen, she was running the Bay Area’s most sophisticated home laboratory, utilizing jury-rigged DNA sequencers and microscopes constructed from smartphone cameras. Her breakthrough came in February 2043 while investigating why her kombucha never tasted quite like expensive craft varieties and was different again from her grandmother’s home brew. Using Crispr techniques learned from online forums, Luna began reverse-engineering the microbial genetics of premium alcoholic beverages. Her target wasn’t kombucha—it was the closely guarded yeast strains that gave corporate beers their distinctive flavors. Luna hunched over her microscope, examining bacterial cultures from her latest kombucha batch. Around her, salvaged DNA sequencers hummed, fermentation vessels bubbled, and computer screens displayed multi-hued patterns of genetic sequences. Her grandmother, Rosa, entered carrying a tray with three glasses of homemade kombucha. “Mija, you’ve been working for six hours straight. Drink something.” Luna accepted the glass without looking up. “Abuela, your kombucha tastes better than anything I can buy in stores and the ones I’ve experimented with. Why? I’m using the same base ingredients—tea, sugar, water—but mine never has this complexity.” Her grandmother laughed. “Because I’ve been feeding this SCOBY for forty years. It knows what to do. You can’t rush relationships.” Luna’s sister Maya, lounging against a workbench, waved her phone. “Luna, people have noticed your forum post about Health-Ade’s fermentation process. Someone says you’re wasting your time trying to replicate commercial kombuchas.” “I’m not trying to replicate them,” Luna said, finally looking up. “I’m trying to understand why their kombucha tastes different than that I make at home. It’s not the ingredients. It’s not the process. It’s the microbial genetics.” Rosa sat down beside her granddaughter. “When I was young in Oaxaca, every family had their own kombucha culture, passed down generation to generation. Each tasted different because the bacteria adapted to their environment, their ingredients, their care. We had a saying, Hay tantas fermentaciones en el mundo como estrellas en el cielo nocturno – there are as many ferments in the world as stars in the night sky. The big companies want every bottle to be identical. That kills what makes fermentation special.” “Exactly!” Luna pulled up genetic sequences on her screen. “I’ve been reverse-engineering samples from different commercial kombuchas. Health-Ade, GT’s, Brew Dr—they all have consistent microbial profiles.” The Great Heist: Cracking Corporate DNA Luna’s first major hack targeted Heineken’s legendary “A-yeast” strain, developed in 1886 by Dr. Hartog Elion—a student of renowned chemist Louis Pasteur—in the company’s Amsterdam laboratory and protected by over 150 years of trade secret law. Using samples obtained from discarded brewery waste (technically legal under the “garbage doctrine”), she spent six months mapping the strain’s complete genetic sequence in her makeshift lab. The breakthrough required extraordinary ingenuity. Luna couldn’t afford professional gene sequencers, so she modified a broken Illumina iSeq100 purchased on eBay for $200. Her sequencing runs took weeks rather than hours; her results were identical to those produced by million-dollar laboratory equipment. Her detailed laboratory notebooks, later published as The Garage Genomics Manifesto, became essential reading for the biotech hacker movement. The Budweiser project proved even more challenging. Anheuser-Busch’s century-old master strain had been protected by layers of corporate secrecy rivaling classified military programs. The company maintained multiple backup cultures in cryogenic facilities across three continents, never allowing complete genetic mapping by outside researchers. Luna’s success required infiltrating the company’s waste-disposal systems at four breweries, collecting samples over 18 months while evading corporate security. The Decision The night before Luna was scheduled to meet her fellow bio-hackers at Oakland’s Counter Culture Labs, she sat at her workstation, hesitant, wondering if she was doing the right thing. Her sister Maya came in, looking worried. “Luna, I found something you need to see,” she says. “Remember Marcus Park? He tried releasing proprietary yeast information in 2039. Heineken buried him. He lost everything. His daughter dropped out of college. His wife left him. He’s working at a gas station now.” Luna spent the night researching what happened to Park. She found that almost everyone who challenged corporate IP ended up on the losing side of the law. It was not pretty. In the morning, Abuela Rosa finds her crying in her room. “Mija, what’s wrong?” she asks. “Oh, Abuela,” Luna says between sobs. “What am I doing? What if I’m wrong? What if I destroy our family? What if this ruins Mom and Dad? What if I’m just being selfish?” “That’s the fear talking.” Her grandmother reassured her. “Fear is wisdom warning you to be careful. But fear can also be a cage.” That evening at the Counter Culture Labs, Luna assembled a small group of advisors. She needed their guidance. She had the completed genetic sequences for Heineken A-yeast and Budweiser’s master strain on her laptop, ready for release. But is this the time and place to release them to the world? Dr. Marcus Webb, a bioinformatics researcher in his forties and Luna’s mentor, examined her sequencing data. “This is solid work, Luna. Your jury-rigged equipment is crude. The results are accurate. You’ve fully mapped both strains.” “The question isn’t whether I can do it,” Luna said. “It’s whether I should let the world know I did it.” On screen, Cory Doctorow, the author and digital rights activist, leaned forward. “Let’s be clear about what you’re proposing. You’d be releasing genetic information that corporations have protected as trade secrets for over a century. They’ll argue you stole their intellectual property. You’ll face lawsuits, possibly criminal charges.” “Is it their property?” Luna challenged. “These are naturally occurring organisms. They didn’t create that yeast. Evolution did. They just happened to be there when it appeared. That does not make it theirs any more than finding a wildflower means they own the species. Can you really own something that existed before you found it?” Doctorow, the Electronic Frontier Foundation representative spoke up. “There’s legal precedent both ways. Diamond v. Chakrabarty established that genetically modified organisms can be patented. But naturally occurring genetic sequences? That’s murky. The companies will argue that their decades of cultivation and protection created protectable trade secrets.” “Trade secrets require keeping information secret,” Luna argued. “They throw this yeast away constantly. If they’re not protecting it, how can they claim trade secret status?” Dr. Webb cautioned, “Luna, even if you’re legally in the right—which is debatable—you’re seventeen years old. You’ll be fighting multinational corporations with unlimited legal resources. They’ll bury you in litigation for years.” “That’s where we come in,” Doctorow said. “The EFF can provide legal defense. Creative Commons can help structure the license. You need to understand: this will consume your life. College, career plans, normal teenage experiences—all on hold while you fight this battle.” Luna was quiet for a moment, then pulled up a photo on her laptop: her grandmother Rosa, teaching her to ferment at age seven. “My abuela says fermentation is about sharing and passing living cultures between generations. Corporations have turned it into intellectual property to be protected and controlled. If I can break that control—even a little—isn’t that worth fighting for?” Maya spoke up from the back. “Luna, I love you, but you’re being naive. They won’t just sue you. They’ll make an example of you. Your face on every news channel, portrayed as a thief, a criminal. Our family harassed. Your future destroyed. For what? So people can brew beer with the same yeast as Heineken?” “Not just beer,” Luna responded passionately. “This is about whether living organisms can be owned. Whether genetic information—the code of life itself—can be locked behind intellectual property law. Yes, it starts with beer yeast. But what about beneficial bacteria? Life-saving microorganisms? Medicine-producing fungi? Where does it end?” Dr. Webb nodded slowly. “She’s right. This is bigger than beer. As biotech advances, genetic control becomes power over life itself. Do we want corporations owning that?” Doctorow sighed. “If you do this, Luna, do it right. Release everything simultaneously—BitTorrent, WikiLeaks, Creative Commons servers, distributed networks worldwide. Make it impossible to contain. Include complete cultivation protocols so anyone can reproduce your results. Make the data so damn widely available that suppressing it becomes futile.” “And write a manifesto,” he added. “Explain why you’re doing this. Frame the issue. Make it about principles, not piracy.” Luna nodded, fingers already typing. “When should I release?” “Pick a date with symbolic meaning,” Dr. Webb suggested. “Make it an event, not just a data dump.” Luna smiled. “December 15. The Bill of Rights Day. Appropriate for declaring biological rights, don’t you think?” Maya groaned. “You’re really doing this, aren’t you?” “Yes. I’m really doing this.” The Creative Commons Liberation On Tuesday, December 15, 2043—a date now celebrated as “Open Flavor Day”—Luna released the genetic sequences on multiple open-source networks. Her manifesto, titled Your Grandmother’s Yeast Is Your Birthright, argued that microbial genetics belonged to humanity’s shared heritage rather than corporate shareholders. It stated: Commercial companies have protected yeast strains for over a century. They’ve used intellectual property law to control flavor itself. But genetic information isn’t like a recipe or a formula—it’s biological code that evolved over millions of years before humans ever cultivated it. These strains are protected as trade secrets—the bacteria don’t belong to anyone. They existed before Heineken, before Budweiser, before trademark law. The companies just happened to isolate and cultivate them. Her data packages included DNA sequences and complete protocols for cultivating, modifying, and improving the strains. Luna’s releases came with user-friendly software that allowed amateur brewers to simulate genetic modifications before attempting them in real fermentations. Within 24 hours, over ten thousand people worldwide downloaded the files. The Creative Commons community erupted in celebration. Cory Doctorow’s blog post, The Teenager Who Stole Christmas (From Corporate Beer), went viral within hours. The Electronic Frontier Foundation immediately offered Luna legal protection, while the Free Software Foundation created the “Luna Defense Fund” to support her anticipated legal battles. The Legal Assault Heineken’s response was swift. The company filed emergency injunctions in 12 countries simultaneously, seeking to prevent the distribution of its “stolen intellectual property.” Their legal team, led by former U.S. Attorney General William Barr III, demanded Luna’s immediate arrest for “economic terrorism” and “theft of trade secrets valued at over $50 billion.” Anheuser-Busch’s reaction was even more extreme. CEO Marcel Telles IV appeared on CNBC, calling Luna “a bioterrorist who threatens the foundation of American capitalism.” The company hired private investigators to surveil Luna’s family and offered a $10 million reward for information leading to her prosecution. Their legal filing compared Luna’s actions to “stealing the formula for Coca-Cola and publishing it in the New York Times.” In Heineken’s Amsterdam headquarters, executives convened an emergency meeting. “Who is Luna Reyes?” the CEO demanded. The legal counsel pulled up information. “She’s a seventeen-year-old high school student in Oakland, California. No criminal record. Volunteers at a maker space. Has been posting about fermentation on various forums for years.” “A child released our proprietary yeast strain to the world, and we didn’t know she was even working on this?” The CEO’s face reddened. “How do we contain it?” “We can’t. It’s distributed across thousands of servers in dozens of countries with different IP laws. We can sue Reyes, but the information is out there permanently.” An executive interjected, “What about the other breweries? Will they join our lawsuit?” “Some are considering it. Others…” The counsel paused. “Others are quietly downloading the sequences themselves. They see an opportunity to break our market dominance.” “She obtained samples from our waste disposal,” another executive explained. “Technically legal under the garbage doctrine. The sequencing itself isn’t illegal. The release under Creative Commons…” “Is theft!” the CEO shouted. “File emergency injunctions. Twelve countries. Get her arrested for economic terrorism.” Similar scenes played out at Anheuser-Busch headquarters in St. Louis. CEO Telles addressed his team: “This is bioterrorism. She’s destroyed intellectual property worth billions. I want her prosecuted to the fullest extent of the law. Hire private investigators. Find everything about her and her family. Make her life hell!” By noon, both companies had filed lawsuits. By evening, Fox News was running stories about the “teenage bioterrorist” who “stole American corporate secrets.” Back in Oakland, Luna’s phone rang constantly. Her parents discovered what she’d done. Her mother cried. Her father was furious and terrified. Friends called with either congratulations or warnings. She was convinced that private investigators were photographing their house. Maya suspected she was followed to work. On Wednesday morning, Dr. Webb calls: “Luna, they’re offering me $2 million to testify against you. They’re going after everyone in your network.” Luna has a sickening feeling that she’s put everyone at risk. By Thursday, she is considering taking it all back somehow, sending an apology to the corporations, anything to protect her family. Luna turned off her phone and sat with her grandmother. “It’s started,” Luna said quietly. “Sí, mija. You’ve declared war. Now we see if you can survive it.” Maya burst in, laptop in hand. “Luna, you need to see this. The downloads aren’t slowing—they’re accelerating. Every time Heineken or Budweiser shuts down a website, ten mirror sites appear. People are treating this like a digital freedom fight. You’ve become a symbol.” Luna pulled up her own screen. The #FreeLuna hashtag was trending. Crowdfunding campaigns for her legal defense had raised $400,000 in twelve hours. Academic institutions were publicly endorsing her release, calling it “essential scientific information.” “They’re trying to destroy you,” Maya said, “but they’re making you famous instead.” Rosa handed Luna a fresh kombucha. “This is what happens when you fight for what’s right, mija. Sometimes the world surprises you by supporting you.” Luna’s Fame The corporations’ attempts to suppress Luna’s releases had the opposite effect. Every cease-and-desist letter generated thousands of new downloads. The genetic data became impossible to contain once the academic community embraced Luna’s work. Dr. Jennifer Doudna, the legendary Crispr pioneer now in her eighties, publicly endorsed Luna’s releases in a Science magazine editorial: Ms. Reyes has liberated essential scientific information that corporations held hostage for commercial gain. Genetic sequences from naturally occurring organisms should not be locked behind intellectual property law. They belong to humanity’s knowledge commons. While corporations claim Luna stole trade secrets, I argue she freed biological knowledge that was never theirs to own. There are no trade secrets in biology—only knowledge temporarily hidden from the commons. This is civil disobedience of the highest order—breaking unjust laws to advance human freedom. Ms. Reyes didn’t steal; she liberated. MIT’s biology department invited Luna to lecture, while Harvard offered her a full scholarship despite her lack of a high school diploma. The legal battles consumed corporate resources while generating negative publicity. Heineken’s stock price dropped 34% as consumers organized boycotts in support of Luna’s “yeast liberation.” Beer sales plummeted as customers waited for home-brewed alternatives using Luna’s open-source genetics. The Flavor Renaissance Luna’s releases triggered an explosion of creativity that corporate R&D departments had never imagined. Within six months, amateur brewers worldwide were producing thousands of flavor variations impossible under corporate constraints. The open-source model enabled rapid iteration and global collaboration, rendering traditional brewing companies obsolete. The world was engaged. In some of the most unlikely places. In Evanston, Illinois, a group of former seminary students who discovered fermentation during a silent retreat, transformed Gregorian chants into microbial devotionals. Tenor Marcus Webb (Dr. Webb’s nephew) realized symbiosis mirrored vocal harmony—multiple voices creating something greater than their parts. “In honoring the mystery of fermentation we express our love of the Creator,” he said. Here's ‘Consortium Vocalis' honoring the mother SCOBY. [Chorus]Our SCOBYIs pureOur SCOBYIs strongOur SCOBYKnows no boundariesOur SCOBYStrengthens as it fermentsOur SCOBYIs bacteria and yeast Our SCOBYTurns sucrose into glucose and fructoseIt ferments these simple sugars into ethanol and carbon dioxide,Acetic acid bacteria oxidize much of that ethanol into organic acidsSuch as acetic, gluconic, and other acids.This steadily lowers the pHMaking the tea taste sour-tangy instead of purely sweet. [Chorus] Our SCOBYThen helps microbes produce acids, enzymes, and small amounts of B‑vitaminsWhile probiotics grow in the liquid.The pH falls to help inhibit unwanted microbesOur SCOBY creates a self-preserving, acidic environment in the tea [Chorus] In Kingston, Jamaica, Rastafarian’s combined an award-winning kombucha sequenced in Humboldt County, California, with locally grown ganja into a sacramental beverage to help open their mind to reasoning and focus on Jah. Once fermented, it was consumed over the course of a three-day Nyabinghi ceremony. “Luna Reyes is truly blessed. She strengthened our unity as a people, and our Rastafari’ booch help us chant down Babylon,” a Rasta man smiled, blowing smoke from a spliff the size of his arm. The Groundation Collective’s reggae anthem ‘Oh Luna’ joyfully celebrated Luna Reyes’ pioneering discovery. Oh Luna, Oh Luna, Oh Luna ReyesI love the sound of your nameYou so deserve your fame Luna, Luna, Oh Luna ReyesShining brightYou warm my heart Luna, Luna, Oh Luna ReyesYou cracked the codeTeenage prophet, fermentation queenSymbiosis roadA genius at seventeen Oh Luna, Luna, Luna ReyesBeautiful moonMakes me swoon Oh Luna, Luna, Luna ReyesFreedom to fermentYou are heaven sentTo save us Luna, Luna, Oh Luna ReyesYou opened the doorTo so much moreKombucha tastes so goodLike it should Oh Luna, Oh Luna, Oh LunaI love you, love you, love youOh Luna, Luna, LunaLove you, love you,Love Luna, Luna love. In São Paulo, Brazil, MAPA-certified Brazilian kombucha brands combined Heineken and cacao-fermenting yeasts with cupuaçu from indigenous Amazonian peoples, to create the chocolate-flavored ‘booch that won Gold at the 20th World Kombucha Awards. A cervejeiro explained to reporters: “Luna Reyes gave us the foundation. We added local innovation. This is what happens when you democratize biology.” The Brazilian singer Dandara Sereia covered ‘Our Fermented Future’—The Hollow Pines tune destined to become a hit at the 2053 Washington DC Fermentation Festival. Baby sit a little closer, sip some ‘booch with meI brewed this batch with the SCOBY my grandma gave to me.On the back porch swing at twilight, watching fireflies danceYour hand in mine, kombucha fine, the sweetest sweet romance. They say that wine and roses are the way to win the heartBut your kombucha warmed me right up from the start.Fermentation makes the heart grow fonder, truer words they ain’t been saidYour SCOBY’s got a place forever — in my heart, and in my bed. Let’s share our SCOBYs, baby, merge our ferments into oneLike cultures in a crock jar dancing, underneath the sun.The tang of your Lactobacillus is exactly what I’m missingYour Brettanomyces bacteria got this country girl reminiscing. Oh yeah, let’s share those SCOBYs, baby, merge our ferments into oneYour yeasts and my bacteria working till the magic’s doneYou’ve got the acetic acid honey, I’ve got the patience and the timeLet’s bubble up together, let our cultures intertwine. I’ve got that symbiotic feeling, something wild and something trueYour SCOBY’s in my heart, right there next to youThe way your Acetobacter turns sugar into goldIs how you turned my lonely life into a hand to hold. We’ve got the acetic acid and the glucuronic tooWe’ve got that symbiotic feeling, so righteous and so trueOne sip of your sweet ‘booch, Lord, and you had me from the start,It’s our fermented future, that no-one can tear apart. It’s our fermented future…It’s our fermented future…It’s our fermented future… “Luna Variants”—strains derived from her releases—began winning international brewing competitions, embarrassing corporate entries with their complexity and innovation. Traditional beer flavors seemed flat and artificial compared to the genetic symphonies created by collaborative open-source development. Despite the outpouring of positive vibes, the corporations spared no expense to hold Luna to account in the courts. The Preliminary Hearing A preliminary hearing was held in the United States District Court for the Northern District of California on June 14, 2044. Luna sat at the defendant’s table, her hands folded so tightly her knuckles had gone white. She wore a borrowed blazer—too big in the shoulders—over a white button-down shirt Maya had ironed that morning. At seventeen, she looked even younger under the courtroom’s fluorescent lights. Across the aisle, Heineken’s legal team occupied three tables. Fifteen attorneys in matching navy suits shuffled documents and whispered into phones. Their lead counsel, William Barr III, wore gold cufflinks that caught the light when he gestured. Luna recognized him from the news—the former Attorney General, now commanding $2,000 an hour to destroy people like her. Her own legal representation consisted of two people: Rose Kennerson from the Electronic Frontier Foundation, a public interest lawyer who’d flown in from DC on a red-eye, and Dr. Marcus Webb, technically a witness but sitting beside Luna because she’d asked him to. Behind them, the gallery was packed. Luna’s parents sat in the second row, her father’s face gray, her mother clutching a rosary. Maya had taken the day off work. Abuela Rosa sat in the front row directly behind Luna, her ancient SCOBY wrapped in silk in her lap, as if its presence might protect her granddaughter. Judge Catherine Ironwood entered—sixty-ish, steel-gray hair pulled back severely, known for pro-corporate rulings. She’d been a pharmaceutical industry lawyer for twenty years before her appointment. “All rise,” the bailiff called. Judge Ironwood settled into her chair and surveyed the courtroom with the expression of someone who’d already decided the outcome and resented having to perform the formalities. “We’re here for a preliminary injunction hearing in Heineken International B.V. versus Luna Marie Reyes.” She looked directly at Luna. “Ms. Reyes, you’re seventeen years old?” Luna stood, hesitant. “Yes, your honor.” “Where are your parents?” “Here, your honor.” Luna’s mother half-rose, then sat back down. “Ms. Kennerson, your client is a minor. Are the parents aware they could be held liable for damages?” Rose Kennerson stood smoothly. “Yes, your honor. The Reyes family has been fully advised of the legal implications.” Luna glanced back. Her father’s jaw was clenched so tight she could see the muscles working. He wouldn’t meet her eyes. “Very well. Mr. Barr, you may proceed.” Barr rose like a battleship emerging from fog—massive, expensive, inevitable. He buttoned his suit jacket and approached the bench without notes. “Your honor, this is the simplest case I’ve argued in thirty years. The defendant admits to obtaining my client’s proprietary biological materials. She admits to sequencing their genetic information. She admits to distributing that information globally, in deliberate violation of trade secret protections that have existed for over 150 years. She did this knowingly, systematically, and with the explicit intent to destroy my client’s competitive advantage.” Luna felt Sarah’s hand on her arm—stay calm. Barr continued. “Heineken International has invested over $200 million in the development, cultivation, and protection of the A-yeast strain. Then this teenager”—he pointed at Luna—”obtained samples from our waste disposal systems, reverse-engineered our genetic sequences, and released them to the world via BitTorrent, deliberately placing them beyond retrieval.” He paced now, warming to his theme. “The damage is incalculable. We estimate lost market value at $50 billion. But it’s not just about money. The defendant has destroyed the possibility of competition in the brewing industry. When everyone has access to the same genetic materials, there’s no innovation, no differentiation, no reason for consumers to choose one product over another. She has, in effect, communized an entire industry.” Luna couldn’t help herself. “That’s not—” Sarah grabbed her wrist. “Don’t.” Judge Ironwood’s eyes narrowed. “Ms. Reyes, you will have your opportunity to speak. Until then, you will remain silent, or I will have you removed from this courtroom. Do you understand?” “Yes, your honor.” Luna’s voice came out smaller than she intended. Barr smiled slightly. “Your honor, the relief we seek is straightforward. We ask this court to order the defendant to provide us with a complete list of all servers, websites, and distribution networks where the stolen genetic data currently resides. We ask that she be ordered to cooperate fully in suppressing the data. We ask that she be enjoined from any further distribution. And we ask that she be ordered to pay compensatory damages of $5 billion, plus punitive damages to be determined at trial.” He returned to his seat. One of his associate attorneys handed him a bottle of Pellegrino. He took a sip and waited. Judge Ironwood looked at Sarah. “Ms. Kennerson?” Sarah stood. She looked tiny compared to Barr—five-foot-three, maybe 110 pounds, wearing a suit from Target. But when she spoke, her voice filled the courtroom. “Your honor, Mr. Barr has given you a compelling story about a corporation that’s been wronged. But it’s not the right story. The right story is about whether naturally occurring organisms—creatures that evolved over millions of years, long before humans ever existed—can be owned by a corporation simply because that corporation happened to isolate them.” She walked toward the bench. “Let’s be clear about what the A-yeast strain is. It’s not a genetically modified organism. It’s not a patented invention. It’s a naturally occurring yeast. Heineken didn’t create it. Evolution created it. Heineken merely found it. And for 158 years, they’ve claimed that finding something gives them the right to prevent anyone else from studying it, understanding it, or using it.” Barr was on his feet. “Objection, your honor. This is a preliminary hearing about injunctive relief, not a philosophical debate about intellectual property theory.” “Sustained. Ms. Kennerson, please focus on the specific legal issues before this court.” “Your honor, the specific legal issue is whether naturally occurring genetic sequences constitute protectable trade secrets. My client contends they do not. She obtained the yeast samples from Heineken’s waste disposal—materials they had discarded. Under the garbage doctrine, she had every right to analyze those materials. The genetic sequences she discovered are factual information about naturally occurring organisms. You cannot trade-secret facts about nature.” Luna watched Judge Ironwood’s face. Nothing. No reaction. Sarah pressed on. “Mr. Barr claims my client ‘stole’ genetic information worth $5 billion. But information cannot be stolen—it can only be shared. When I tell you a fact, I don’t lose possession of that fact. We both have it. That’s how knowledge works. Heineken hasn’t lost their yeast. They still have it. They can still brew with it. What they’ve lost is their monopoly on that knowledge. And monopolies on facts about nature should never have existed in the first place.” “Your honor—” Barr tried to interrupt. Judge Ironwood waved him down. “Continue, Ms. Kennerson.” “Your honor, Heineken wants this court to order a seventeen-year-old girl to somehow suppress information that has already been distributed to over 100,000 people in 147 countries. That’s impossible. You can’t unring a bell. You can’t put knowledge back in a bottle. Even if this court ordered my client to provide a list of servers—which she shouldn’t have to do—that list would be incomplete within hours as new mirror sites appeared. The information is out. The only question is whether we punish my client for sharing factual information about naturally occurring organisms.” She turned to face Luna’s family. “Ms. Reyes taught herself bioinformatics from YouTube videos. She works at home with equipment she bought on eBay. She has no criminal record. She’s never been in trouble. She saw a question that interested her—why do commercial beers taste like they do?—and she pursued that question with the tools available to her. When she discovered the answer, she shared it with the world, under a Creative Commons license that specifically protects sharing for educational and scientific purposes. If that’s terrorism, your honor, then every scientist who’s ever published a research paper is a terrorist.” Sarah sat down. Luna wanted to hug her. Judge Ironwood leaned back. “Ms. Reyes, stand up.” Luna rose, her legs shaking. “Do you understand the seriousness of these proceedings?” “Yes, your honor.” “Do you understand that Heineken International is asking me to hold you in contempt of court if you refuse to help them suppress the information you released?” “Yes, your honor.” “Do you understand that contempt of court could result in your detention in a juvenile facility until you reach the age of eighteen, and potentially longer if the contempt continues?” Luna’s mother gasped audibly. Her father put his arm around her. “Yes, your honor,” Luna said, though her voice wavered. “Then let me ask you directly: If I order you to provide Heineken with a complete list of all locations where the genetic data you released currently resides, will you comply?” The courtroom went silent. Luna could hear her own heartbeat. Sarah started to stand—”Your honor, I advise my client not to answer—” “Sit down, Ms. Kennerson. I’m asking your client a direct question. She can choose to answer or not.” Judge Ironwood’s eyes never left Luna. “Well, Ms. Reyes? Will you comply with a court order to help Heineken suppress the information you released?” Luna looked at her parents. Her mother was crying silently. Her father’s face was stone. She looked at Abuela Rosa. Her grandmother nodded once—tell the truth. Luna looked back at the judge. “No, your honor.” Barr shot to his feet. “Your honor, the defendant has just admitted she intends to defy a court order—” “I heard her, Mr. Barr.” Judge Ironwood’s voice was ice. “Ms. Reyes, do you understand you’ve just told a federal judge you will refuse a direct order?” “Yes, your honor.” “And you’re still refusing?” “Yes, your honor.” “Why?” Sarah stood quickly. “Your honor, my client doesn’t have to explain—” “I want to hear it.” Judge Ironwood leaned forward. “Ms. Reyes, tell me why you would risk jail rather than help undo what you’ve done.” Luna took a breath. Her whole body was shaking, but her voice was steady. “Because it would be wrong, your honor.” “Wrong how?” “The genetic sequences I released evolved over millions of years. Heineken didn’t create that yeast. They isolated one strain and claimed ownership of it. The code of life belongs to everyone. That’s humanity’s heritage. Even if you send me to jail, I can’t help suppress the truth.” Judge Ironwood stared at her for a long moment. “That’s a very pretty speech, Ms. Reyes. But this court operates under the law, not your personal philosophy about what should or shouldn’t be owned. Trade secret law exists. Heineken’s rights exist. And you violated those rights.” Luna did not hesitate. “With respect, your honor, I don’t think those rights should exist.” Barr exploded. “Your honor, this is outrageous! The defendant is openly stating she believes she has the right to violate any law she disagrees with—” “That’s not what I said.” Luna’s fear was transforming into something else—something harder. “I’m saying that some laws are unjust. And when laws are unjust, civil disobedience becomes necessary. People broke unjust laws during the civil rights movement. People broke unjust laws when they helped slaves escape. The constitution says members of the military do not have to obey illegal orders, despite what those in power might claim. Sometimes the law is wrong. And when the law says corporations can own genetic information about naturally occurring organisms, the law is wrong.” Judge Ironwood’s face flushed. “Ms. Reyes, you are not Rosa Parks. This is not the civil rights movement. This is a case about intellectual property theft.” “It’s a case about whether life can be property, your honor.” “Enough.” Judge Ironwood slammed her gavel. “Ms. Kennerson, control your client.” Sarah pulled Luna back into her chair. “Luna, stop talking,” she hissed. Judge Ironwood shuffled papers, visibly trying to compose herself. “I’m taking a fifteen-minute recess to consider the injunction request. We’ll reconvene at 11:30. Ms. Reyes, I strongly suggest you use this time to reconsider your position.” The gavel fell again, and Judge Ironwood swept out. The hallway outside the courtroom erupted. Reporters swarmed. Luna’s father grabbed her arm and pulled her into a witness room. Her mother followed, still crying. Maya slipped in before Sarah closed the door. “What were you thinking?” Luna’s father’s voice shook. “You just told a federal judge you’ll defy her orders. They’re going to put you in jail, Luna. Do you understand that? Jail!” “Ricardo, please—” Her mother tried to calm him. “No, Elena. Our daughter just committed contempt of court in front of fifty witnesses. They’re going to take her from us.” He turned to Luna, his eyes wet. “Why? Why couldn’t you just apologize? Say you made a mistake? We could have ended this.” “Because I didn’t make a mistake, Papa.” “You destroyed their property!” “It wasn’t their property. It was never their property.” “The law says it was!” “Then the law is wrong!” Her father stepped back as if she’d slapped him. “Do you know what your mother and I have sacrificed to keep you out of trouble? Do you know how hard we’ve worked since we came to this country to give you opportunities we never had? And you throw it away for yeast. Not for justice. Not for people. For yeast.” Luna’s eyes filled with tears. “It’s not about yeast, Papa. It’s about whether corporations get to own life. If Heineken can own yeast, why not bacteria? Why not human genes? Where does it stop?” “It stops when my daughter goes to jail!” He was shouting now. “I don’t care about Heineken. I don’t care about yeast. I care about you. And you just told that judge you’ll defy her. She’s going to put you in jail, and there’s nothing I can do to stop it.” “Ricardo, por favor—” Elena put her hand on his arm. He shook it off. “No. She needs to hear this. Luna, if you go to jail, your life is over. No college will accept you. No company will hire you. You’ll have a criminal record. You’ll be marked forever. Is that what you want?” “I want to do what’s right.” “What’s right is protecting your family! What’s right is not destroying your future for a principle!” he said. Luna responded, “What’s right is not letting corporations own the code of life!”They stared at each other. Maya spoke up quietly from the corner. “Papa, she can’t back down now. The whole world is watching.” “Let the world watch someone else!” Ricardo turned on Maya. “You encourage this. You film her, you post her manifestos online, you help her become famous. You’re her sister. You’re supposed to protect her, not help her destroy herself.” “I am protecting her,” Maya said. “I’m protecting her from becoming someone who backs down when the world tells her she’s wrong, even though she knows she’s right.” Ricardo looked between his daughters. “Ambos están locos! You’re both insane.” Abuela Rosa opened the door and entered. She’d been listening from the hallway. “Ricardo, enough.” “Mama, stay out of this.” “No.” Rosa moved between Ricardo and Luna. “You’re afraid. I understand. But fear makes you cruel, mijo. Your daughter is brave. She’s doing something important. And you’re making her choose between you and what’s right. Don’t do that.” “She’s seventeen years old! She’s a child!” “She’s old enough to know right from wrong.” Rosa put her hand on Ricardo’s cheek. “When I was sixteen, I left Oaxaca with nothing but the clothes on my back and this SCOBY. Everyone said I was crazy. Your father said I would fail. But I knew I had to go, even if it cost me everything. Sometimes our children have to do things that terrify us. That’s how the world changes.” Ricardo pulled away. “If they put her in jail, will that change the world, Mama? When she’s sitting in a cell while Heineken continues doing whatever they want, will that have been worth it?” “Yes,” Luna said quietly. “Even if I go to jail, yes. Because thousands of people now have the genetic sequences, Heineken can’t put that back. They can punish me, but they can’t undo what I did. The information is free. It’s going to stay free. And if the price of that is me going to jail, then that’s the price.” Her father looked at her as if seeing her for the first time. “I don’t know who you are anymore.” “I’m still your daughter, Papa. I’m just also someone who won’t let corporations own life.” A knock on the door. Sarah poked her head in. “They’re reconvening. Luna, we need to go.” Back in the courtroom, the atmosphere had shifted. The gallery was more crowded—word had spread during the recess. Luna recognized several people from online forums. Some held signs reading “FREE LUNA” and “GENETICS BELONG TO EVERYONE.” Judge Ironwood entered and sat without ceremony. “I’ve reviewed the submissions and heard the arguments. This is my ruling.” Luna’s hand found Maya’s in the row behind her. Squeezed tight. “The question before this court is whether to grant Heineken International’s motion for a preliminary injunction requiring Ms. Reyes to assist in suppressing the genetic information she released. To grant such an injunction, Heineken must demonstrate four things: likelihood of success on the merits, likelihood of irreparable harm without the injunction, balance of equities in their favor, and that an injunction serves the public interest.” Barr was nodding. These were his arguments. “Having considered the evidence and the applicable law, I find that Heineken has demonstrated likelihood of success on the merits. Trade secret law clearly protects proprietary business information, and the A-yeast strain appears to meet the legal definition of a trade secret.” Luna’s stomach dropped. “However, I also find that Heineken has failed to demonstrate that a preliminary injunction would effectively prevent the irreparable harm they claim. Ms. Kennerson is correct that the genetic information has already been distributed to over 100,000 people worldwide. Ordering one teenager to provide a list of servers would be, in technical terms, pointless. New copies would appear faster than they could be suppressed.” Barr’s face tightened. “Furthermore, I find that the balance of equities does not favor Heineken. They ask this court to potentially incarcerate a seventeen-year-old girl for refusing to suppress information that is, by her account, factual data about naturally occurring organisms. The potential harm to Ms. Reyes—including detention, criminal record, and foreclosure of educational and career opportunities—substantially outweighs any additional harm Heineken might suffer from continued distribution of information that is already widely distributed.” Luna felt Maya’s grip tighten. Was this good? This sounded good. “Finally, and most importantly, I find that granting this injunction would not serve the public interest. The court takes judicial notice that this case has generated substantial public debate about the scope of intellectual property protection in biotechnology. The questions raised by Ms. Reyes—whether naturally occurring genetic sequences should be ownable, whether facts about nature can be trade secrets, whether knowledge can be property—are questions that deserve answers from a higher authority than this court. These are questions for appellate courts, perhaps ultimately for the Supreme Court. And they are questions best answered in the context of a full trial on the merits, not in an emergency injunction hearing.” Barr was on his feet. “Your honor—” “Sit down, Mr. Barr. I’m not finished.” He sat, his face purple. “Therefore, Heineken International’s motion for preliminary injunction is denied. Ms. Reyes will not be required to assist in suppressing the genetic information she released. However,”—Judge Ironwood looked directly at Luna—”this ruling should not be construed as approval of Ms. Reyes’ actions. Heineken’s claims for damages and other relief remain viable and will proceed to trial. Ms. Reyes, you may have won this battle, but this war is far from over. Anything you want to say?” Luna stood slowly. “Your honor, I just want to say… thank you. For letting this go to trial. For letting these questions be answered properly. That’s all I ever wanted—for someone to seriously consider whether corporations should be allowed to own genetic information about naturally occurring organisms. So thank you.” Judge Ironwood’s expression softened slightly. “Ms. Reyes, I hope you’re prepared for what comes next. Heineken has unlimited resources. They will pursue this case for years if necessary. You’ll be in litigation until you’re twenty-five years old. Your entire young adulthood will be consumed by depositions, court appearances, and legal fees. Are you prepared for that?” “Yes, your honor.” “Why?” Luna glanced at her grandmother, who nodded. “Because some questions are worth answering, your honor. Even if it takes years. Even if it costs everything. The question of whether corporations can own life—that’s worth answering. And if I have to spend my twenties answering it, then that’s what I’ll do.” Judge Ironwood studied her for a long moment. “You remind me of someone I used to know. Someone who believed the law should serve justice, not just power.” She paused. “That person doesn’t exist anymore. The law ground her down. I hope it doesn’t do the same to you.” She raised her gavel. “This hearing is adjourned. The parties will be notified of the trial date once it’s scheduled. Ms. Reyes, good luck. I think you’re going to need it.” The gavel fell. Outside the courthouse, the scene was chaotic. News cameras surrounded Luna. Reporters shouted questions. But Luna barely heard them. She was looking at her father, who stood apart from the crowd, watching her. She walked over to him. “Papa, I’m sorry I yelled.” He didn’t speak for a moment. Then he pulled her into a hug so tight it hurt. “Don’t apologize for being brave,” he whispered into her hair. “I’m just afraid of losing you.” “You won’t lose me, Papa. I promise.” “You can’t promise that. Not anymore.” He pulled back, holding her shoulders. “But I’m proud of you. I’m terrified, but I’m proud.” Her mother joined them, tears streaming down her face. “No more court. Please, no more court.” “I can’t promise that either, Mama.” Elena touched Luna’s face. “Then promise me you’ll be careful. Promise me you’ll remember that you’re not just fighting for genetics. You’re fighting for your life.” Luna smiled. “I promise.” Abuela Rosa appeared, carrying her SCOBY. “Come, mija. We should go before the reporters follow us home.” As they pushed through the crowd toward Maya’s car, Luna's phone buzzed continuously. Text messages and emails pouring in. But what caught her attention was a text from Dr. Webb: You were right. I’m sorry I doubted. Check your email—Dr. Doudna wants to talk. Luna opened her email. The subject line made her stop walking: From: jennifer.doudna@berkeley.eduSubject: Civil Disobedience of the Highest Order She started to read: Dear Ms. Reyes, I watched your hearing this morning. What you did in that courtroom—refusing to back down even when threatened with jail—was one of the bravest things I’ve seen in forty years of science. You’re not just fighting for yeast genetics. You’re fighting for the principle that knowledge about nature belongs to humanity, not to corporations. I want to help… Luna looked up at her family—her father’s worried face, her mother’s tears, Maya’s proud smile, Abuela Rosa’s serene confidence. Behind them, the courthouse where she’d nearly been sent to jail. Around them, reporters and cameras and strangers who’d traveled across the country to support her. She thought about Judge Ironwood’s warning: This war is far from over. She thought about Barr’s face when the injunction was denied. She thought about the thousands who’d downloaded the genetic sequences and were, right now, brewing with genetics that had been locked away for 158 years. Worth it. All of it. Even the fear. Maya opened the car door. “Come on, little revolutionary. Let’s go home.” The Corporate Surrender By 2045, both Heineken and Anheuser-Busch quietly dropped their lawsuits against Luna. Their legal costs had exceeded $200 million while accomplishing nothing except generating bad publicity. More importantly, their “protected” strains had become worthless in a market flooded with superior alternatives. Heineken’s CEO attempted to salvage the company by embracing open-source brewing. His announcement that Heineken would “join the La Luna Revolution” was met with skepticism from the brewing community, which recalled the company’s aggressive legal tactics. The craft brewing community’s response was hostile. “They spent two years trying to destroy her,” a prominent brewmaster told The New Brewer Magazine. “Now they want credit for ’embracing’ the revolution she forced on them? Heineken didn’t join the Luna Revolution—they surrendered to it. There’s a difference.” The global brands never recovered their market share. Luna’s Transformation Luna’s success transformed her from a garage tinkerer into a global icon of the open knowledge movement. Her 2046 TED Talk, “Why Flavor Belongs to Everyone,” went viral. She argued that corporate control over living organisms represented “biological colonialism” that impoverished human culture by restricting natural diversity. Rather than commercializing her fame, Luna founded the Global Fermentation Commons, a nonprofit organization dedicated to preserving and sharing microbial genetics worldwide. Their laboratories operated as open-access research facilities where anyone could experiment with biological systems. The headquarters of the Global Fermentation Commons occupied a former Genentech facility donated by Dr. Webb. Six continents, forty researchers, one mission: preserve and share microbial genetics worldwide. Luna addressed a crowded auditorium at the organization’s third anniversary. “When I released Heineken and Budweiser’s yeast strains, some people called it theft. Others called it liberation. I called it returning biological knowledge to the commons, where it belongs. Three years later, so-called Luna Variants have created economic opportunities for thousands of small brewers, improved food security in developing regions, and demonstrated that genetic freedom drives innovation faster than corporate control.” She continued. “We’re not stopping with beer. The same principles apply to all fermentation: cheese cultures, yogurt bacteria, koji fungi, sourdough starters. Every traditionally fermented food relies on microorganisms that corporations increasingly claim to own. We’re systematically liberating them.” A World Health Organization representative raised a concern: “Ms. Reyes, while we support democratizing food fermentation, there are legitimate concerns about pharmaceutical applications. What prevents someone from using your open-source genetics to create dangerous organisms?” Luna nodded. “Fair question. First, the organisms we release are food-safe cultures with centuries of safe use. Second, dangerous genetic modifications require sophisticated laboratory equipment and expertise—far beyond what releasing genetic sequences enables. Third, determined bad actors already have access to dangerous biology, enabled by AI. We’re not creating new risks; we’re democratizing beneficial biology.” “Pharmaceutical companies argue you’re undermining their investments in beneficial organisms,” another representative pressed. “Pharmaceutical companies invest in modifying organisms,” Luna clarified. “Those modifications can be patented. What we oppose is claiming ownership over naturally occurring organisms or their baseline genetics. If you genetically engineer a bacterium to produce insulin, patent your engineering. Don’t claim ownership over the bacterial species itself.” A Monsanto representative stood. “Your organization recently cracked and released our proprietary seed genetics. That’s direct theft of our property.” Luna didn’t flinch. “Seeds that farmers cultivated for thousands of years before Monsanto existed? You didn’t invent corn, wheat, or soybeans. You modified them. Your modifications may be protectable; the baseline genetics are humanity’s heritage. We’re liberating what should never have been owned.” “The ‘Luna Legion’ has cost us hundreds of millions!” the representative protested. “Good,” Luna responded calmly. “You’ve cost farmers their sovereignty for decades. Consider it karma.” After the presentation, Dr. Doudna approached Luna privately. “You’ve accomplished something remarkable,” the elderly scientist said. “When I developed Crispr, I never imagined a teenager would use similar principles to challenge corporate biology. You’re forcing conversations about genetic ownership that we’ve avoided for decades.” “It needed forcing,” Luna replied. “Corporations were quietly owning life itself, one patent at a time. Someone had to say no.” “The pharmaceutical industry is terrified of you,” Doudna continued. “They see what happened to brewing and imagine the same for their carefully controlled bacterial strains. You’re going to face even more aggressive opposition.” “I know. Once people understand that biological knowledge can be liberated, they start questioning all biological ownership. We’re not stopping.” The New Economy of Taste Following Luna’s breakthrough, peer-to-peer flavor-sharing platforms emerged as the dominant force in food culture. The “FlavorChain” blockchain allowed brewers to track genetic lineages while ensuring proper attribution to original creators. SCOBY lineages were carefully sequenced, catalogued, and registered on global blockchain ledgers. Each award-winning kombucha strain carried a “genetic passport”—its microbial makeup, the unique balance of yeasts and bacteria that gave rise to particular mouthfeel, fizz, and flavor spectrum, was mapped, hashed, and permanently recorded. Brewers who created a new flavor could claim authorship, just as musicians once copyrighted songs. No matter how many times a SCOBY was divided, its fingerprint could be verified. Fermentation Guilds formed to share recipes through FlavorChain, enabling decentralized digital markets like SymbioTrdr, built on trust and transparency rather than speculation. They allowed people to interact and transact on a global, permissionless, self-executing platform. Within days, a SCOBY strain from the Himalayas could appear in a brew in Buenos Aires, its journey traced through open ledgers showing who tended, adapted, and shared it. Kombucha recipes were no longer jealously guarded secrets. They were open to anyone who wanted to brew. With a few clicks, a Guild member in Nairobi could download the blockchain-verified SCOBY genome that had won Gold at the Tokyo Fermentation Festival. Local biotech printers—as common in 2100 kitchens as microwave ovens had once been—could reconstitute the living culture cell by cell. Children began inheriting SCOBY lineages the way earlier generations inherited family names. Weddings combined SCOBY cultures as symbolic unions. (Let’s share our SCOBYs, baby, merge our ferments into one.) When someone died, their SCOBY was divided among friends and family—a continuation of essence through taste. Kombucha was no longer merely consumed; it was communed with. This transparency transformed kombucha from a minority regional curiosity into a universal language. A festival in Brazil might feature ten local interpretations of the same “Golden SCOBY” strain—one brewed with passionfruit, another with cupuaçu, a third with açaí berries. The core microbial signature remained intact, while the terroir of fruit and spice gave each version a unique accent. Brewers didn’t lose their craft—they gained a canvas. Award-winning SCOBYs were the foundations on which endless new flavor experiments flourished. Many people were now as prolific as William Esslinger, the founder of St Louis’s Confluence Kombucha, who was renowned for developing 800 flavors in the 2020s. Code of Symbiosis The Symbiosis Code, ratified at the first World Fermentation Gathering in Reykjavik (2063), bound Fermentation Guilds to three principles: Transparency — All microbial knowledge is to be shared freely. Reciprocity — No brew should be produced without acknowledging the source. Community — Every fermentation must nourish more than the brewer. This code replaced corporate law. It was enforced by reputation, not by governments. A Guild member who betrayed the code found their SCOBYs mysteriously refusing to thrive—a poetic justice the biologists never quite explained. Every Guild had elders—called Mothers of the Jar or Keepers of the Yeast. They carried living SCOBYs wrapped in silk pouches when traveling, exchanging fragments as blessings. These elders became moral anchors of the age, counselors and mediators trusted more than politicians. When disputes arose—over territory, resources, or ethics—brewers, not lawyers, met to share a round of Truth Brew, a ferment so balanced that it was said to reveal dishonesty through bitterness. The Fullness of Time The International Biotech Conference of 2052 invited Luna to give the closing keynote—a controversial decision that prompted several corporate sponsors to withdraw support. The auditorium was packed with supporters, critics, and the merely curious. “Nine years ago, I released genetic sequences for beer yeast strains protected as trade secrets. I was called a thief, a bioterrorist, worse. Today, I want to discuss what we’ve learned from those years of open-source biology.” She displayed a chart showing the explosion of brewing innovation since 2043. “In the traditional corporate model, a few companies control a few strains, producing a limited variety. With the open-source model, thousands of brewers using thousands of variants, producing infinite diversity. As Duff McDonald wrote “Anything that alive contains the universe, or infinite possibility. Kombucha is infinite possibility in a drink.” And the results speak for themselves—flavor innovation accelerated a thousand-fold when we removed corporate control.” A student activist approached the microphone. “Ms. Reyes, you’ve inspired movements to liberate seed genetics, soil bacteria, and traditional medicine cultures. The ‘Luna Legion’ is spreading globally. What’s your message to young people who want to continue this work?” Luna smiled. “First, understand the risks. I was sued by multinational corporations, received death threats, spent years fighting legal battles. This work has costs. Second, be strategic. Release information you’ve generated yourself through legal methods—no hacking, no theft. Third, build communities. I survived because people supported me—legally, financially, emotionally. You can’t fight corporations alone. Finally, remember why you’re doing it: to return biological knowledge to the commons where it belongs. That purpose will sustain you through the hard parts.” Teaching By twenty-eight, Luna was a MacArthur Fellow, teaching fermentation workshops in a converted Anheuser-Busch facility. As she watched her students—former corporate employees learning to think like ecosystems rather than factories—she reflected that her teenage hack had accomplished more than liberating yeast genetics. She had helped humanity remember that flavor, like knowledge, grows stronger when shared rather than hoarded. Luna’s garage had evolved into a sophisticated community biolab. The original jury-rigged equipment had been replaced with professional gear funded by her MacArthur Fellowship. Abuela Rosa still maintained her fermentation crocks in the corner—a reminder of where everything started. A group of five

Dr. Cara Judea Alhadeff discusses her work and the profound ideas in her book Zazu Dreams: Between the Scarab and the Dung Beetle, A Cautionary Fable for the Anthropocene Era. She explores themes of dream consciousness, cultural and ecological extinction, radical symbiosis, and the concept of apocalyptic parenting as a strategy for social justice and ecological ethics, an antidote to petroleum parenting. The discussion digs into the interdisciplinary ties found in her stories, her collaborative projects, and the communal effort in creating sustainable futures. Dr. Alhadeff also shares her real-life experiences of living for almost a decade in a reclaimed school bus, 'The Love Bus', exemplifying the principles of radical mothering, reuse, collective creativity, and joy amidst systemic challenges. Dr. Cara Judea Alhadeff is a professor and author of dozens of books and articles on art, philosophy, sexuality, climate justice, life-passion activism, and "petroleum parenting," including the critically-acclaimed Zazu Dreams: Between the Scarab and the Dung Beetle, A Cautionary Fable for the Anthropocene Era, and Viscous Expectations: Justice, Vulnerability, The Ob-scene. Alhadeff's forthcoming book, Unlearning What We Think We Know (Vernon Press), will be performed during the World Affairs Conference. Her photographs/ performance videos are in private and public collection,s including San Francisco MoMA, MoMA Salzburg, Austria, the Kinsey Institute for Research in Sex, Gender, and Reproduction, and include collaborations with international choreographers, composers, poets, sculptors, architects, and scientists. She has been interviewed by The New York Times, San Francisco Chronicle, Pacifica Radio, NPR, and the New Art Examiner. Alongside Archbishop Desmond Tutu and Vandana Shiva, Alhadeff received the Random Kindness Community Resilience Leadership Award, 2020. In 2022, Alhadeff was nominated for a MacArthur Fellowship. Her theoretical and visual work is the subject of documentaries for international public television/ radio. A former professor of Critical Pedagogy & Performance at UC Santa Cruz and Founder of Radical Art in Action, Alhadeff teaches, performs, and parents a creative-zero-waste life. She and her family live and perform in their eco-art installation, a repurposed school bus. www.carajudeaalhadeff.com Topics 00:00 Introduction to Dr. Cara Judea Alhadeff 01:35 Exploring 'Zazu Dreams' 04:01 Dreams and Cultural Extinction 06:08 Fractal Democracy and Radical Art 08:39 Sensory Consciousness and Neuroaesthetics 14:50 Interconnected Oppressions and Emancipation 28:05 Ancestral Lineage and Multiculturalism 34:00 Exploring Automatic Behaviors and Consciousness 34:50 Interbeing and Consumer Decisions 36:35 The Impact of Privilege and Capitalist Norms 38:06 Radical Symbiosis and Cultural Conditioning 39:21 Eco-Spirituality and Political Awareness 41:18 Apocalyptic Parenting and Deep Noticing 48:01 The Love Bus: A Journey of Reuse and Respect 54:40 Adapting to Change and Collective Creativity 57:55 Conclusion: Embracing Art and Language Resources: Dr. Cara Judea Alhadeff's Website ZAZU DREAMS: Between the Scarab and the Dung Beetle, A Cautionary Fable for the Anthropocene Era by Dr. Cara Judea Alhadeff Zazu Dreams book-to-film animation adaptation Fractal Flourishing: Jeremy Lent (Sounds of SAND Podcast) Arab Jewish Mysticism: Hadar Cohen (Sounds of SAND Podcast) Quantum Listening: IONE (Sounds of SAND Podcast) Deep Listening: Pauline Oliveros 5Rhythms Dance Rural Studio: Samuel Mockbee and an architecture of decency Thrutopian Dreams: Manda Scott (Sounds of SAND Podcast) An Ecotopian Lexicon edited by Schneider-Mayerson and Bellamy Challenging Petroleum Parenting Decolonizing Motherhood Empire of Normality: Neurodiversity and Capitalism by Robert Chapman Viscous Expectations: Justice, Vulnerability, The Ob-scene by cara judea Alhadeff The Love Bus: Beauty & Waste In the Face of Climate Crisis Facing Apocalyspe by Catherine Keller Benjamin Lay: The first Revolutionary Quaker Abolitionist Cara Judea Alhadeff, PhD, Promiscuous Crossings (Substack) Email Cara Support the mission of SAND and the production of this podcast by becoming a SAND Member

Jonathan Lethem is the author of A Different Kind of Tension: New and Selected Stories, available from Ecco. It was the official October 2025 pick of the Otherppl Book Club. Lethem is the bestselling author of thirteen novels, including Brooklyn Crime Novel, The Feral Detective, and Motherless Brooklyn, winner of the National Book Critics Circle Award. His five story collections include Men and Cartoons and Lucky Alan, and his short fiction has appeared in the New Yorker, Harper's Magazine, and the Paris Review, among other publications, garnering a Pushcart Prize, a World Fantasy Award, and inclusion in The Best American Short Stories. The recipient of a MacArthur Fellowship and a Guggenheim Fellowship, he lives in Los Angeles and Maine. *** ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Otherppl with Brad Listi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, etc. Get ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to Write a Novel,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ the debut audio course from DeepDive. 50+ hours of never-before-heard insight, inspiration, and instruction from dozens of today's most celebrated contemporary authors. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Brad's email newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support the show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠proud affiliate partner of Bookshop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Dave Schlom visits with brand new MacArthur Fellowship award winner Kareem El-Badry, an astrophysicist at the California Institute of Technology in Pasadena.

Send us a textMargaret D. Stock is an immigration attorney, and retired Lieutenant Colonel in the United States Army Reserve. She is a recognized expert on immigration law as it applies to U.S. military personnel and veterans. In 2013, she was a recipient of a MacArthur Fellowship, often referred to as a "genius grant." She has taught law at the United States Military Academy in West Point, New York.She ran for the United States Senate as an Independent candidate in the 2016 Senate election in Alaska losing to the incumbent Sen. Lisa Murkowski. Today we discuss her life, but also her concerns about the politicization of the US military, the change in the way our country treats its immigrants, and the illegal extra-judicial killings of Venezuelans by the US military in the Caribbean Sea.

Los Angeles-based artist Liza Lou is widely known for introducing beads as a contemporary fine art medium. Lou's persistent experimentation has challenged hierarchies and helped to redefine previously marginalized terms such as craft, labor, the feminine, and the decorative. Reviewing her groundbreaking Kitchen (1991–1996) at the New Museum in New York, Roberta Smith wrote, “…this radiant piece effortlessly annihilates any barriers between art and craft, [and] proves unequivocally… that quality is where you find it and will not be denied.”¹In the two and a half decades since Kitchen, Lou's oeuvre has expanded to include numerous room size sculptures, including Back Yard (1996–1998), a 500-square-foot work comprised of 250,000 pieces of beaded grass; Trailer(1998–2000), a forty-foot-long mobile home with a glittering film noir interior; and Security Fence (2005), a chain link and razor wire fence enclosure covered in silver-lined glass beads that both attracts and repels, transforming a symbol of confinement.In 2002, Lou was awarded a MacArthur Fellowship and moved to KwaZulu-Natal, South Africa, where she operated an art studio and women's advocacy program from 2005–2020. There, Lou explored the capacity of beads to stand in for the paint medium in a body of Minimalist woven works. For example, The Waves (2013–2017) comprises an installation of over one thousand woven white cloths which cover gallery walls from floor to ceiling. Through the process of weaving, each cloth is “painted” with the residue of natural oils from the artist and her assistant's hands. In 2020, Lou returned to her solo practice in Los Angeles and began a series of abstract, gestural oil paintings on woven, glass-beaded cloths. Lou and Zuckerman discuss living in a state of wonder, meditating, bending the light, endurance, labor, repetition, focusing on beauty, God, the intersection between fine art and craft, suffering and pain, truth and who is “with you!”

Welcome to episode 257 of Growers Daily! We cover: why there are no Nobels (or any other big prize) for farmers, what to do about persistent mold on alliums, and some insights gleaned from the Kentucky composting conference about commercial composting startups.  We are a Non-Profit! 

All you Marrou fans out there may have been wondering, "Where did that fabulous Frenchmen go"? After all, this little podcast has not covered H.I.'s theme since April 1 of the current year. Fitting date? Don't be fooled, Jeff and Dave have not given up on all things ancient education, and this week the guys return to Part II, Chapter IX. In this portion of the larger section, Classical Education in the Hellenistic Age, Marrou is dealing with what he entitles "Lesser Forms". How was the ephebia structured, and how did the architectural forms change to match this? What did the typical syllabus contain, and what of the formation of a canon? What is the connection between thinking great thoughts and walking? Should you look out for roving hygienists in your neighborhood, and can you earn a certificate or award for φιλοπονία (love of industry)? The disscussion next moves on to the "birdcage" center of ancient learning, the Museum (Alexandria, et alia), where MacArthur Fellowship recipients complained about the sluggish wifi and were feted by the Ptolemies. But we digress. Stick around for the closing bit on medicine and vo. tech, and think about sending us your own reflections for episode 200!

Karen Russell joins Deborah Treisman to read and discuss “The Stone,” by Louise Erdrich, which was published in The New Yorker in 2019. Russell is the author of six books of fiction, including the story collections “Vampires in the Lemon Grove” and “Orange World and Other Stories” and the novels “Swamplandia!,” which was a finalist for the Pulitzer Prize in 2012, and “The Antidote,” which came out earlier this year and was long-listed for the National Book Award. Russell, the recipient of a MacArthur Fellowship, was included in the magazine's “20 Under 40” Fiction Issue in 2010. Learn about your ad choices: dovetail.prx.org/ad-choices

Andee Rudloff is a consultant, educator and professional artist workingprimarily in Kentucky and Tennessee. Andee Rudloff has 30 years of experience as a consultant, art administrator, curator and professional artist including murals and exhibitions in Tennessee,Kentucky; Magdeburg, Germany; New York, N.Y.; Taipei, Taiwan; and other national and international exchanges. Her goal is to engage the community through creative opportunities and she does so frequently through murals, exhibitions, greenway planning, tactical urbanism, and cultural expression for social change. Currently, Andee Rudloff works as an artist-in-residence with Arts for All Kentucky, Gifted Studies at WKU,and via contract work as a muralist. She is on the board of trustees for the Tanne Foundation based in Boston, MA, which provides support to individual artists in need. Rudloff served three terms on the Kentucky Arts Council Board and was appointed by three Kentucky Governors to serve beginning in 2011.Andee Rudloff served as the guest curator for SKyPAC, Scholastic Art & Writing, and the National Corvette Museum's first art exhibition titled Car Part Art. She was a featured artist at ArtPrize 8 in Grand Rapids, MI, and served as a Kentucky AIR forTimeslips with MacArthur Fellowship recipient Anne Basting based in Milwaukie, WI. She successfully designed and launched all education, engagement, internship and visual art programming for the Southern Kentucky Performing Arts Center (SKyPAC). In 2013, the Kentucky Art Education Association named Rudloff Museum Educator of the Year. She served as the community relations manager, educator and curator at the Frist Art Museum in Nashville, TN. Rudloff was the curator of the Nashville International Airport's Arts at the Airport Foundation designing new spaces and organizing exhibitions and performances during a multi-million dollar renovation.She has served as the curator for Curb Records' Johnny Cash Collection, facilitator of the At Home Project with Judy Chicago at WKU, as well numerous other curatorial and teaching positions. She was awarded Best Community Art Energizer by the Nashville Scene. Andee Rudloff has been a featured community art presenter at the National Art Education Association annual conference, TeachMeet, Ambition Fest and as well as artist-in-residence at several public and private schools. She received the 2010 ADAM Award for Outstanding Achievement and Support for Kids on the Block in Middle Tennessee.Andee Rudloff #DoStuffInstagram:@chicNhairFB: Artist Andee Rudloff"Still on the Run" - https://www.fbrmusic.com/@treymitchellphotography @feeding_the_senses_unsensoredfacebook.com/profile.php?id=100074368084848www.threads.net/@treymitchellphotographyftsunashville@gmail.com

As a recipient of the MacArthur Fellowship (also known as the MacArthur Genius Grant), you could say filmmaker Sterlin Harjo is a certified genius. He's responsible for creating the groundbreaking series “Reservation Dogs,” which follows the lives of four Indigenous teenagers in rural Oklahoma. Now, Sterlin is back with a new series called “The Lowdown,” starring Ethan Hawke as a rough-and-tumble bookstore owner and "truthstorian" in Tulsa, Oklahoma. He sat down with Tom Power during this year's Toronto International Film Festival to talk about his career — and how being a genius really just means your friends will give you a hard time about it.

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals (Jun 26–Aug 15) which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“There's a word for this brain rot, right? I think that's very real. There are studies coming out now that are showing that the more and more of our cognitive labor we offload to AI systems, the less creative we become, the less critical we become, and the less of our human faculties for reason we use. There's something sad about that, but there's also something dangerous about it because that leaves us very open to being manipulated. The surveillance capitalism kind of economy of extracting data from every possible moment of everyday life in order to extract value. The sensor systems that we're surrounded with are not simply passive devices that are recording us; they are increasingly becoming active sculptors of our experience of reality. Playing dirty.If we look at the entire history of the human experience, if you saw some text or you heard some spoken language, you could 100 percent reliably infer that there was a human who created that. Our experience of having that text or that image generated for us is very akin to the experience of a magic trick, and we sort of pre-subconsciously want to attribute some kind of intelligence to what's going on on the other side.I'm trying to think about these other media strategies, whether that's UFO photography, psychological operations, magic, or neuroscience, and take them seriously as contributing factors to the changing visual culture. With the collection at Pace Gallery, (New York, Jun 26–Aug 15) it was really just to put those images together and show them. They're all photographed on film. A lot of them are photographed on instant film. They're not images that are made with AI; they're not images that are photoshopped. What I really wanted to get at was thinking about the ways in which what we see in an image is very often what we're predisposed to see. I am playing with these mechanics of perception and proposing that as a way of thinking about images now.At the core of the work is that sense of curiosity, that sense of joy, that sense of beauty, and that sense of learning. I've been fortunate to have all kinds of strange and interesting experiences, whether that's seeing weird things in the sky over secret military bases in the middle of the Nevada desert, going scuba diving and finding internet cables on the bottom of the ocean, or tracking spy satellites in the sky and being able to predict when they'll appear in a flash against the backdrop of stars. The world around us is extraordinary and embodied, right? It is not on screens, and I'm very privileged to have that be so much a part of my process.”Trevor Paglen is an artist whose work makes the invisible visible, whether he's photographing secret government sites from miles away or revealing the hidden infrastructures of mass surveillance. He's a geographer by training, and he combines investigative journalism with his art practice to explore the hidden power structures of our time, including military technology and artificial intelligence. His work has been exhibited in major museums around the world, and he's also an award-winning author. His exhibitions, like 'The Black Sites' and 'Limit Tele-photography,' have earned him critical acclaim, including a MacArthur Fellowship. He's recently opened a new exhibition at Pace Gallery in New York called Cardinals, which delves into the intriguing connections between UFO sightings, AI, and the spread of disinformation.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Studying oysters can help us understand how Connecticut’s shoreline is changing. Studying lizards can help us understand the history of life on our planet. Biologists research living organisms. And in doing so, they help us understand not only ourselves, but also the way our lives are intertwined with those of every other species. This hour— Connecticut biologists tell us how their work helps us see what’s going on in the world around us. We'll discuss everything from how someone growing up in New York City could become fascinated by nature to the impact of federal funding cuts on research. GUESTS: Martha Muñoz: Assistant Professor in the Department of Ecology and Evolutionary Biology at Yale University, Assistant Curator of Vertebrate Zoology at the Yale Peabody Museum and recipient of a 2024 MacArthur Fellowship. Maria Rosa: Assistant Professor of Biology at Connecticut College. See omnystudio.com/listener for privacy information.

Dr. Ibram X. Kendi⁠ is the author of many highly acclaimed books including STAMPED FROM THE BEGINNING: The Definitive History of Racist Ideas in America, which won the National Book Award for Nonfiction. In 2020, Time magazine named Dr. Kendi one of the 100 most influential people in the world. Dr. Kendi was awarded a 2021 MacArthur Fellowship, popularly known as the Genius Grant. In this interview, we are discussing his book HOW TO RAISE AN ANTIRACIST. His latest book for young readers is called MALCOM LIVES and you can buy it here. In this interview, Dr. Kendi explains: why caregivers cannot protect young people from racism by ignoring what's happening to our children why teaching antiracism is the best way to protect our children from racism's harms why children have an easier time understanding these ideas than we might think how putting off conversations about race, or giving kids the message that racism is unmentionable, can make our children prey to more sinister messaging It is never too early, or too late, to start raising our kids to be antiracist. Get ⁠How To Raise An Antiracist⁠ in our Bookshop store: https://bookshop.org/a/12099/9780593242537 and find out more on Dr. Kendi's website: https://ibramxkendi.com We love the sponsors that make this show possible! You can always find all the special deals and codes for all our current sponsors on our website: ⁠⁠⁠⁠https://www.whatfreshhellpodcast.com/p/promo-codes/⁠⁠⁠⁠ mom friends, funny moms, parenting advice, parenting experts, parenting tips, mothers, families, parenting skills, parenting strategies, parenting styles, busy moms, self-help for moms, manage kid's behavior, teenager, tween, child development, family activities, family fun, parent child relationship, decluttering, kid-friendly, inclusive, inclusivity , anti-racism, racism, race, anti-racist education Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode Notes S6E22- Join us as we dive into the mind of leading historian Stephen Pyne. He'll be in the house talking all things fire & ice and much much more. Stephen is an emeritus professor at Arizona State University, specializing in environmental history, the history of exploration, and especially the history of fire. Pyne received his bachelor's degree at Stanford University after graduating from Brophy College Preparatory, a Jesuit high school, in Phoenix, Arizona. He later attained his master's (1974) and Ph.D. degrees (1976) at the University of Texas at Austin, receiving a MacArthur Fellowship in 1988. He also received a summer Fulbright Fellowship to Sweden, was awarded two National Endowment for the Humanities Fellowships, and had two tours at the National Humanities Center. He was a professor at Arizona State University from 1985 to 2018. Pyne spent fifteen seasons as a wildland firefighter at the North Rim of Grand Canyon National Park between 1967 and 1981, twelve as crew boss. He later spent the summers of 1983–85 writing fire plans for Rocky Mountain and Yellowstone national parks. HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com Follow our guest https://www.stephenpyne.com/ https://en.wikipedia.org/wiki/Stephen_J._Pyne Toking with the Dead: https://www.stilltoking.com/ ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 ————————————— Produced by Leo Pond and The Dorkening Podcast Network MORE ABOUT THE GUEST: Since the 1982 publication of his second book, Fire in America, Pyne has become an authority on the history and management of fire, cataloging the fire histories of Australia, Canada, Europe (including Russia), Mexico, and the overall planet. He has written and co-authored three textbooks on landscape fires and their management. His 2015 book Between Two Fires and nine-volume series of regional fire reconnaissances,To the Last Smoke, update his earlier history of US fire, surveying events from 1960 to 2013. He is frequently asked to provide historical and comparative context for current fire-related issues. Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/0db52677-8f63-42b1-9a07-7f850b66a225

Why does a society that depends so much on nannies, caregivers, and home-care workers offer them so little in return? What does this reflect about modern culture and the values it espouses? How can we elevate caregiving into a much-valued pursuit in society?And what drives certain individuals to become changemakers and dedicate their whole lives to serving others? Find out from Ai-jen Poo, exclusively in conversation with Dr. Hitendra Wadhwa on Intersections Podcast.Ai-jen Poo is a next-generation labor leader, an award-winning organizer, and a leading voice in the women's movement. She is the President of the National Domestic Workers Alliance, a non-profit organization that works to win respect, recognition, and labor rights and protections for the nearly 2.5 million nannies, house cleaners, and homecare workers across America; Executive Director of Caring Across Generations, a national organization of family caregivers, care workers, disabled people, and aging adults working to transform the way we care in this country, and a trustee of the Ford Foundation. Recently, she served as a commissioner on President Biden's Advisory Commission on Asian Americans, Native Hawaiians and Pacific Islanders. Ai-jen has been recognized among Fortune's World's 50 Greatest Leaders and Time's 100 Most Influential People, and received a MacArthur Fellowship, commonly known as a “Genius Grant.” A nationally recognized expert on the care economy, Ai-jen has authored the celebrated book The Age of Dignity: Preparing for the Elder Boom in a Changing America.In this episode, Ai-jen reveals:- Why some people devote their lives to serving others, and what they gain in return- What changes when we organize not from rage, but from love- Elevating caregiving to a central pillar in our society's values

Han Ong reads his story “Happy Days,” from the June 30, 2025, issue of the magazine. The recipient of a MacArthur Fellowship and the Berlin Prize, Ong is the author of more than a dozen plays and two novels, “Fixer Chao” and “The Disinherited.” Learn about your ad choices: dovetail.prx.org/ad-choices

Novelist Jonathan Lethem is the author of Girl In Landscape, Chronic City, and Brooklyn Crime Novel, as well as ten other novels. His stories and essays have been collected in seven volumes. His fifth novel, Motherless Brooklyn, won the National Book Critic's Circle Award, and he has been the recipient of The Berlin Prize and a Macarthur Fellowship among other honors. He lives in Los Angeles and Maine.He and Zuckerman discuss writing stories about Art, growing up as a child of a painter, where freedom is found, mirroring the world, doing his tricks, looking, kinship and generation, waiting and wondering, play, denial of independence, and memory and savoring!

Revered by some, vilified by others, Ibram X. Kendi is America's most controversial anti-racism scholar. In this wide-ranging and frank conversation, the bestselling author of How to Be an Anti-Racist discusses his foundational (and republished) 2012 book The Black Campus Movement, drawing parallels between 1960s student activism and today's Gaza protests. Kendi argues critics deliberately misrepresent his work to "make me into this boogeyman" and keep people from engaging with evidence-based scholarship on racism. Despite facing accusations of being a "fraud," Kendi remains committed to his mission, particularly in his upcoming role at Howard University, where he'll direct a new Institute for Advanced Study. Five Key Takeaways * History Repeating: Kendi argues that today's campus protests over Gaza mirror 1960s Black student activism, with opponents using similar talking points to undermine anti-racist efforts on college campuses.* The "Boogeyman" Strategy: Kendi believes his critics deliberately misrepresent his work to make him seem "scary" and keep people from engaging with his evidence-based scholarship on racism, rather than addressing his actual arguments.* Campus Activism Then vs. Now: Key differences between the 1960s and today include the federal government now working to "re-segregate" campuses rather than desegregate them, and the presence of campus police forces that can suppress demonstrations.* Indirect Racism: Kendi argues that modern racism operates indirectly—when people deny that racist policies exist while racial disparities persist, they're implicitly suggesting that Black people are inferior, just without saying it explicitly.* New Chapter at Howard: After facing controversy and criticism, Kendi is moving from Boston University to historically Black Howard University to direct a new Institute for Advanced Study focused on rigorously studying racism.DR. IBRAM X. KENDI is a National Book Award-winning author of seventeen books for adults and children, including eleven New York Times bestsellers. Dr. Kendi is the Andrew W. Mellon Professor in the Humanities at Boston University, and the director of the BU Center for Antiracist Research. In the summer of 2025, he will join Howard University as Professor of History and Director of its newly established Howard Institute for Advanced Study. Dr. Kendi is the author of Stamped from the Beginning: The Definitive History of Racist Ideas in America, which won the National Book Award for Nonfiction, making him the youngest author to win that award. He also authored the international bestseller, How to Be an Antiracist, which was described in the New York Times as “the most courageous book to date on the problem of race in the Western mind.” Dr. Kendi's other bestsellers include How to Raise an Antiracist and Antiracist Baby, illustrated by Ashley Lukashevsky. In 2020, Time magazine named Dr. Kendi one of the 100 Most Influential People in the world. He was awarded a 2021 MacArthur Fellowship, popularly known as the Genius Grant. His newest book is Malcolm Lives! It is the first major biography of Malcolm for young readers in more than thirty years. It appeared in May 2025 on the centennial of Malcolm's birth and debuted on the New York Times bestseller list.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

For the Season 3 finale—and the series finale—of "Barbara London Calling," Barbara speaks with artist María Magdalena Campos-Pons. Born in 1959 in Matanzas, Cuba, Magda recently received the ARTnews Lifetime Achievement Award for her contributions to art. Last year, she was honored with a MacArthur Fellowship, and she is currently the Cornelius Vanderbilt Endowed Chair Professor of Fine Arts at Vanderbilt University.

Ocean Vuong's debut novel On Earth We're Briefly Gorgeous placed him in an elite club of American writers. He teaches at NYU and is the recipient of a MacArthur Fellowship, among many other honors. But before all this, the author was raised by working-class Vietnamese immigrant parents in Hartford, Connecticut. Vuong's new novel The Emperor of Gladness takes place in a similar environment and centers on an unlikely friendship between a 19 year-old college dropout named Hai and an 82-year-old with dementia named Grazina. In today's episode, Vuong joins NPR's Ari Shapiro for a conversation about reframing our view of the United States and the American dream, describing ugly things in a beautiful way, and Vuong's experience working in close quarters at a fast food restaurant.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ocean Vuong is the author of the novel The Emperor of Gladness, available from Penguin Press. Ocean's other books include the critically acclaimed poetry collections Night Sky with Exit Wounds and Time Is a Mother, as well as the New York Times bestselling novel On Earth We're Briefly Gorgeous. A recipient of the MacArthur Fellowship and the American Book Award, he used to work as a fast-food server, which inspired The Emperor of Gladness. Born in Saigon, Vietnam, he currently splits his time between Northampton, Massachusetts, and New York City. *** ⁠⁠Otherppl with Brad Listi⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠YouTube⁠⁠, etc. Subscribe to ⁠⁠Brad Listi's email newsletter⁠⁠. ⁠⁠Support the show on Patreon⁠⁠ ⁠⁠Merch⁠⁠ ⁠⁠Twitter⁠⁠ ⁠⁠Instagram⁠⁠  ⁠⁠TikTok⁠⁠ ⁠⁠Bluesky⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠proud affiliate partner of Bookshop⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Practice teaches us to have faith in the process,” says Andrea Barrett, National Book Award winning author. In this episode of Emerging Form, we speak with her about her newest book, Dust and Light: On the Art of Fact in Fiction. It's one of the most metaphor-rich, process-curious shows we've had yet. We explore the joys of rabbit holes, the importance of not knowing what we are looking for, the inevitability of false starts (and how to let go of the work we've done), why we shouldn't worry about writing unreadable first drafts, how to develop the muscle of intuition, and the questionable wisdom of how we teach creative writing.Andrea Barrett is the author of the National Book Award-winning Ship Fever, Voyage of the Narwhal, Servants of the Map, Natural History, and other works of fiction. She has received a MacArthur Fellowship, a Guggenheim Award, an Award in Literature from the American Academy of Arts and Letters, an NEA Fellowship, and the Rea Award for the Short Story, and been a finalist for the Pulitzer Prize. She lives in the Adirondacks. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe

Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. And buddy, he's also a fantastic and empathetic guest who we have a blast talking to! That's right, MacArthur Fellowship recipient and the author of poetry collections like The Crown Ain't Worth Much and A Fortune for Your Disaster as well as essay collections like They Can't Kill Us Until They Kill Us and books like Go Ahead In The Rain: Notes To A Tribe Called Quest, is on the pod today, and folks, class is in session! Hanif talks about dating in the Columbus punk scene, being "the mural guy", musical obsessions and romance, long-distance dating soundscapes and of course, why High Fidelity sucks! (And SO MUCH MORE!) PLUS, obvi, we answer YOUR advice questions! If you'd like to ask your own advice questions, call 323-524-7839 and leave a VM or just DM us on IG or Twitter!*Donate to displaced black families of the LA fires here*ALSO BUY A BRAND NEW CUTE AF "Open Your Hearts, Loosen Your Butts" mug! And:Support the show on Patreon (two extra exclusive episodes a month!) or gift someone a Patreon subscription! Or get yourself a t-shirt or a discounted Quarantine Crew shirt! And why not leave a 5-star review on Apple Podcasts? Or Spotify? It takes less than a minute! Follow the show on Instagram! Check out CT clips on YouTube!Plus some other stuff! Watch Naomi's Netflix half hour or Mythic Quest! Check out Andy's old casiopop band's lost album or his other podcast Beginnings!Theme song by the great Sammus! Hosted on Acast. See acast.com/privacy for more information.

Edward Hirsch joins Kevin Young to read, “96 Vandam,” by Gerald Stern, and his own poem “Man on a Fire Escape.” Hirsch's honors include a MacArthur Fellowship, a National Book Critics Circle Award, the Pablo Neruda International Presidential Medal of Honor, and a National Jewish Book Award. Learn about your ad choices: dovetail.prx.org/ad-choices

Why This Episode Is a Must-Watch In a world where financial decisions can be deeply influenced by emotions and biases, understanding how these factors play a role in investment strategy is crucial. This episode of “Inspired Money” dives deep into behavioral finance to uncover the predictable irrationality in our investment choices. Are you letting fear and greed drive your financial decisions? Discover strategies to navigate biases and invest more rationally by tuning in. Meet the Expert Panelists Colin Camerer is a pioneering behavioral economist and neuroeconomist known for integrating psychology and neuroscience into economic decision-making. As the Robert Kirby Professor of Behavioral Finance and Economics at Caltech, he researches neuroeconomics, behavioral game theory, decision science, and the neuroscience of economic choices, earning him a MacArthur Fellowship in 2013 and an honorary doctorate from the Stockholm School of Economics in 2019. Tom Howard is a pioneer in behavioral finance, best known for founding AthenaInvest and authoring the influential book Behavioral Portfolio Management. With over 35 years in academia and finance, he developed a groundbreaking approach that challenges traditional investment theory by focusing on how investors actually behave, revolutionizing portfolio management through a behavioral data-driven strategy. Annika Echarti, CFP® is a financial coach specializing in behavioral finance and financial psychology. With a background in accounting, law, and economics, she helps self-employed individuals and small business owners align their financial decisions with their goals and values, focusing on both practical strategies and the psychology behind money habits. Megan McCoy, Ph.D., LMFT, AFC®, CFT™ is an Assistant Professor at Kansas State University's Department of Personal Financial Planning, where she specializes in financial therapy, financial well-being, and the dynamics of couples' financial interactions, and has published extensively on these topics while also contributing as a board member of the Financial Therapy Association and co-editor of the Financial Planning Review. Key Highlights: Cognitive Biases Unveiled: According to Colin Camerer, “Fear and greed are real and are actually in the brain.” He explains how these emotions manifest during market bubbles, revealing deep insights into investor behavior. Recognizing these mental states can help investors maintain discipline amidst market fluctuations. The Power of Planning: Tom Howard highlights that “myopic loss aversion is the most important mistake that investors make,” emphasizing the role of structured investment plans and predefined sell rules. By anchoring decisions to clear guidelines, investors can mitigate the biases that lead to costly errors. Aligning Financial Decisions with Values: Annika Echarti stresses the significance of aligning financial choices with personal values to overcome emotional biases. This strategic alignment helps investors make decisions that not only benefit their portfolios but also align with their life goals. The Role of Emotional Intelligence: Megan McCoy advocates for the development of emotional intelligence to recognize financial biases. Through self-awareness and exercises like the money egg, investors can unpack early money-related experiences to better understand their current biases. Call-to-Action Here's what I want you to do: the next time you're about to make an investment decision—pause. Ask yourself: Is this decision based on a solid strategy, or is it driven by emotion? Write down your reasoning before taking action. Even just becoming aware of your thought process can help you make smarter choices. Let's start investing more intentionally and less emotionally. Let me know in the comments—what's one bias you've noticed in your own financial decisions? Find the Inspired Money channel on YouTube or listen to Inspired Money in your favorite podcast player. Andy Wang, Host/Producer of Inspired Money

Marin Alsop is a world-renowned conductor and the first woman to lead major orchestras internationally. The subject of the Emmy-nominated documentary "The Conductor” and formerly Music Director of the Baltimore Symphony Orchestra, she's Chief Conductor of the ORF Vienna Radio Symphony Orchestra and the Ravinia Festival, and Principal Guest Conductor of the Philharmonia Orchestra and the Philadelphia Orchestra. She has recorded 200+ titles and is the only conductor to receive a MacArthur Fellowship.In this episode, we explore:How giving people max autonomy drives performance How to balance elite talent with team cohesionTheories on talent selection to build top teamsThe "no shortcuts" practice philosophy This episode is great for anyone building teams. It offers powerful insights on creating excellence at scale, balancing autonomy with accountability, and fostering self-motivation. Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

Description: Jen first met Tressie McMillan Cottom the way most normal people meet – under the bright lights on the set of an Oprah special, invited by Ms. Winfrey to speak on a panel, along with other influential voices including Rebel Wilson, Amber Riley, Katie Sturino, Jamie Kern Lima, Busy Philipps and others to talk about diet culture, the harmful narratives we have surrounding our weight and our bodies, and how we can begin reframing the conversation away from one centered in shame to one focused on body acceptance. The entire studio was gobsmacked by Tressie which is fitting given that she is a prominent cultural commentator and Professor at UNC Chapel Hill. Her work explores the loaded and nuanced ideas like racial capitalism, beauty standards, the exploitation of higher education systems, but in a way that we ordinary Joe's can understand. We knew immediately that she was destined to be a guest on our show and today is the day. Segments: Bless & Release: The News Cycle *** Thought-provoking Quotes: I think every life has a trauma so there's nothing really special about mine. But whatever your trauma is, you are usually faced with a decision, which is, do I want to be who I was before this or am I going to be something different? – Tressie McMillan Cottom I love really hard questions. I am my happiest, most connected, most joyful, when I am trying to disentangle a really hard social problem that I think everybody has got wrong. I'm really attracted to those things where our beliefs are totally counter-intuitive, where our gut is telling us something is there but the picture is fuzzy, and I think I'm attracted to that because my path was so abnormal and so unique and I know that I wouldn't have existed if people had just gone along with what was supposed to be. – Tressie McMillan Cottom I thought my grandmothers sounded as intelligent as my professors and so I really struggled with the idea that there was something counterfeit or illegitimate about them and their stories and the things that I had learned from them. - Tressie McMillan Cottom History is weirdly comforting when we can look at our worst impulses and know this isn't the first time we've faced this level of chaos and inequality and systemic injustice. It's just our generation's turn. – Jen Hatmaker Resources Mentioned in This Episode: Leave us a voicemail- https://jenhatmaker.com/podcast/ Click the “Send Voicemail” tab on the right side of the page Pantsuit Politics - https://www.pantsuitpoliticsshow.com/ Allison Gill - https://allisongill.com/ The Daily Beans | News with Swearing - https://www.dailybeanspod.com/ Lower Ed: The Troubling Rise of For-Profit Colleges in the New Economy by Tressie McMillan Cottom - https://amzn.to/4hv6dPF Thick: And Other Essays by Tressie McMillan Cottom - https://amzn.to/3Co8gWX Dr. Tressie McMillan Cottom's New York Times newsletter - https://www.nytimes.com/by/tressie-mcmillan-cottom Tressie's MacArthur Fellowship - https://www.macfound.org/fellows/class-of-2020/tressie-mcmillan-cottom Oprah + Weight Watchers: Making the Shift special - https://www.weightwatchers.com/makingtheshift/?srsltid=AfmBOortVultNvf8Oy7KWezSW1X6uVsvMm9ziScOvAzxUg3XsWQ_2H44 Guest's Links: Dr. Cottom's website - https://tressiemc.com/ Dr. Cottom's Instagram - https://www.instagram.com/tressiemcphd/ Dr. Cottom's Twitter - https://x.com/tressiemcphd Dr. Cottom's Facebook - https://www.facebook.com/tressiemcmillancottom/ Dr. Cottom's podcast - https://tressiemc.com/podcast/  Connect with Jen! Jen's website - https://jenhatmaker.com/ Jen's Instagram - https://instagram.com/jenhatmaker Jen's Twitter - https://twitter.com/jenHatmaker/ Jen's Facebook - https://facebook.com/jenhatmaker Jen's YouTube - https://www.youtube.com/user/JenHatmaker The For the Love Podcast is presented by Audacy.  To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Trevor and Christiana speak with professor, sociologist, and MacArthur Fellowship winner Ruha Benjamin about some of the pressing political and social issues of the day. The three discuss whether DEI initiatives are in fact valuable and how the world will look without them, why universities honor people whose voices they've previously tried to silence, and how best to navigate a world that was not built for us. Can the three collectively imagine a better world order? Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today's episode ofThe Eric Ries Show, I am joined by Luis von Ahn, CEO and co-founder of Duolingo. With Duolingo, his mission was simple: make language learning accessible to everyone—not to build a for-profit company. Fast forward to today, and Duolingo has grown into a $17 billion business with a reported 90% of the online daily active users in the language learning market. In our conversation today, we discuss the following topics: • How hiring an intern led to Duolingo's viral mascot • Duolingo's revenue strategy that helped their stock be up over 100% in the past year• How only 10% of users pay but make about 30% of the revenue in the education app category• The newly published Duolingo Handbook and its critical role within the company• How turning learning into a game changed everything • Why Duolingo spent the first five years focusing on improving retention • Duolingo's unique approach to experimentation and how to apply it • Why Duolingo isn't focused on market investors but on building a 100-year company • And much more!—Brought to you by:• Wilson Sonsini – Wilson Sonsini is the innovation economy's law firm.Learn more.—Where to find Luis von Ahn:• LinkedIn:https://www.linkedin.com/in/luis-von-ahn-duolingo/• X:https://x.com/luisvonahn—Where to find Eric:• Newsletter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ericries.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • Podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ericriesshow.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • YouTube:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@theericriesshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ —In This Episode We Cover:(00:00) Intro(03:10) How Duolingo's passive-aggressive mascot, Duo, became an internet sensation(09:21) Why Luis took a chance on the Duo campaign—despite his doubts(11:30) Take the long view: Duolingo's principle to build a lasting brand(12:52) Duolingo's commitment to excellence (14:54) Luis's journey to entrepreneurship (18:28) Luis's MacArthur Fellowship “genius” award (20:13) The inspiration behind Duolingo's mission and how they stay in alignment with it(26:16) Early learnings that shaped Duolingo into a fun product (29:14) How Duolingo gained an edge over Rosetta Stone(32:45) How a company with no revenue can be worth a billion dollars (33:10) The VC who pushed Luis and Severin to monetize (36:05) How Duolingo stays focused on long-term sustainability (40:12) A mistake Duolingo made by focusing on the quarter rather than long term (42:15) The importance of trust and “the cultural bank”(44:11) Duo class shares and ways Duolingo resists hyper-monetization (46:30) A case for staying under-monetized (48:23) Why Duolingo wrote a handbook, and the process of creating it(54:00) The cadence of evaluating the relevance of the handbook (55:01) Eric's “two-way reviews” (58:34) An explanation of Duolingo's “green machine” (1:01:42) Product reviews and a/b testing at Duolingo (1:06:32) Why Duolingo takes a stance against MVPs in their handbook(1:10:07) How Duolingo's v1 meets Eric's definition of MVP(1:11:45) Duolingo's early strategy focused on retention (1:16:22) Duolingo's testing philosophy (1:18:13) Lightning round—You can find the transcript and references at⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.ericriesshow.com/⁠⁠⁠⁠⁠⁠⁠⁠—Production and marketing by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://penname.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Eric may be an investor in the companies discussed.

How do you start to make change happen with people when you'd rather call them out or cancel them altogether? Are calling out or cancelling ever effective? And...is there a different way to actually make change happen (that minimizes the chances of burning out or losing your mind in the process)? Today on the WANTcast we are talking to LEGENDARY human rights activist Loretta J. Ross, author of the new book CALLING IN: How To Start Making Change With Those You'd Rather Cancel. In this groundbreaking conversation, we'll talk about: The 5-C continuum of Calling In, Calling Out, Calling On, Cancelling, and Calling it Off How to do better "threat assesments"  Loretta's pivotal moment and first "calling in" experience with people who seemed the most unlikely to want to change How to turn potential conflict into conversation and more!! **CW: this conversation contains mention of rape **Want to read along? Check the "transcript" option in your podcast player! BIO: Loretta J. Ross is an activist, professor, and public intellectual. In her five decades in the human rights movement, she's deprogramed white supremacists, taught convicted rapists the principles of feminism, and organized the second-largest march on Washington (surpassed only by the 2017 Women's March). A cofounder of the National Center for Human Rights Education and the SisterSong Women of Color Reproductive Justice Collective, her many accolades and honors include a 2022 MacArthur Fellowship and a 2024 induction into the National Women's Hall of Fame. Today, Ross is an associate professor at Smith College in Northampton, Massachusetts, and a partner with 14th Strategies Consultants, with which she runs “Calling In” training sessions at organizations around the country. Loretta has co-written three books on reproductive justice: Undivided Rights: Women of Color Organize for Reproductive Justice in 2004; Reproductive Justice: An Introduction in March 2017; and Radical Reproductive Justice: Foundations, Theory, Practice, Critique in October 2017. Her newest book, Calling In: How to Start Making Change with Those You'd Rather Cancel is available TODAY, wherever books are sold. ~ SHOW NOTES: Website Loretta's TED Talk Get your copy of CALLING IN Calling In courses + education Instagram ~ Subscribe to WANT on Substack Join THE WANT COMMUNITY Buy your copy of WANT YOUR SELF here  (Reading WYS for the new year in your book club? Email me at katie@womenagainstnegativetalk.com and let me know! Follow Katie on Instagram Love the WANTcast? We would be so grateful if you would SUBSCRIBE, RATE, and REVIEW the pod on iTunes!

Han Ong reads his story “Ming,” from the January 20, 2025, issue of the magazine. The recipient of a MacArthur Fellowship and the Berlin Prize, Ong is the author of more than a dozen plays and two novels, “Fixer Chao” and “The Disinherited.” Learn about your ad choices: dovetail.prx.org/ad-choices

Today's poem punctuates the precious value of time spent with family around food. Happy reading.Jacqueline Woodson received a 2023 Guggenheim Foundation Fellowship, a 2020 MacArthur Fellowship, the 2020 Hans Christian Andersen Award, the 2018 Astrid Lindgren Memorial Award, and the 2018 Children's Literature Legacy Award. She was the 2018–2019 National Ambassador for Young People's Literature, and in 2015, she was named the Young People's Poet Laureate by the Poetry Foundation. She received the 2014 National Book Award for her New York Times bestselling memoir Brown Girl Dreaming, which was also a recipient of the Coretta Scott King Award, a Newbery Honor, the NAACP Image Award, and a Sibert Honor. She wrote the adult books Red at the Bone, a New York Times bestseller, and Another Brooklyn, a 2016 National Book Award finalist. Born in Columbus, Ohio, Jacqueline grew up in Greenville, South Carolina, and Brooklyn, New York, and graduated from college with a B.A. in English. She is the author of dozens of award-winning books for young adults, middle graders, and children. She lives with her family in Brooklyn, New York.-bio via Penguin Random House Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

I am so excited to say that my guest on the GWA Podcast is one of the world's most renowned artists, Shahzia Sikander. Working across painting, sculpture, drawing, and animation, the Lahore-born, New York-based Sikander is widely celebrated for her work that subverts tradition and reclaims narratives – such as her subverting of Central and South-Asian manuscript painting and launching the form known today as neo-miniature. A holder of a B.F.A. in 1991 from the National College of Arts (NCA) in Lahore, it was Sikander's breakthrough work, The Scroll, 1989–90, that received national critical acclaim in Pakistan and brought international recognition to the medium in contemporary art practices in the 1990s. Life then took her to the US, where she received, in 1995, her M.F.A. at the Rhode Island School of Design. Over the subsequent twenty plus years, Sikander's practice – which has expanded into multiple mediums – has been pivotal in showcasing art of the South Asian diaspora as a contemporary American tradition. Solo exhibitions include at the Museum of Fine Arts, Houston in Texas; the Morgan Library and Museum in New York; accolades include the Pollock Prize for Creativity, a medal of Art by the U.S. Department of State, and a MacArthur Fellowship; she is in the collections of all major national and international museums, and she is currently an adjunct professor for Fall of 2024 at Columbia University, Sikander's major outdoor project, NOW, an 8-foot bronze female sculpture, is permanently installed on the roof of the Appellate Courthouse in Manhattan. An accompanying 18-foot female sculpture, Witness, was exhibited in Madison Square Park in 2023, which then travelled to Houston – something we will get into later on in this episode. Her interdisciplinary practice, that has focussed on hybridised female figures that references goddesses from all different global perspectives, offers a perspective that breaks down all borders, disrupts assumptions around art historical boundaries. It is groundbreaking, trailblazing – and I can't wait to find out more. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Dr. Rebecca Wattam is a Research Associate Professor in the Network Dynamics and Simulation Science Laboratory within the Biocomplexity Institute of Virginia Tech. Rebecca is the outreach and biology lead for a bioinformatics research center that scientists use to share and analyze their data on bacteria and bacterial genomes. This research center was originally funded to study bacteria that can make us sick in order to develop vaccines, identify drug targets, and predict outbreaks of illnesses. However, there are a lot of beneficial types of bacterial that are also now being studied based on their use for fermentation, alternate energy sources, probiotics, and other purposes. Rebecca is particularly interested in examining the similarities and differences between groups of bacteria. Living in Blacksburg, Virginia, Rebecca is close to the beautiful Appalachian Trail. She spends much of her free time hiking, canoeing, exploring the outdoors, and watching the wildlife. Rebecca received her B.S. and M.S. degrees from the University of New Mexico in Biology. Next, she attended the University of Wisconsin-Madison where she earned a joint Ph.D. degree in Entomology and Veterinary Science. Rebecca received a MacArthur Fellowship to conduct postdoctoral research at the University of Arizona in Tucson, and she completed a second postdoctoral fellowship there as well before accepting a position on the faculty at Virginia Tech. In our interview, Rebecca speaks more about her experiences in life and science.

Aleksandar Hemon joins Deborah Treisman to read and discuss “Drinking Coffee Elsewhere,” by ZZ Packer, which was published in The New Yorker in 2000. Hemon, a winner of a MacArthur Fellowship and a PEN/W. G. Sebald Award, among others, is the author of eight books, including the novels “The Lazarus Project” and “The World and All It Holds,” the story collection “Love and Obstacles,” and two nonfiction works, “The Book of My Lives” and “My Parents: an Introduction.”Share your thoughts on The New Yorker's Fiction Podcast. As a token of our appreciation, you will be eligible to enter a prize drawing up to $1,000 after you complete the survey.https://selfserve.decipherinc.com/survey/selfserve/222b/76152?pin=1&uBRANDLINK=4&uCHANNELLINK=2

Richard Powers is the author of fourteen novels, including Bewilderment, The Overstory, and Orfeo.  He is the recipient of a MacArthur Fellowship, the Pulitzer Prize, and the National Book Award.  He lives in the foothills of the Great Smoky Mountains. His new novel is called Playground. We talked about the ocean, plot and games, the structure of Playground, beguiling endings, water, play, the game Go, science and spirituality, immortality and talking to the dead. Learn more about your ad choices. Visit megaphone.fm/adchoices

Warren (1905-1989) was born in Kentucky and educated at Vanderbilt University and the University of California, Berkeley. Though perhaps best known for his 1946 novel All the King's Men, he was the author of over a dozen books of poetry in addition to his prose work. He is the only writer to have won Pulitzer Prizes for both fiction (in 1947) and poetry (in 1958 and 1979). Warren's other honors include a Rhodes Scholarship, a Guggenheim Fellowship, the Presidential Medal of Freedom, a MacArthur Fellowship, and the National Medal of Arts. He taught at Southwestern College (now Rhodes College) in Memphis and co-authored several literature textbooks.-bio via Library of Congress Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

The human brain does a pretty amazing job of taking in a huge amount of data from multiple sensory modalities -- vision, hearing, smell, etc. -- and constructing a coherent picture of the world, constantly being updated in real time. (Although perhaps in discrete moments, rather than continuously, as we learn in this podcast...) We're a long way from completely understanding how that works, but amazing progress has been made in identifying specific parts of the brain with specific functions in this process. Today we talk to leading neuroscientist Doris Tsao about the specific workings of vision, from how we recognize faces to how we construct a model of the world around us.Support Mindscape on Patreon.Blog post with transcript: https://www.preposterousuniverse.com/podcast/2024/07/29/284-doris-tsao-on-how-the-brain-turns-vision-into-the-world/Doris Tsao received her Ph.D. in neurobiology from Harvard University. She is currently a professor of molecular and cell biology, and a member of the Helen Wills Neuroscience Institute, at the University of California, Berkeley. Among her awards are a MacArthur Fellowship, membership in the National Academy of Sciences, the Eppendorf and Science International Prize in Neurobiology, the National Institutes of Health Director's Pioneer Award, the Golden Brain Award from the Minerva Foundation, the Perl-UNC Neuroscience Prize, and the Kavli Prize in Neuroscience.Web pageLab web pageGoogle Scholar publicationsWikipediaSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Patrick Bet-David, Tom Ellsworth, and Vincent Oshana are joined by economic and Harvard University professor Roland Fryer! Roland Fryer is an American economist the youngest African American to ever receive tenure at Harvard at the age of 30. Fryer's research focuses on issues of race and inequality, particularly in education and police use of force. He's a recipient of prestigious awards like the MacArthur Fellowship and the John Bates Clark Medal. ROLAND FRYER Check out Roland Fryer's work with Equal Opportunity Ventures: https://bit.ly/49oqNg6 Read Roland Fryer's publications: https://bit.ly/3IYW8eA MERCH: Buy two PBD Podcast or Valuetainment mugs, get a third FREE! Use promo code "pbdmugs" at checkout: https://bit.ly/3TBAMsq PBD LIVE W/ TULSI GABBARD ON APRIL 25TH: ​​Purchase tickets to PBD Podcast LIVE! w/ Tulsi Gabbard on April 25th: https://bit.ly/3VmuaRm MINNECT: Connect one-on-one with the right expert for you on Minnect: https://bit.ly/3MC9IXE Connect with Patrick Bet-David on Minnect: https://bit.ly/3OoiGIC Connect with Chris Cuomo on Minnect: https://bit.ly/4caZvfJ Connect with Adam Sosnick on Minnect: https://bit.ly/42mnnc4 Connect with Tom Ellsworth on Minnect: https://bit.ly/3UgJjmR Connect with Vincent Oshana on Minnect: https://bit.ly/47TFCXq CHOOSE YOUR ENEMIES WISELY: Purchase PBD's Book "Choose Your Enemies Wisely": https://bit.ly/41bTtGD BET-DAVID CONSULTING: Get best-in-class business advice with Bet-David Consulting: https://bit.ly/40oUafz VT.COM: Visit VT.com for the latest news and insights from the world of politics, business and entertainment: https://bit.ly/472R3Mz VALUETAINMENT UNIVERSITY: Visit Valuetainment University for the best courses online for entrepreneurs: https://bit.ly/47gKVA0 TEXT US: Text “PODCAST” to 310-340-1132 to get the latest updates in real-time! YOUR NEXT 5 MOVES: Want to be clear on your next 5 business moves? https://bit.ly/3Qzrj3m ABOUT US: Patrick Bet-David is the founder and CEO of Valuetainment Media. He is the author of the #1 Wall Street Journal Bestseller “Your Next Five Moves” (Simon & Schuster) and a father of 2 boys and 2 girls. He currently resides in Ft. Lauderdale, Florida. --- Support this podcast: https://podcasters.spotify.com/pod/show/pbdpodcast/support