Podcasts about visual arts sva

Working with Editorial Art Directors with Mike SchnaidtLearn how to make Clever Conceptual Illustrations in my new Skillshare class, Drawing Ideas — https://skl.sh/40dk9rKMike Schnaidt is the Creative Director at Fast Company, an Adjunct Professor at the School of Visual Arts (SVA), and author of Creative Endurance: 56 Rules for Overcoming Obstacles and Achieving Your Goals.I picked Mike's brain about all things Editorial Illustration, and invited him to share some deep insights on how to stave off burnout and keep going as a creative from his book, Creative Endurance.IN THIS EPISODEWhat is the difference between an art director and a creative director?What is the best way to reach out to an editorial client?Is Email or a Mailer the better way to get noticed?How do art directors discover new illustrators?What is the ONE THING you need to SHINE with your editorial clients?What is the state of illustration today?Is pursuing a career as an editorial illustrator a bad move in 2025?Mike's last-minute choice to interview a total stranger he met in a coffee shop for his book — and how that changed the whole book for him.SHOW LINKSCreative Endurance (the book) — https://www.mikeschnaidt.com/creativeenduranceHelp Mike shape his next book — https://docs.google.com/forms/u/1/d/e/1FAIpQLScdjF1Kx4GDwqEdONKEvu349PCvxJUgydRLUMIdXxVLvVgWUg/viewform?usp=send_formMike's Website: https://www.mikeschnaidt.comFollow Mike on Instagram: http://instagram.com/schnaidtHOW TO SUPPORT​Share this episode with your friends on Social Media!   ​Like, Comment, Follow, Subscribe!   ​Become a $3 Fan or $8 Drawing Buddy on Patreon. Visit ⁠⁠⁠http://patreon.com/tomfroese⁠⁠⁠ to learn more.FIND ME ELSEWHERE​Work and Classes - http://www.tomfroese.com​Instagram - http://www.instagram.com/mrtomfroese​Daily Drawings - http://www.instagram.com/drawingisimportantCREDITSMusic and Cues by Mark Allan Falk - ⁠http://www.linktr.ee/semiathletic⁠⁠

After undergrad, she enrolled in the masters program Design/Designer as Author + Entrepreneur at the School of Visual Arts (SVA), studying under Steven Heller. After graduation, she worked for Graphis Magazine, New York City's Olympic bid, and Pentagram under partner Michael Bierut

On this episode, Sarah and Ian sit down with Suzanne McKenzie! Suzanne is an award-winning entrepreneur, Chief Creative Officer and designer, passionate about using design and collaboration to make the world a better place.She is Founder and CCO of Able Made, the Original Off Pitch Soccer Style brand that combines soccer-inspired apparel and accessories with responsible manufacturing and giving back.Suzanne's 24 years of experience includes work in the advertising and design consultancy worlds for numerous national and global brands, including Tom Ford, Timberland, Puma, Supergoop with Maria Sharapova, the Olympic Games, ESPN, Museum of Modern Art (MoMA), Titleist, and many more leading brands. Suzanne's Purposely Podcast on iheartradio features conversations with her Able Made creative collaborators on how they help build stronger communities.Suzanne has been on the jury for numerous international design award shows, including the 2022 One Show and the Ad Club. She was selected and recognized at the White House by President Obama as a Global Emerging Entrepreneur, and also is a Sappi Ideas that Matter North America Grant recipient. Suzanne has taught Design and Social Entrepreneurship at the School of Visual Arts (SVA) in New York City, and is Founder and Board Chair for award-winning nonprofit, Ucal McKenzie Breakaway Foundation.Her work has been featured in Business Week, Vanity Fair, Graphic Design USA, Vogue, WWD and more. Her work has been recognized by the Art Directors Club, the Hatch Show, the One Show, WebAwards, and Mobius Awards. Suzanne is a 2024 AIGA Fellows Award recipient.Listen along as they discuss her incredible brand, Able Made, and how it was inspired by the life of her late husband, Ucal McKenzie. Able Made and the foundation honor his legacy. Her creativity, genius, and hardworking ethic are apparent in all of the projects she has taken on. We loved this conversation and hope you do too! Hosted on Acast. See acast.com/privacy for more information.

Jess Xiaoyi Han is an artist born Dalian, China) has lived between New York and China for most of her life and is currently based in Brooklyn, New York. She received her BFA from School of Visual Arts (SVA) with a concentration in illustration. Working with alkyd paint, Jess utilizes an expressional color palette to create soft, organic shapes, reflecting on her inner fantasy world. Her work examines and reflects the artist's interior emotional dialogue. She has exhibited her work extensively in China, with exhibitions at Sens Gallery, Hong Kong; The Himalaya Center, Shanghai; Rusha & co, Los Angeles, Fernberger Gallery, Los Angeles; ART021 art fair, Shanghai; Sotheby's institute, NY . Most recently, Han has had her debut solo exhibition in New York City at Ross + Kramer, entitled Implosion. Han will have her third solo show with Ross & Kramer Gallery in October of 2024.

On this midweek show, Crystal welcomes back Marc Dones, CEO of the King County Regional Homelessness Authority, to catch up on how the response to the homelessness crisis is faring since their previous conversation. Marc highlights the success of using a Housing First strategy with three authority-run program centers that have moved 1,600 households inside in the last six months. The discussion then touches on the challenges of standing up the authority from scratch, building a nimble team informed by lived experience and capable of iteration in an environment that often views a pivot as failure, all while managing expectations of immediate results. Finally, Crystal and Marc talk through what's needed to scale solutions up to address the true magnitude of the problem - improving the system's durability of stay, addressing public safety in encampments through a public health approach, engaging and integrating available federal resources, and facing the necessity of compensating human service workers appropriately. As always, a full text transcript of the show is available below and at officialhacksandwonks.com. Follow us on Twitter at @HacksWonks. Find the host, Crystal Fincher, on Twitter at @finchfrii, find Marc Dones at @marcformarc and the King County Regional Homelessness Authority at @KC_RHA.   Marc Dones Marc Dones (they/them pronouns) is a social entrepreneur, policy strategist, and social justice activist with over 10 years of experience in equitable systems transformation. Prior to taking on the role of inaugural CEO for the King County Regional Homelessness Authority, Marc was the founder and Executive Director of the National Innovation Service (NIS), a consulting firm that helps governments redesign their approaches to supporting marginalized populations. Marc has also held leadership roles in social impact, policy and program design, and continuous improvement at the Center for Social Innovation (C4 Innovations), and is a faculty member at the School of Visual Arts (SVA). Marc holds a degree from NYU in Psychiatric Anthropology and is an experienced equity trainer.    Resources King County Regional Homelessness Authority   Year In Review: 2022 | King County Regional Homelessness Authority   Draft 5-Year Plan | King County Regional Homelessness Authority   “Ending homelessness in King County will cost billions, regional authority says” by Greg Kim from The Seattle Times   “The Cost of Solving Homelessness: Dones Calls the Bluff” by Kevin Schofield from Post Alley   “Study: Human Service Wages Are Even Worse Than You Imagined” by Erica Barnett from PubliCola   Transcript [00:00:00] Crystal Fincher: Welcome to Hacks & Wonks. I'm Crystal Fincher and I'm a political consultant and your host. On this show, we talk with policy wonks and political hacks to gather insight into local politics and policy in Washington State through the lens of those doing the work with behind-the-scenes perspectives on what's happening, why it's happening, and what you can do about it. Be sure to subscribe to the podcast to get the full versions of our Friday almost-live shows and our midweek show delivered to your podcast feed. If you like us, the most helpful thing you can do is leave a review wherever you listen to Hacks & Wonks. Full transcripts and resources referenced in the show are always available at officialhacksandwonks.com and in our episode notes. Today I am excited to be welcoming back to the program, the CEO of the King County Regional Homelessness Authority, Marc Dones. The Homelessness Authority is tasked with the coordination, funding, and creation of policy for homeless response services in Seattle and King County. Welcome to the program, Marc. [00:01:12] Marc Dones: Thanks for having me, Crystal. [00:01:14] Crystal Fincher: So as the CEO of the King County Regional Homelessness Authority, you have had quite the task on your hands. This is a crisis that we are dealing with here - that so many areas across the country are dealing with - and so many intersecting issues are at play here. Since the last time we spoke, what has been working and where does the work stand right now? [00:01:39] Marc Dones: It's a great opening question. I think what has been working predominantly is the authority's sort of all-hands-on-deck approach. So we have really only three new things that we are currently running that are fully conceptualized and deployed by authority current staff. And the first is our emergency housing voucher program, in partnership with the three housing authorities. The second is our Partnership for Zero work, which is focused on addressing unsheltered homelessness in the downtown core of Seattle. And then the third is our right of way work, which is focused on encampments that are in state rights of way and was funded out of proviso that the Legislature and Governor Inslee crafted in the last legislative session. Most other programming, other than some sort of nips and tucks - so to speak - around the edges are largely functioning as they have functioned for the last five, six years - as the authority prepares to rebid all of those things this year, at which point there will be substantive changes in how those things function. But what we're seeing in those three new program centers is quite a bit of success. The big differences, I think, are that we have oriented the engagement that we do with unsheltered folks to bringing them directly either into housing or emergency housing. And I know that sounds like a - why wasn't that happening? But for a lot of reasons that are confusing and wonky, the outreach teams have not historically been well connected to shelter availability, let alone housing placements. And so by restructuring these program centers to have an explicit focus on - how does the conversation you're having translate to someone coming inside, preferably to permanent housing, we have seen a really significant shift. And so with our emergency housing voucher program, for example, we have the most successful - really in the country. We've utilized all of the vouchers that were allocated. We are in fact oversubscribed. A lot of that was through a really innovative approach to how we executed our initial over-80 MOUs with community serving organizations, some large service providers, some very tiny sort of mutual aid style groups that were right there. They were already talking to people, right? So rather than setting up a more centralized disbursement mechanism, like doing a very standardized bureaucratic thing of saying, You come to me to get your voucher. We said, No, let's just go where people are already talking about housing needs and then put a voucher there. And the result was stunning. And then additionally, and just a shout out - our housing authority partners were really, really, really incredible. They offered the most innovation I've seen out of move-to-work housing authorities in my career. They were really flexible. They reduced their contracting barriers. And the result is that 1,385 people - or households, I should say, so it's more than people - have come inside through that program. Through our state right of way work where we are equally again focused on - how does this conversation bring you inside? We have attached a couple of different things. The first and most important is about 80 units of emergency housing. And that has been really a game changer, because what it means is that if your situation is quite complex and it's actually going to take a little bit to unwind some things or get you the identification, maybe you're undocumented and so getting identification is not just let's replace it from DOL, maybe you have a complex criminal legal system involvement and so we need to work to resolve that so that you can be housed effectively. That has been really, really significant because it has let us say, Great, we don't have to solve that today. You can still move inside. And that sort of frictionless move into that emergency housing space has really then teed us up to then resolve whatever those issues are and support people in moving on to their permanent destination. That said, we continue to have the same Housing First orientation that says - if we can get you into something permanent from outside, that's what we should do. And the reduction of the interim step and making sure that the interim step is not the default maneuver has actually been, I think, the most successful component across these three program centers. And so as a result - in that initiative, we've seen 120 folks come inside. And again, a number of those have gone already into permanent housing. I was present at one of the largest encampment closures that we have worked on - at what was called the Dearborn Encampment or Jungle 2 - and which people said to me, That'll be there forever. And I was like, I don't understand how that - that doesn't make sense to me. That feels like we've just abandoned people and we don't do that. But on the day of closure, I was there and I was watching people pack up their stuff and get in some of the moving vans that we'd contracted and drive to their apartments. So that was really beautiful to see. And then similarly through our Partnership for Zero program, the same orientation - working with folks who are chronically homeless and saying, Can we get you leased up and into an apartment? And if not, is there an interim step that we need to take that is still going to be housing style in its orientation? And through that, 152 people have come inside. So all told, we've got about 1,600 households moved inside just through these three program centers in the last - really - six months. And so that I think is the - that's where this can go. If the whole system starts working like these three centers and has the level of integration between outreach and services and housing that we have constructed in these three centers, there's no reason that we can't see really significant throughput systemwide. So that to me feels like the success. [00:07:52] Crystal Fincher: Absolutely. I do want to talk a little bit about what it took to build this apparatus that can now do this work, because it wasn't without controversy - as you alluded to, it was not the standard way that things were done. You came in. Obviously, they selected you for the job because you had the appropriate experience, expertise, and plan. But then when you're like, OK, time to do the plan - they're like, Wait, wait, wait. That's not how we've done things. That's different. You want to give other people a voice and power and control. And we usually do that internally and here with us. On top of just challenges building out this new authority, basically an entirely new organization - what was the process of working through those issues and building this apparatus, and what can we learn from this process that is now working? [00:08:50] Marc Dones: Another great question. One, I will just say - I have never - I've run startups before. I've launched agencies - small agencies. I've launched departments. I've launched projects. I once had a career coach who is like - You know you're kind of a startup guru, right? That's your thing. And I was like, What do you mean? I hate it. It's so stressful. And she was like, But it's literally all you do. And that was a real mirror moment for me. But what I will say is this has been some of the most complex build-the-plane-while-you're-attempting-to-fly-it that I have ever been involved in - would not have been possible without the incredible team that we have managed to put together here at the authority. And to your point about power sharing - that roughly 60% of our staff have lived expertise with homelessness, with the systems that we are interacting with - I think has actually, frankly, served as one of the best ways that we have short circuited some of the discussion. Because rather than having to enter into fact finding, a whole bunch of people who work here are - No, I already know how that works. And I know how it works, not just from the theory of the policy that's written down, but I know how it works - I tried to use it and it doesn't work. And that I think has been really significant. I think the other thing that I would just lift up is that when we started this, we really didn't have any infrastructure. We didn't have a general ledger system. We didn't have phones. We didn't have - I didn't have an email address for a while. And I've told that story before, but I think that when we think about, again, this is now roughly a 100-person agency managing well over $200 million - that's not normally the speed of any startup. And you look at these sort of startup incubators that spend a year just with their CEO, sort of like nursing an idea, let alone trying to go fully to field with those concepts. And so putting all that infrastructure together in one place - to be fully candid - I would never try to do again in the speed that we have done it. And I think that it is, again, a testament to this team. But also I think it was because the team recognized this is a crisis and we don't have the luxury of - Let's put it together slowly and yada, yada, yada. So there have been - I think we all admit - bumps, and there have been things that if we were doing it again, we wouldn't do it the way that we did it. But we got here, really just trying to - Okay, how do we chart through this? And getting on a whiteboard, or getting on a call and saying what is the plan going to be? And if we need to iterate, how is that iteration going to happen? And I will say that one of the things that I think we don't lift up is - when the organization was being formed, there was a lot of discussion about - we want an organization that's nimble and is rooted in crisis response principles and can be, Oh, that's not working, right? And pivot. But normally in the language of government, a pivot or a reaction to something that isn't working or rapid and agile - de-risking of things is considered failure. And what I want to lift up in this discussion is I don't think our organization feels like that's failure - to acknowledge that something is not working and make a change as quickly as we acknowledge it's not working. And so even with our Partnership for Zero work, for example, we have done significant restructuring of that process because about two months in we were like, This isn't catching the way we need it to catch. And so we worked with our HUD-TA partners and our internal staff and said, What has to change? We rolled out an entirely new team structure, a new way of doing matches, we introduced new tools. And now we are really seeing those things catch hold. And so I think there's an opportunity here for us to globally step back and ask, What is modern governance and what might it look like to translate some of our frankly more old models of governing into 2023 and ask questions about how do complex problems get solved? What are those structures? And they are not often the structures that traditional governance is locked into. [00:13:07] Crystal Fincher: So you covered a lot there, a lot valid - I really appreciate the point that you make about what is failure and really what is effectiveness. And the ability to continually evaluate what is going on, how things are performing, and to say that is not performing up to expectations - what are the challenges? Can we make a change? And then to make that change is a sign of effectiveness. That's a great thing to be responsive to challenges that you face. So I guess overall, you've talked about how you had to build this plane as it was flying. You're walking into this position in the middle of a crisis, a legitimate crisis, where we have thousands and thousands of people living outside who are in danger, who are facing threats from a variety of places. This is not an optimal situation for anyone - on the top of residents' minds, certainly. And people saying, Okay, there is an authority that exists. Here is some money - not all of the money that you asked for - but here's some money. All right, so where are the results? Not quite an overnight thing. It has taken a while, but where do we stand in terms of getting to zero? Where do we stand from where we were at to where we are now in terms of comprehensively addressing this issue? [00:14:26] Marc Dones: I think we - we're not where we need to be. And I think that one of the things that I would say about that is - when I say that, it's not because - again, the team working here is not doing their best work. It's because we are trying to claw our way out of a crisis that is like 30 years in the making. And so the overnightness of some of the expectations or even the way that we frame what can be done, I think, needs to always be inside that reality. And Mayor Harrell recently was saying that he's not happy with things and said something along the lines of, I'm not happy, and I won't be happy until everybody's housed, and I'm pretty sure Marc thinks the same thing. I'm like, Yes, I do. So I think that there is a alignment amongst a number of regional leaders that our situation is unacceptable. But we have to be really clear that it's unacceptable because of 30 years of policy failure, at a minimum. We could, frankly, extend that timeline and say it's more like 50. And if we add the racial dynamics, it's hundreds. So there is no fix to that depth of failure that takes a year, or two years even. And instead, we have to start, I think - our perspective is that we need to be able to meet complex problems with complexity, both in our action and in how we message and talk about it. And so this sort of - Where is the light switch we can flip? - those are, in all candor, those kinds of problems have largely been solved by the society that is this technologically advanced. We've solved our light switch problems. What remains are deeply ingrained, frankly, societal failures that we now have to turn the course on - and that is not a light switch problem. And we must maintain a fierce urgency about the fixes. And so I think that when we have this discussion and when I think through - okay, so what might we talk about in terms of the next steps of fixing - to me, it is being really clear that through these three program centers and also looking across a number of our other funded programs that we've inherited, the seeds of success are there. And so the idea that there's just nothing that we can use, that's not quite correct. And many of the frontline staff across the funded agencies would say - I know how to do this thing. I just can't do it at the volume that I need to be able to do it at. And so much of the discussion is about how do we eliminate the things that we know don't work, either because of evidence or because what we hear from the people being asked to do them. How do we consolidate and amplify the things that do work and then scale them? And so much of what the authority is discussing in our draft five-year plan is a question of scale and is about what is necessary, both technically and from a funding perspective, to scale a crisis response that is able to meet the needs of the tens of thousands of people who are experiencing unsheltered homelessness every year. [00:17:45] Crystal Fincher: So how many people remain outside that need to be housed, and what are the biggest challenges they're facing right now? [00:17:54] Marc Dones: I would say that on - just the number - our estimate is that there is a rough 23,000 people who experience unsheltered homelessness every year, and that about 60,000 people experience homelessness of some type over the course of the year. What we are going to tighten our focus on is that 23,000 - we want to make a reality in this region where no one sleeps outside. We just can't continue in this. It is, from I think my personal perspective, one of the greatest human rights crises of our time - that we have allowed, in the wealthiest nation on the planet, this many people to have to endure living outside. When I woke up this morning, it was 30 degrees. The authority is currently running severe weather. I've lost count of how many severe weather operations we've ran since I've come on board, but that's lethal cold and we just can't accept that people are being forced to live outside. So that's where that sort of numbers are right now. And so what we need to generate is a system that can match that. So what I'm saying here - okay, so in the last six-ish months, we've been able to get about 1,600 households inside. What I need to be able to say is that in the last six months, we've been able to get about 10,000 households inside - in order to be on track then to bring in 20,000 over the course of a year. So we're far away from that, in candor. And where I think we need to focus is acknowledging that how we have constructed our shelter system in the past is not producing the - frankly - durability of stay that we need to see. So that when someone goes into some of our old-style congregate shelters - in a lot of instances, they're not staying for a whole host of reasons. They're returning to unsheltered homelessness. We need to make sure that the system is able to, for lack of a better term, hold on to people and to make sure that they are getting to that permanent housing destination. So that I think is where we have to be laser focused in the next little bit. And then to your sort of second part of that question of what are the risks out there? Obviously the weather at any point in time during the year, if you live outside, could kill you - that is just a reality. But increasingly, I think we are - or at least again, I will speak just for myself, I won't drag the rest of the agency behind me on this one - I'm really concerned about public safety. And I'm really concerned about an increasing prevalence of organized criminal elements that my field teams are running across in - hiding in encampments. And it is not uncommon - in the last week, for example, we had two structures identified in one of the resolutions we're currently running. One had a small meth lab in it that actually caught fire, it was also full of guns and money. And then another was just a bunch of guns. These are not structures where people are living. These are drug-running and gun-running structures that organized crime is using, because they know that they're not going to get found out if they're inside an encampment, because the discussion has become - all people experiencing homelessness are the root of crime, instead of what we know statistically to be true, which is people experiencing homelessness are more likely to be the victims of violent crime than the perpetrators. And so if we cannot create a clear path to safety - that is for everybody housed and unhoused - I have really significant concerns. And the authority's role in that safety would really be from a public health perspective. And we are absolutely pursuing that. And we are also looking at what partnerships we need to stand up with law enforcement agencies or anybody, frankly, who can do the tight focus on those organized criminal elements. And I would just lift up for listeners that - imagine if you lived next door to a active meth lab where there were lots of guns, and you did not feel there was anyone you could reach out to for help. That is a terrifying situation. [00:22:13] Crystal Fincher: I really appreciate you bringing this up. And I just want to highlight - these organized criminal elements - they're not part of the unhoused community. These are not low-level people trying to do this to get necessities that they need - these, we do have organized crime, these are organized crime elements. And they're preying upon this very vulnerable community - as we see in other situations - we see people prey upon the undocumented community because they recognize that they have fewer rights in this country and may be less likely to turn to law enforcement or others for help. So it's basically an area they know they can get away with operating. In terms of the rhetoric and vitriol that we've seen aimed at our unhoused community, and to your point, they are statistically much more likely to be victims of crime. But so much rhetoric, especially from certain elements of our community, saying that they're responsible for crime, calling for them to be swept, people looking at an encampment and immediately associating it with crime or drugs or something else - when it's not like there aren't issues that people deal with, as they do in all of society. But to be much more likely to be victims, and then to have something happen that is endangering your safety, and to be blamed for it by the surrounding community, by oftentimes law enforcement, and then to be punished for it through being swept, losing your belongings, being surveilled more, often is really challenging. How do we shift this focus, or what kind of partnerships would you look towards that could positively impact this situation to make the entire community safer? [00:24:05] Marc Dones: I think that what we need to do on the authority side with our provider partners is really start having safety discussions with our unhoused neighbors, and using the trust that our incredible outreach workers and field teams have developed to say, I want to, I notice - and again, I've been doing this for a long time, I'm very grown up - I know that not everyone that we serve is an angel, and I also know that if I was living next to a gun-running meth lab, I might also want a weapon, right? And I didn't feel like I was being protected. And so what we need to do is have the discussions with our unhoused neighbors that say, Hey, I notice you've got a weapon - talk to me about what safety concerns you have, right? What are you mitigating by having this? And then we need to figure out a way to act on that information collectively. And I don't know actually what that looks like yet. But I do know that we need to hear from our unhoused population - what is leading you to feel so unsafe? And how do we manage that the same way that we would look to our housed population and say, Hey, what are you seeing? What can we do? And really using data to drive these discussions, both quantitative and qualitative, we can look at things like where shots are fired, where they cluster - use that data to drive discussions about - it seems like there's an active threat to our housed and unhoused neighbors here, let's find out what it is. And then the other thing that I think that the authority directly needs to be more involved in, and we are stepping up our operation on this front - is increasing from a public health perspective, the safety in encampments on a number of fronts. And so from our perspective, that is around the weapons front - again, it's having safety discussions, why do you need this weapon? How can we have a discussion that would lead you to feeling safe enough that you could surrender the weapon? On a fires front, which I know has - there's been a lot of fires lately, as people have tried to keep warm - again, it's when I woke up, it was 30 degrees, people are trying to stay warm. And so we are expanding a body of work that is promoting fire safety. And then also working with encampments that we are very active in to collect and dispose of propane tanks, flammable materials, etc - so that as folks are again - doing the life saving thing they need to do, we are helping them dispose properly of the refuse that still has some risk attached to it. And then the third thing from a public health perspective that we're going to be really focused on is hygiene and folks' ability to maintain some level of sanitary living condition to reduce the risk of infection and reduce the risk of a disease, reduce rat infestations - these are the things that really, really harm both our unhoused neighbors and our housed communities, and that is a place where the authority needs to directly play a role. [00:27:11] Crystal Fincher: I really appreciate that and a focus on public health. And I was stunned - I'm trying to remember right now - but I was reading an article and it was talking about the average lifespan of an unhoused person and it was under 50. That is rough and just really goes to underscore how vulnerable this population is. And safety and health are two absolutely crucial elements that have to be addressed. I do have kind of a related question - when it comes to issues, whether it's public safety, whether it's substance abuse, and are society's problem - that certainly is not a problem limited to any particular community. But we are collectively facing a shortage of services across the board to address that - to help people out of addiction, substance use disorder, issues related to that. We also have an affordability crisis overall, which is number one underlying cause of homelessness. And we are exiting pandemic mitigations which have prevented people from being evicted - those are starting again in an area that has become really unaffordable for the majority of people in the region. How effectively can you impact this problem if we have these other mitigating factors in society? Are we effectively trying to mop up the ocean here? Are we throwing more people out onto the street from these various causes and people just unable to afford to live in the area? How are we doing on that front and are we putting more people out on the street than we are moving into housing? Do you have a sense for where we stand on that? [00:28:56] Marc Dones: I don't have updated numbers on inflow. I think we'll see the impact, frankly, over this year - as some of those COVID-centric protections more completely unwind and what the rates of evictions, for example, et cetera look like. I do think again, in keeping with what I said earlier, that homelessness is a policy problem 50 to 100 years in the making that we as a nation - so this isn't on the region. As a nation, we have to look at what we have done to the social safety net. As a nation, we have to look at how we have not protected people's access to housing. Some of that - in particular, I look at things like the constitutionally enshrined right of the federal government to regulate interstate commerce and then look at how that interstate commerce and international commerce impacts housing markets and housing speculation. And say that is for the federal government to intervene in and to have a very clear stance on - Hey, speculate, but our people got to get in first - which I think would be a very reasonable position for the federal government to take. But every administration has been silent. There's not even an administration to point to on what needs to be done in this space in order to more adequately protect and enshrine access to housing for folks who are living in the United States. I will also say that in terms of the ability of us to effectively get people out of the experience of homelessness, I think so long as we stay with the data and stay with what is the number, how do we scale to meet that number, and then use as much as possible housing-style interventions, we set ourselves up for success. So one of the reasons why the authority is very interested in pursuing models of shelter that are non-congregate is that from an infrastructure perspective, if we get out of the crisis, we can convert a lot of that infrastructure into housing. And we've seen that with Executive Constantine's Health Through Housing initiative that has taken hotels and motels, turned them at times in a temporary shelter, and then retrofitted them into permanent supportive housing at some point in their life. That is a smart and effective way to use public money because you get two uses out of it. And so we really have to be clear that inside our scarcity of resources, we can still be smarter and it is the responsibility of this agency to be smarter wherever possible. [00:31:38] Crystal Fincher: For those who are unaware, why is it important to move away from congregate shelter towards non-congregate shelter? [00:31:45] Marc Dones: I think that the two biggest reasons are - one, just that congregate shelter has been reported by people who are experiencing homelessness as really, really traumatizing. And again, I think that if we're going to name what's in front of us as the human rights crisis that it is, as the tragedy that it is - how we respond to that tragedy also matters. And I find it difficult to articulate a response to a trauma that is in and of itself traumatizing, and feel as if that is the correct policy decision. And what we have heard from folks who have experienced homelessness and are experiencing homelessness is that - again, in congregate shelter, there's often a lot of safety concern. Folks do not feel like they are stabilizing, right? Which in turn feeds into the second big point from our perspective, which is that when you look at the utilization rates of congregate shelter, they are significantly lower than the rates of utilization of non-congregate shelter - which functionally means people are voting with their feet. And so if what we want is a system - one, we can't be wasting money like that, let's just call that out. We can't be out here saying, We don't have the resources, we don't have the resources. And we have a system that has lots of unutilized space in it. That doesn't make any sense. And so we have to have some focus on what I've started calling the durability of the placements, which is to say that if we assist someone in getting into an interim housing solution, we need to make sure that they stay there and that they're not going to return to homelessness in relatively short order, so that we then have to figure out how to help them get back inside again and again and again and again. That's again, a waste of public resources, it's not the smart thing to do. And I was actually just looking at data from 2022 and the overall difference across the congregate and non-congregate portions of the shelter system is about a 10-point jump. And so across the year, we saw an average utilization of the congregate system of about 80% and an average utilization of non-congregate spaces of about 90%. So again, I wear two hats - there's the part of me that is charged via legislation, via my own life experience with housing instability to say - We just got to be person-centered. And sometimes that has to be a good enough answer that - I don't know - this is not good for people and this is good for people. But with my public administrator hat on, I would also say, Do you want me to waste this money or not? Because there is a way that it continues to be poured into settings that are not going to be optimal. And then there is a way that we get the utilization out of the beds that we have and get the utilization of the money, the public money, that we are spending. [00:34:45] Crystal Fincher: That makes sense. And certainly I think the move towards non-congregate shelter, oftentimes utilizing current or former hotel spaces, people that can - you have a room that locks, that you feel secure in - as any of us would - is really important in the journey to stable permanent housing. There has been some feedback and I don't know that this is a result of the homelessness authority or just issues across the board that - particularly in South King County - hearing from regional leaders that there have been challenges with communication and getting on the same page sometimes. Have heard feedback that for different cities and looking at shelter space that is available in cities - that they want to see more of their own unhoused population placed in those local spaces and are not feeling that that's happening to the degree that it should be. How would you address that? [00:35:49] Marc Dones: I think one of the things that our communities across the county can look forward to as we continue to modernize coordinated entry is some specific attention on, for lack of a better term, what I'll call local control. And I do believe - a lot of the policy that the authority is implementing is place-based and tries to pay attention to where people feel community, what people's sort of natural space for healing is. I think we do want to make sure that, where possible, we are not jettisoning someone across the county because that's the available thing. When, if they're saying, Hey, like I'm from Kent, I want to live in Kent, like that's where I'm from - then yeah, I support that. And the agency has really leaned into that through our sub-regional planning team led by our director there, Alexis. Our coordinated entry system led by Alex Ebrahimi is undergoing some pretty significant shifts as well. And one of the things that we're going to introduce in the near term is going to be some clarity about apportionment, for lack of a better term. And from my perspective, we have to make - it's a balancing act - we need to allow a certain amount of space to have a right of first refusal, so to speak, for the local jurisdiction to say - Oh, here's a person who is from our community who wants to stay here and so can we use this unit? And the answer should be yes. And then we also still have to continue to act as a region and to say, If I have someone in Bellevue who needs a place to stay and there is a place that is open in Auburn - and it may be a bed that is right of first refusal for the jurisdiction, but it's not, it hasn't been filled - we need to be able to move that person from Bellevue to that space - with their permission, of course - so that they can be inside. And so we have to figure that out. I think some of that will be complicated discussion, but I think it's fundamentally doable. There are other systems that we can look to that have tackled similar things before and looked at, okay, so what is the right sort of percentage of bed, so to speak, that should be allotted to each thing? And then what is the time limit that a local jurisdiction might have to fill those beds before they are activated inside the regional pool - those are things that I think are just very answerable from a policy perspective. [00:38:16] Crystal Fincher: One thing that we spoke about in our last conversation on the show was the challenge, frankly, with staffing with frontline workers - and that challenge being caused by insufficient compensation. Asking people who are tasked with hard work and especially those with lived expertise and homelessness, which to your point earlier, absolutely helps streamline the response because you're dealing with people who are familiar with how things work in practice and not just in theory and having to get familiar with the tangled web of navigating through all of that. How are we making progress with that? Has that been a conversation that we have contended with throughout the region? And do we have the kind of staffing to scale up in the way that you referenced earlier so that we can move 10,000 people into housing and launch that to 20,000 people? [00:39:15] Marc Dones: Yeah, I think we are continuing to make progress on having the discussion and that - that's not necessarily money in people's pockets, but it's something. And we're seeing that at the local level, the Seattle Human Services Coalition is putting together wage equity analysis work. The authority continued to look at wage equity - it's embedded in our five-year plan at the state level, through stipends and et cetera. That has also continued to be a discussion. I think that - what I feel, and this was actually said in a meeting I was in yesterday by one of our provider partners - it's maybe not what I feel, but what I'm stealing from someone who said it better than I did, is that we don't have a talent problem. We do have a pay problem. So we are able to source talent - that's a thing that's doable. But I think to the point that you made, Crystal, people are burning out in those jobs after a year, two years max - because they are starting to look at - it's incredibly complex work. It's very hard. The work that they are doing oftentimes in other systems would be classed as high-grade clinical. But for some reason in our system, it is understood as frontline, whatever - entry level - and paid as such. And I don't think, again, what I hear from our provider partners is that everyone understands that this doesn't make sense, but the question is - How are we going to modernize our payment rates so that they are able to compensate people appropriately? And this is another space where I will say - with all candor - there's a role here for the federal dollar. And when we talk about paying people - if I look at just some of the modeling necessary to expand the services infrastructure, we're talking about a lot of money. B's, right? Not M's. And to that point, we have to think more - I won't even say creatively - I think it really is modernly, about how we are accessing certain entitlement funding streams that should be supporting services for our population. And I think that there is a way to do that. And I think that the authority needs to help everybody get to that. [00:41:33] Crystal Fincher: Certainly, in my opinion, the progressive revenue conversation across the board at local and the state level is very important in addressing this and has been referenced as such. I do want to talk about, though, your funding - reported and well known that you had put together the homelessness authority, that the entire team had put together. And other people looked at it and said, Yeah, it's a good plan, a plan to be able to address this with a funding request for what would be necessary to do it. And that funding request was not granted in full - It was okay, we'll give you part of it. I don't know that the expectations were tempered at all for what you were supposed to accomplish, but the budget certainly was. So where do you stand in terms of having the resources that you need to address the problem? Because really - funding is to get those resources. We know that we have a shortage of them. We have shortages all over the place, really. This is no exception. So this is not a unique problem. This is not a problem that just exists with homelessness. We know in other areas - certainly we have had lots of conversations when it came to - Hey, we need - Bruce Harrell is saying we need more police. They're throwing signing bonuses and different things and addressing that issue head on. This conversation has been different. So as you look to be able to scale, as you look to the funding that you have received, do you have the funding to be able to make the impact that is expected - to be able to get 10,000 people housed and to really continue the progress that you are now making, now that you've built out the infrastructure to be able to do that? Do you have what you need and if not, what do you need? [00:43:16] Marc Dones: Straightforwardly, no - we do not have what we need. I think it would be - the draft five-year plan really clearly lays out some of the cost models necessary in order to do the things that are operating at the tens of thousands numbers instead of in the "just the thousands" - and that's in air quotes for people who can't see me. Because the "just the thousands" is still an incredible feat, right? That is - I never want to come across as denigrating the incredible work that happens inside the system, particularly now that we have built some of the integrations that are necessary to really drive some of that throughput. However, again, going back to what I was saying previously, it's this question of the seeds of the solution are here. It's are we going to water them? And to that point, I do think that we don't have a path that does not involve better utilization of federal funding streams. We do not. And I say that because I think that - when I look, for example, at the various revenue forecasts that are coming out, revenue looks like it's trending down for a lot of things. And so there isn't a local revenue stream that is going to meet this need. I'm really heartened to continue to see the state contemplate big, bold housing-related action. The other thing about the authority modeling that is true is that it's based on assumptions about what is happening in the housing production side of things. And so if that accelerates, we will need a lot less. And I think that that's always really important to be clear about. However, if we're going to be sustainable and scale what we are currently doing, we do need to think very strategically about how we hook portions of the system to, again, the entitlement dollars. And when I'm talking about that, I'm thinking about SNAP and WIC and various CMS funding streams that fund services and supports, whether it's housing navigation or tenancy support. Some of that is available currently under the 1115 waiver the state has - spokane has done an incredible job of utilizing that resource. And so we just we have to head in that direction. And the last thing that I'll say about that is just - you mentioned earlier that some of the COVID protections are unwinding. I think it's also important that we acknowledge that the COVID money is unwinding. And so currently, this system has about $55 million in what is functionally one-time money. It was multi-year, but it's one-time money that does not have a renewed revenue source at the federal level, likely will not - given sort of the state of play. And so we have to be incredibly smart about, again, not just talking about the scale we got to go to, but how do we replace the funding for what we're currently doing? Because that is paying for real services, real people's salaries - real people supports into housing are being paid for with that money. And so if we're not being - not just clever, but profoundly innovative about how we move the homelessness system more completely into, I think, the broader public health and health infrastructure, then we are leaving money on the table that we simply cannot afford not to have. [00:46:43] Crystal Fincher: That's a really important point. And thank you for making it - a lot to consider there. So for people who are considering that - and we're in 2023 now, and especially this year where there are so many local elected official positions up for election - candidates are making their cases to voters. Some candidates aren't saying much, others are. But what would you say both to candidates and to voters considering those candidates, who across the board acknowledge that addressing homelessness is near the top of the list, if not at the top of the list of priorities that they need to have. What action can they take or should they take? What should we be looking for? What will be most impactful? And where should the conversation be throughout this year for the people who have the power to dictate this policy locally? [00:47:43] Marc Dones: I think from our perspective, the more the discussion can center on the core fact that housing is the solution to homelessness, the better we all will be. I am really disheartened by the amount of sort of media that comes across my screen that is framing homelessness as everything but a housing problem. And the simple fact is that at the core, the problem is in the name. You don't have a home and that is the thing we need to be focused on fixing. And so what I would offer is that we as a region, as a nation, do have to fundamentally consider, wrestle with, and answer questions about affordable housing, about density, about how we are addressing some of those core issues that drive the need. And the authority is legislatively - it's one of the reasons why I feel very comfortable saying what I'm saying here - we are legislatively required to advocate for housing with a focus on permanent supportive. So we got to have it, it is the solution. The other thing that I would say is that - and this is important, I think, particularly for the general public - is that no one, least of all me, a person who was psychiatrically hospitalized twice, is saying that services or care is not necessary. What I think we need to be focused on, though, is that you can't deliver that care literally under a bridge. That's just not how that works. And when I think about my own mental health management, I do telehealth visits with my psychiatrist, and then there's a lot of stuff that goes into keeping me healthy and whole. And I am able to accomplish all of that because I know where I'm going to sleep. And I'm not worrying about that too. And I have access to the things that I need in order to access those people who are going to help me. So yes, we need services. But the reason Housing First is called Housing First is - it's not absence of services - it is literally, but you need to house people first. And so that focus has to be really, really clear in how we articulate our path out of a hundred years of failure. [00:50:19] Crystal Fincher: Thank you so much for that focus. It's not housing only, but it is Housing First. Absolutely necessary in these conversations that we have about who our leaders are going to be and what they're going to do. I thank you so much for taking the time to share so much with us. Thank you for all the work that you and the entire team and your partners are doing to address this crisis and get people housed. Thank you so much. [00:50:46] Marc Dones: Thanks for having me. [00:50:47] Crystal Fincher: Thank you for listening to Hacks & Wonks, which is co-produced by Shannon Cheng and Bryce Cannatelli. You can follow Hacks & Wonks on Twitter @HacksWonks. You can catch Hacks & Wonks on iTunes, Spotify, or wherever you get your podcasts - just type "Hacks and Wonks" into the search bar. Be sure to subscribe to the podcast to get the full versions of our Friday almost-live shows and our midweek show delivered to your podcast feed. If you like us, leave a review wherever you listen. You can also get a full transcript of this episode and links to the resources referenced in the show at officialhacksandwonks.com and in the episode notes. Thanks for tuning in - talk to you next time.

In this episode, I spoke with Founder and Editor-in-Chief of Madame Architect, Julia Gamolina. Julia is dedicated to the built environment and to the visibility and advancement of the women who shape it, a mission manifested through the incredible work she is doing with Madame Architect. She is an Associate Principal and Business Development Director at Ennead, where she focuses on the educational, cultural, and healthcare markets. She is also a Visiting Assistant Professor at Pratt Institute, where she teaches a graduate level Professional Practice Seminar on the history and practices of the profession. Julia's writing has been featured in Fast Company, A Women's Thing, Metropolis Magazine, Architizer, and the Architect's Newspaper. She has lectured nationally and internationally at institutions, including Harvard, Columbia, Yale, UPenn, Pratt, the IE School of Architecture and Design, Georgia Tech and more, as well as NeueHouse, AIANY/The Center for Architecture, the Architecture & Design Film Festival, and the Women, Architecture and Sustainability Congress in Bogota, Colombia. She has served as a guest critic for design reviews at Cornell AAP, Columbia GSAPP, and the School of Visual Arts (SVA), and was the opening keynote speaker at AIA ‘22 in Chicago, interviewing AIA's new CEO, Lakisha Woods. In 2021, Julia was named one of Apartment Therapy's Design Changemakers and one of Commercial Observer's Top Young Professionals. In 2019, she also received a Special Citation from AIANY for her work with Madame Architect. Julia received her Bachelor of Architecture at Cornell University, graduating with the Charles Goodwin Sands Memorial Medal for exceptional merit in the thesis of architecture. Show Notes:juliagamolina.commadamearchitect.orgMadame Architect's Expanding the Conversation seriesSand Talk: How Indigenous Thinking Can Save the World by Tyson YunkaportaMachiavelli for Women: Defend Your Worth, Grow Your Ambition, and Win the Workplace by Stacey Vanek Smith

This week I am talking to Peter Robbins about the UFO phenemenon.Robbins UFO CV/BioPeter Robbins is an investigative writer, author, and lecturer whose writing and research are focused on the subject of truly anomalous UFOs and their implications for humanity. He has appeared as a guest on and been consultant to numerous radio shows, television programs and documentaries. His also host of the live weekly two-hour radio talk show, “Meanwhile, Here On Earth” on KGRA Digital Broadcasting. (Monday nights, 7-9 PM EST. Go to kgradb.com, click on “Livestream,” and you're there).Lecture topics include:Media, Ridicule and UFOs: The Origins of UFO RidiculePolitics, History and Human Nature: Roadblocks on the Path to DisclosureComets, Cults and Fundamentalist Thinking: A UFO Related Cautionary TaleLittle Green Men and the New York Times: How America's Greatest Newspaper Helped Perpetrate Our Government's Greatest DeceptionThe Remarkable Life and Suspicious Death of America's first Secretary of Defense, Early Casualty of the UFO Cover-upCritical Thinking, Deductive Reasoning and UfologyUFO and Alien Imagery in Advertising: Innocent Sales Device or Calculated Social Engineering?The Life and Scientific Discoveries of Dr. Wilhelm Reich: An Introductory TalkWilhelm Reich and UFOsThe UFO Abduction PhenomenonBudd Hopkins, Pioneer Abduction Researcher: An AppreciationBudd Hopkins, Children and UFO Abduction: A Personal RemembranceThe 1989 Voronezh Incident: Russia's Best Known CE3Controversial Deaths and UFO Investigation: Murder, Conspiracy or Happenstance? Excerpts and Outtakes: True Stories from Forty-plus Years in Ufology, illustrated.The Graphics and the Classics: Illustration and the Golden Age of UFO LiteratureWorkshops. Each designed to focus on the specifics of the area of study requested. Other workshops specifically for students. educators, mental health professionals, people of faith, members of the business, community, UFO investigators and researchers and whomever else.Appearances in the UK have included a British national book tour and talks at the Royal College of Science and Technology, London, the Universities of Hallam, Sheffield, Leeds, Yorkshire, Glasgow, and Cardiff. For the faculty and students of the Summerhill School, Suffolk East Anglia; Quest International Conferences, and East Midlands UFO Research (EMPHORA) Conference, Nottingham. ‘Conference of The Centre for Fortean Zoology,' Devon; the ‘Beyond Knowledge Conference,' Liverpool; BUFORA (British UFO Research Association) conferences and Woodbridge Suffolk UFO conferences. Most recently, Peter presented at the Edinburg UFO Festival and Conference, Edinburg TX (April), was the featured speaker at the Outer Limits Magazine UFO Conference in Hull England (May 2022), and the annual International MUFON Symposium in Denver Colorado. Robbins has spoken at X-Conferences in Washington, D.C. and Virginia; at the UFO Reykjavik Summit in Lawrence Kansas, and at International UFO Congresses in Phoenix Arizona and Laughlin Nevada. He has emceed and spoken at Annual MUFON International UFO Symposiums and for numerous MUFON state and regional affiliates. He's presented for Michigan MUFON's 2016 Swamp Gas UFO Conference; the Scientific Bureau of Investigation UFO Symposium in Albany NY; Experiencers Speak Conferences, Portland Maine; keynote speaker, National Conference of the UFO Organization of Japan, Tokyo; the 6th World UFO Forum in Brazil, and the Exobiology International Meeting in Segrate Italy; Travis Walton's Skyfire UFO Summits, Heber Arizona; Exeter New Hampshire UFO Festival and Conference; Greater New England UFO Conference, Leominster MA; Pine Bush NY UFO conferences; Budd Hopkins' Intruders Foundation conferences and seminars in New York City. He has spoken at the Omega UFO Conferences, North Haven CT; McMinnville Oregon UFO Festival/conferences; Crash/Retrieval UFO Conferences, Las Vegas NV; Gulf Coast UFO Conference, Gulf Breeze Florida; Biloxi UFO Conference, Biloxi Mississippi; Metaphysical Center of New Jersey; and the Fortean Research Center, Lincoln, Nebraska. Peter was made a member of the French Académie d'Ufologie in 2012 and has given talks in Paris, Nice, Bordeaux and Toulouse France.Robbins' longtime interest in the life and scientific discoveries of Dr. Wilhelm Reich led to the publication of a series of published papers and conference talks in the US, England, at the International Conference on the Scientific Discoveries of Wilhelm Reich, Nice France; the American College of Orgonomy's conferences in New York City and Princeton New Jersey, and at the Orgone Biophysical Research Laboratory in Ashland Oregon. In 2012 Robbins presented two papers at the Academy of Orgonomy conference in Karavomilos, Central Greece, and in 2013 at the Italian Association of Orgonomy's annual conference in Rome. In 2016 and 2017 he returned to Greece to speak at the “Contact With Space Conference” in Athens. Professional credits include editorial assistant on United Nations' Secretary General's (requested) report “for the establishment of a UN-UFO Department,” and editorial assistant for Member of Parliament, the Honourable Brinsley Le Pour Trench, Earl of Clancarty's (requested) paper for The House of Lords Debate on UFOs. Robbins was a founding member of Budd Hopkins' Intruders Foundation, a member of its Advisory Board, and was Executive Assistant to Mr. Hopkins. He was Event Coordinator for the SCI FI Channel's ‘Alien Abduction Phenomenon: A Symposium, organized to promote the release of the Steven Spielberg miniseries ‘Taken,' and writer, planner and commentator for the "Ultimate UFO" and “Ultimate Crop Circle” DVD sets. He has written for Open Minds magazine, FATE, Phenomena (UK) Outer Limits Magazine, (UK), UFO Data Magazine (UK), UFO Matrix (UK), UFO Magazine (both the UK & US publications), OUR-J Journal of UFO Studies (Japan), Phenomena Magazine (UK), and numerous other publications and websites. He has been a consultant to the McMinnville Oregon UFO Festival and Conference and Experiencers Speak Conference in Portland Maine, From 2007 until 2010 Peter served as consultant to the City of Roswell New Mexico and was their liaison to Gov. Richardson's office on UFO-related matters. He was coordinator of Roswell's annual UFO Symposium, and testified before the Senate/Congressional (retired) committee at the Disclosure Hearings held at the National Press Club, Washington, D.C. in 2013. He is proud to be an Associate Producer of the award-winning documentary “Travis: The True Story of Travis Walton,” and writer, director and producer of the documentary, “The Extraordinary Life and Suspicious Death of James Forrestal.” TV appearances include “Ancient Aliens,” the History Channel's “Britain's Roswell;” "Unsolved Mysteries;" "Good Day New York;" “The O'Reilly Factor,” FOX-NY; “The Real Roswell,” Nat Geo Channel; The SCI FI Channel documentary “UFO Invasion At Rendlesham;” “The Early Show,” CBS; CBS NEWS, Denver; “Cultural Odyssey:” Voice of America TV Chinese Branch; “The Geraldo Show,” NYC; "L'Odyssee De L'Etrange" (France); “The Nina Hagen Show” (Germany); "Network First: UFO" (UK); Lifetime Network and “Conspiracy”(Film One Production) Canada; "EXOCILIZATIONS," La Locale Television, Paris, as well as numerous BBC TV affiliates. Radio interviews include “Coast To Coast” with hosts George Noory and George Knapp; "The Art Bell Show;” “21st Century Radio” (Baltimore); “Midnight In the Desert,” “The Richard Dolan Show;” “Wake Up U.S.A;” “UFO Undercover” (New Orleans); "Sightings On the Radio with Jeff Rense” (LA); “The James Whale Show” (London); “The Alan Colmes Show” (NYC); “The Paracast;” “”Where Did the Road Go?,” WBAI-NY's "UFO Desk;" NYC; “The Jerry Pippin Show;” “Cold Cases, Hot Leads;” “Encounters” on KGRA; “Beyond the Paranormal;” BBC World Service "UFO's - Fact, Fiction or Fantasy?" (Iran), and numerous podcasts and BBC Radio affiliates. Peter Robbins was born in Queens New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City's School of Visual Arts (SVA) and taught painting there for a dozen years. He was also a member of the art faculties of St. Anns School in Brooklyn Heights, and the Oklahoma Council on the Arts summer program, Arts Encounters. Following his graduation from SVA, he worked as a deckhand aboard a Norwegian freighter, then traveled the world for a year. Peter was studio assistant to Abstract Expressionist painter Adolph Gotlieb, studio assistant to American naïve painter William Cply (correct spelling), and assistant to pioneer kinetic light sculptor Stanley Landsman. Robbins has worked as a carpenter, art gallery assistant, band manager, copywriter, ghostwriter, editor, website director (ufocity.com, 1998-2004), and throughout most of the Eighties was House Manager for New York City's celebrated Mirror Repertory Company. And was a crisis intervention volunteer and shift supervisor for Samaritans International New York City office. He is an experienced New York City walking touring guide and an accomplished photographer. Robbins is coauthor of the British bestseller, Left At East Gate and author of Deliberate Deception, and Halt in Woodbridge. All three books have been taken out of print, this the result of the many now proven intentional falsehoods, confabulations and exaggerations of his former coauthor that said books contain or refers to. https://kgradb.com/meanwhile-here-on-earth/https://twitter.com/peterrobbinsufohttps://www.pastliveshypnosis.co.uk/https://www.patreon.com/alienufopodcast

是不是又很惊喜，是不是又很意外？我们连续三周更新了！今天主播一号很激动！因为我们居然赶上热点了（好吧其实也不那么热了）！很巧，其实在 Adobe 宣布收购 Figma 之前我们就约了 wentin 聊聊设计工具和她的业经历，那既然 Figma 这新闻一出，肯定也得从前 Adobe 员工的角度来谈一谈~ 在北美生活、设计师出身正在创业的 wentin 给我们带来了一些不太一样的角度，很有意思~# 本期嘉宾张文婷（wentin），设计工具创业者，Typogram CEO，纽约 School of Visual Arts 研究生院讲师。前 Adobe 设计师，目前的项目 Typogram 是一款为非设计出身的创业者而做的品牌设计工具。# 内容提要02:02 · 加入 Adobe 真的是一个机缘巧合12:27 · Figma 这次被收购有「猫腻」！20:41 · 关于 web vs. 原生的讨论肯定绕不过 Sketch26:17 · 当年的 Flash 就像今天的 Figma31:30 · 工具链条的缺失让 Flash 年代的盛景没有传承下来38:02 · Webflow 对于嘉宾来说是一个代码工具49:04 · 从 Wix 的球场广告谈谈这些数码产品的市场推广56:24 · wentin 的创业产品 Typogram68:36 · 经济低潮期其实反而更适合创业75:41 · 创业伙伴的选择# 参考链接纽约视觉艺术学院（School of Visual Arts，缩写 SVA） 1:05wentin 的关于创业经历的周更 newsletter 1:36Newsletter 里聊 Adobe 收购 Figma 的文章 1:58促成 wentin 进入 Adobe 的开源项目 underline.js 3:09Typekit 就是如今 Adobe Fonts 的前身 4:13「完美的下划线」 6:33在 Adobe 主导 Figma 收购的 David Wadhwani 12:55回旋镖 boomerang 14:42本期节目录制使用的是在线应用 Riverside.FM 21:04目前公开的 Sketch 接受的投资只有 A 轮的 2000 万美金 22:13Sketch 在他们的博客上介绍用 20 台 Mac mini 构建「PNG 渲染农场」 23:13由 icons8 推出的跨平台原生图形设计软件 Lunacy 25:43事实上宣告 Flash 死亡的乔布斯在 2011 年发表的文章 34:28Adobe 出品的 Edge 网页开发套件 34:28在线页面设计、搭建工具 Webflow 37:07定位跟偏普通用户的建站工具 Wix 39:33Figma 周边商品店里的「Hug Content」文化衫 46:03低代码开发平台 Retool 50:05每次曝光成本 Cost Per Impression 52:54已经投入使用的 DigiBOARD 球场虚拟/真实混合广告技术 55:21Tinder 的 logo 64:24经常开到各个大学的 Figma 冰淇淋车 78:13wentin 的创业项目 Typogram 82:36# 会员计划在本台官网(Anyway.FM) 注册会员即可 14 天试用 X 轴播放器和催更功能~ 开启独特的播客互动体验，Pro 会员更可加入听众群参与节目讨(hua)论(shui)~

Blanda is a Swiss, contemporary artist living and working between New York and Los Angeles. In 2007 Blanda moved to New York to enroll in the School of Visual Arts (SVA) where she received the Silas H. Rhodes scholarship. After graduating 2010, she was snapped up by The New York Times for a coveted Art Director's position. In 2014 she moved to Los Angeles where she has since focused on her studio work. International brands including Kiehl's, Volvo, OBEY, Missoni, TopShop, AG Jeans and Montblanc have commissioned Blanda for art driven collaborations and media outlets such as Vogue, New York Magazine, Vice, WWD, Glamour Magazine, Elle and Rolling Stone have covered her work. Her most recent series of paintings was exhibited during Art Basel Miami 2021.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Season two of The Futures Archive launches next week and we're excited to introduce you to our four co-hosts for the season. Just like last season our host Lee Moreau, his co-host, and a variety of experts will explore an object to learn about it's design and cultural history, and unlock a larger conversation about human-centered design and the future. This season, each episode will take an object with power, look for the human at the center — and keep asking questions with our following co-hosts.  Liz Danzico is part designer, part educator, and full-time dog owner. Liz is the Founding Chair of the MFA Interaction Design program at the School of Visual Arts (SVA) and was most recently Acting Senior Vice President, Digital for National Public Radio (NPR), as well as Vice President, Design, responsible for leading human-centered design across NPR's products and platforms.  Rachel Lehrer works on high risk, high reward projects that span violence to pleasure. She builds global, multi-disciplinary teams to design and test life-changing, scalable solutions for those affected by conflict and disaster. She most recently developed a program that resulted in 27% reduction in the frequency of intimate partner violence, in half the time and at half the cost of the leading violence prevention programs. She's now building a company for men with the goal of increasing pleasure for women.  Sloan Leo (they/he) is a Community Design theorist, educator, and practitioner. They are the founder of FLOX Studio, a community design and strategy studio FLOX Studio is on a mission to alter the future of work by integrating community & social justice values, design thinking, and organizational development. We work with nonprofit capacity builders, design institutions, and social impact leaders to foster collaborations, facilitate meaningful conversations and prepare for the near future.  Sara Hendren is a humanist in tech—an artist, design researcher, writer, and professor at Olin College of Engineering. Her book What Can A Body Do? How We Meet the Built World explores the places where disability shows up in design. In 2021-22, she is Lecturer in Architecture at Harvard Graduate School of Design and a fellow in Education Policy at the New America think tank, where she is researching the future of work for adults with cognitive and developmental disabilities.

Taylor Ballantyne, Director / Photographer Ballantyne began her career in Los Angeles with commercial and creative work in the fashion and design world. She segued into video production by shooting and editing films for New York, Milan and Paris fashion weeks. Simultaneously, she studied under legendary photojournalist Ken Regan at Camera 5 Inc., where she was introduced to the commercial, film, and editorial business of photography. Here is where she began building her portfolio and film reel. In 2013 Ballantyne joined Sports Illustrated as a photographer for all brands within SI. In July 2017, she received her first national cover for Sports Illustrated; becoming one in an elite group of women to receive a national cover in the Magazine's 60-year history. In February 2018, she directed, produced and photographed her first spread in the Sports Illustrated Swimsuit Issue and created a short film entitled — “In Her Own Words” - a powerful black-and-white campaign that replaced the traditional Body Paint for the issue. Under Ballantyne's direction, this was the first black-and-white, no-swimsuit series with an all female crew in the 54 year history of the SI Swimsuit magazine. In November 2020, Ballantyne relocated to Nashville and was asked to direct Jake Hoot, “The Voice” winner of 2019, in his first music video “I Would've Loved You” featuring Kelly Clarkson. This sparked Ballantynes' directorial debut in the world of music. Following her debut into the world of music videos, she was called to direct her first feature length concert film and documentary for Kenny Wayne Shepherd. Though her background lies within commercial and advertising, Ballantyne's goal is to continue on this path as a director, continuing her work in music, commercial and film. Ballantyne studied at the Brooks Institute of Photography in Santa Barbara and holds a BFA in Photography from the School of Visual Arts (SVA) in New York City. She is currently based in Nashville but travels across the country and internationally often for work. http://www.taylorballantyne.com/ https://www.instagram.com/taylorbphoto/ https://www.instagram.com/taylorbfilm/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thewrongadvicepod/support

Peter Robbins is an investigative writer, author and lecturer whose writing and research are focused on the subject of truly anomalous UFOs and their implications for humanity. He has appeared as a guest on and consultant to numerous radio shows, television programs and documentaries. HE IS also host of the live weekly two-hour radio talk show, Meanwhile, Here On Earth” on KGRA Digital Broadcasting.Lecture topics include but are not limited to:• Media, Ridicule and UFOs: The Origins of UFO Ridicule• Politics, History and Human Nature: Roadblocks on the Path to Disclosure• Comets, Cults and Fundamentalist Thinking: A UFO Related Cautionary Tale• Little Green Men and the New York Times: How America's Greatest Newspaper Helped Perpetrate Our Government's Greatest Deception• The Remarkable Life and Suspicious Death of America's first Secretary of Defense, Early Casualty of the UFO Cover-up• Critical Thinking, Deductive Reasoning and Ufology• UFO and Alien Imagery in Advertising: Innocent Sales Device or Calculated Social Engineering?• The Life and Scientific Discoveries of Dr. Wilhelm Reich: An Introductory Talk• Wilhelm Reich and UFOs• The UFO Abduction Phenomenon• Budd Hopkins, Pioneer Abduction Researcher: An Appreciation• Budd Hopkins, Children and UFO Abduction: A Personal Remembrance• The 1989 Voronezh Incident: Russia's Best Known CE3• Controversial Deaths and UFO Investigation: Murder, Conspiracy or Happenstance?• Talking With Americans About UFOs: An Afternoon (or Evening) with Investigative Writer Peter Robbins• Excerpts and Outtakes: True Stories from Forty Years in Ufology, illustrated.• The Graphics and the Classics: Illustration and the Golden Age of UFO Literature• Workshops. Each designed to focus on the specifics of the area of study requested. Other workshops specifically for students. educators, mental health professionals, people of faith, members of the business, community, UFO investigators and researchers and whomever else.Appearances in the UK have included a UK national book tour and talks at the Royal College of Science and Technology, London, the Universities of Hallam, Sheffield, Leeds, Yorkshire, Glasgow, and Cardiff. For the faculty and students of the Summerhill School, Suffolk East Anglia; Quest International Conferences, and East Midlands UFO Research (EMPHORA) Conference, Nottingham. ‘Conference of The Centre for Fortean Zoology,' Devon; the ‘Beyond Knowledge Conference,' Liverpool; BUFORA (British UFO Research Association) conferences and Woodbridge Suffolk UFO conferences.Robbins has spoken at X-Conferences in Washington, D.C. and Virginia; at the UFO Reykjavik Summit in Lawrence, Kansas, and at International UFO Congresses in Phoenix, Arizona and Laughlin, Nevada. He has emceed and spoken at Annual MUFON International UFO Symposiums and for numerous MUFON state and regional affiliates. He's presented for Michigan MUFON's 2016 Swamp Gas UFO Conference; the Scientific Bureau of Investigation UFO Symposium in Albany, NY Experiencers Speak Conferences, Portland Maine; keynote speaker, National Conference of the UFO Organization of Japan, Tokyo; the 6th World UFO Forum in Brazil, and the Exobiology International Meeting in Segrate Italy; Travis Walton's Skyfire UFO Summits, Heber Arizona; Exeter, New Hampshire UFO Festival and Conference; Greater New England UFO Conference, Leominster MA; Pine Bush NY UFO conferences; Budd Hopkins' Intruders Foundation conferences and seminars in New York City. He has spoken at the Omega UFO Conferences, North Haven CT; McMinnville Oregon UFO Festival/conferences; Crash/Retrieval UFO Conferences, Las Vegas NV; Gulf Coast UFO Conference, Gulf Breeze Florida; Biloxi UFO Conference, Biloxi Mississippi; Metaphysical Center of New Jersey; and the Fortean Research Center, Lincoln, Nebraska. Peter was made a member of the French Académie d'Ufologie in 2012 and has given talks in Paris, Nice, Bordeaux and Toulouse France.***Robbins' longtime interest in the life and scientific discoveries of Dr. Wilhelm Reich led to the publication of a series of published papers and conference talks in the US, England, at the International Conference on the Scientific Discoveries of Wilhelm Reich, Nice, France; the American College of Orgonomy's conferences in New York City and Princeton, New Jersey, and at the Orgone Biophysical Research Laboratory in Ashland, Oregon. In 2012 Robbins presented two papers at the Academy of Orgonomy conference in Karavomilos, Central Greece, and in 2013 at the Italian Association of Orgonomy's annual conference in Rome. In 2016 and 2017 he returned to Greece to speak at the “Contact With Space Conference” in Athens.Professional credits include, editorial assistant on United Nations' Secretary General's (requested) report “for the establishment of a UN-UFO Department,” and editorial assistant for Member of Parliament, the Honourable Brinsley Le Pour Trench, Earl of Clancarty's (requested) paper for The House of Lords Debate on UFOs. Robbins was a founding member of Budd Hopkins' Intruders Foundation, a member of its Advisory Board, and was Executive Assistant to Mr. Hopkins. ***He was Event Coordinator for the SCI FI Channel's ‘Alien Abduction Phenomenon: A Symposium, organized to promote the release of the Steven Spielberg miniseries ‘Taken,' and writer, planner and commentator for the “Ultimate UFO” and “Ultimate Crop Circle” DVD sets. *** He has written for Open Minds magazine, FATE, Phenomena (UK) Outer Limits Magazine, (UK), UFO Data Magazine (UK), UFO Matrix (UK), UFO Magazine (both the UK & US publications), OUR-J Journal of UFO Studies (Japan), Phenomena Magazine (UK), and numerous other publications and websites. He has been a consultant to the McMinnville, Oregon UFO Festival and Conference and Experiencers Speak Conference in Portland, Maine.***From 2007 until 2010 Robbins served as consultant to the City of Roswell New Mexico and was their, liaison to Gov. Richardson's office on UFO-related matters. *** He was coordinator of Roswell's annual UFO Symposium, and ***testified before the Senate/Congressional (retired??) committee at the Disclosure Hearings held at the National Press Club, Washington, D.C. in 2013. He is proud to be an Associate Producer of the award-winning documentary “Travis: The True Story of Travis Walton,” and writer, director and producer of the documentary, “The Extraordinary Life and Suspicious Death of James Forrestal.”TV appearances include “Ancient Aliens,” the History Channel's “Britain's Roswell;” “Unsolved Mysteries;” “Good Day New York;” “The O'Reilly Factor,” FOX-NY; “The Real Roswell,” Nat Geo Channel; The SCI FI Channel documentary “UFO Invasion At Rendlesham;” “The Early Show,” CBS; “Cultural Odyssey:” Voice of America TV Chinese Branch; “The Geraldo Show,” NYC; “L'Odyssee De L'Etrange” (France); “The Nina Hagen Show” (Germany); “Network First: UFO” (UK); Lifetime Network and “Conspiracy”(Film One Production) Canada; “EXOCILIZATIONS,” La Locale Television, Paris, as well as numerous BBC TV affiliates.Radio interviews include “Coast To Coast” with hosts George Noory and George Knapp; “The Art Bell Show;” “21st Century Radio” (Baltimore); “Midnight In the Desert,” “The Richard Dolan Show;” “Wake Up U.S.A;” “UFO Undercover” (New Orleans); “Sightings On the Radio with Jeff Rense” (LA); “The James Whale Show” (London); “The Alan Colmes Show” (NYC); “The Paracast;” ““Where Did the Road Go?,” WBAI-NY's “UFO Desk;” NYC; “The Jerry Pippin Show;” “Cold Cases, Hot Leads;” “Encounters” on KGRA; “Beyond the Paranormal;” BBC World Service “UFO's - Fact, Fiction or Fantasy?” (Iran), and numerous podcasts and BBC Radio affiliates.Peter Robbins was born in Queens, New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City's School of Visual Arts (SVA) and taught painting there for a dozen years. He was also a member of the art faculties of St. Anns School in Brooklyn Heights, and the Oklahoma Council on the Arts summer program, Arts Encounters. Following his graduation from SVA, he worked as a deckhand aboard a Norwegian freighter, then traveled the world for a year. Peter was studio assistant to Abstract Expressionist painter Adolph Gotlieb, studio assistant to American naïve painter William Cply, and assistant to pioneer kinetic light sculptor Stanley Landsman. Robbins has worked as a carpenter, art gallery assistant, band manager, copywriter, ghostwriter, editor, website director (ufocity.com, 1998-2004), and throughout most of the Eighties was House Manager for New York City's celebrated Mirror Repertory Company. And was a crisis intervention volunteer and shift supervisor for Samaritans International New York City office. He is an experienced New York City walking touring guide and an accomplished photographer.

David received a BFA from the School of Visual Arts (SVA) in NYC and a Master of Professional Studies (MPS) from the Interactive Telecommunications Program (ITP) at New York University's Tisch School of the Arts. Under Ken Perline he worked as a researcher and artist-in-residence at NYU's "Future Reality Lab," where he focused on multi-user, shared-space VR experiences. He presently develops XR projects for brands and startups. He taught code for artists at NYU, SVA, Harvard, RLab and the New Museum.  He taught 3D animation at Harvard University before shifting careers to XR development. https://dlobser.com/ Check out the new platform JourneySpace.com - offering online live facilitated journeys.  Join our East Forest COUNCIL on Patreon.  Monthly Zoom Council, podcast exclusives, live-streams, and more. Listen to East Forest music:  "IN" - the latest studio album  from East Forest - LISTEN NOW: Spotify / AppleListen to East Forest guided meditations on Spotify & AppleTour - Catch East Forest live.Order a vinyl, dad hats, sheet music, original perfume oils, and more: http://eastforest.orgPlease rate Ten Laws with East Forest in iTunes★★★★★Sign up to learn about new retreats, shows in your area, and to join the community.Stay in the flow:Mothership:  http://eastforest.org/IG:  https://www.instagram.com/eastforest/FB:  https://www.facebook.com/EastForestMusic/TW:  https://twitter.com/eastforestmusicJOIN THE COUNCIL - PATREON: http://patreon.com/eastforest

Frank Murphy is a teacher who writes and a writer who teaches. He has taught a wide variety of grades at the elementary for more than 28 years. A history buff, former basketball coach & Sixers fan, and popular speaker, Frank is the author of many fun historical fiction/biography books for young readers.As a teacher and father, Frank is committed to creating children's books that expand readers' knowledge of history and help inspire discussions about kindness, leadership, citizenship, growing up, and more.Kayla Harren graduated from the School of Visual Arts (SVA) in New York City with a BFA in illustration.  Books she has illustrated include A BOY LIKE YOU (winner of the 2019 EUREKA Gold Award), A GIRL LIKE YOU, A TEACHER LIKE YOU, A FRIEND LIKE YOU, and THE BOY WHO GREW A FOREST (winner of the 2020 Crystal Kite Award.) Her work has been featured in the Society of Illustrators, American Illustration, Communication Arts, 3x3 Magazine, and she won the Highlights for Children Pewter Plate Award. Kayla loves animals, playing volleyball, hiking, and eating cookies with frosting. She currently lives in Minnesota with her husband, Peter Harren, and their adorable dogs. Purchase A Friend Like You.Visit Frank's website: https://www.frankmurphybooks.com/Visit Kayla's website: http://www.kaylaharren.com/Connect with Charnaie online in the following places:Blog: http://hereweeread.comPersonal Website: charnaiegordon.comPodcast Email Address: hereweereadpodcast@gmail.comFind Charnaie on the following social media platforms under the username @hereweeread: Instagram, Facebook, Twitter, Pinterest.  Feel free to share this podcast on your social media platforms to help spread the word to others. Thanks for listening!

Bon talks with the Dalberg Design team (Aika, Pragya, Joy and Mihret) about designers as global health storytellers, the need for creativity in global health and the challenges of social media misinformation.  Aika Matemu is a Director at Dalberg Design in Nairobi, leading the design team in Africa. She brings over 15 years experience in user experience design, digital technologies, global public health and social entrepreneurism, with extensive experience in social impact and innovation. She has committed her career thus far to designing and building innovations that impact social change, movement and revolution. Her design career has been grounded in human-centered design methods with a focus on designing products and services that create channels for underserved populations to access quality health care. She's passionate about building design capacity on the African continent and elevating home grown designers to global design platforms.  Pragya Mishra is Director at Dalberg Design based in Seattle. She applies her expertise in visual and strategy design on social innovation, financial inclusion and global health projects. She brings a human-centered approach to her work that facilitates in-depth understanding of distinct user behaviors, attitudes and preferences towards products, services, and systems leading to actionable insights. Her recent work includes the development of Design for health – a tailored set of design resources for global health practitioners. Prior to joining Dalberg Design, Pragya worked as an independent designer with NGOs and governmental organizations on a range of social innovation projects. Pragya has a Masters in Design in Social Innovation from the School of Visual Arts (SVA), New York and an undergraduate degree in Visual Communication Design from the National Institute of Design (NID) in India.  Joy Kendi is a senior designer based in Dalberg Design's Nairobi studio. Her expertise is in product and service design, user experience and design research, with a focus on emerging markets. Prior to joining Dalberg Design, Joy led product design at a technology innovation hub in Kenya. Mihret Tamrat is a designer with Dalberg Design's Nairobi studio. Her design background includes works in education technology, game design, as well as gender and youth employment across the US, Asia, and East Africa. Prior to Dalberg Design, Mihret worked as a strategy consultant with Dalberg Advisors in Addis Ababa.

Taylor Ballantyne began her career in Los Angeles with commercial and creative work in the fashion and design world. She segued into video production by shooting and editing films for New York, Milan and Paris fashion weeks. In 2013 Ballantyne joined Sports Illustrated as a photographer for all brands within SI. In July 2017, she received her first national cover for Sports Illustrated; becoming one in an elite group of women to receive a national cover in the Magazine's 60-year history. In February 2018, she produced, directed and photographed her first spread in the Sports Illustrated Swimsuit Issue and created a short film entitled — “In Her Own Words” - a powerful black-and-white campaign that replaced the traditional Body Paint for the issue. Under Ballantyne's direction, this was the first black-and-white, no-swimsuit series with an all female crew in the 54 year history of the SI Swimsuit magazine. In November 2020, Ballantyne directed Jake Hoot in “I Would've LovedYou”. The song and video feature his coach, Kelly Clarkson. This is Ballantyne's directorial debut in the world of music videos. Though her background lies within commercial and advertising, she has created many short documentary narratives. Ballantyne's goal is to continue on this path as a director, continuing her work in music videos, while moving into commercials, film and television. Ballantyne studied at the Brooks Institute of Photography in Santa Barbara and holds a BFA in Photography from the School of Visual Arts (SVA) in New York City. She is currently based in New York City but travels across the country and internationally often for work. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thewrongadvicepod/support

It was such a pleasure to have Catherine Haggarty on the show! Catherine is an artist based in Brooklyn, NY who recently had a solo exhibition at Massey Klein Gallery. She is also co-director of NYC Crit Club, a space offering community, connection and critiques for artists. In this interview, Catherine talks about learning how to make work when no one is looking and how this has served her as an artist moving forward in her practice. We also discuss her current work that she recently exhibited at Massey Klein Gallery in the Lower East Side.   Catherine Haggarty’s paintings are reminiscent of the brief moment we experience waking up from a dream. When everything rises to the surface at once. The edges of objects blur and we wonder what we just saw. You can try to hold onto the experience, but you can’t completely keep the image in your mind, rather the image dissolves into something else. This is how I read Catherine’s paintings, as a back and forth between reading forms and reading space. The painting continually reconfigures itself as your eye is drawn to references of animal figures that you read as a positive shape. This figure then flips to become a negative space, bringing your eye deeper into the painting.    Haggarty’s paintings and curatorial work have been reviewed by and featured in Bomb Magazine, Artnet, Hyperallergic, Two Coats of Paint, Brooklyn Magazine, The New York Times, Maake Magazine, Art Maaze Magazine, Art Spiel, Final Friday Podcast, Sound and Vision Podcast, The Black and White Project, Curating Contemporary’s book Eraser, and Young Space. Catherine has been a visiting artist & critic at SUNY Purchase MFA (2020), Hunter MFA (2020), Denison University (2020), Brooklyn College MFA (2019) and in 2018 Haggarty was the Anderson Endowed Lecturer at Penn State University.  Haggarty’s solo, An Echo’s Glyph at Massey Klein Gallery in the Lower East Side is on view Dec 18th 2020 - January 30th, 2021. Previous solo shows include This Friday Next Friday (NYC), Bloomsburg University (PA), One Main Window (NY), One River School of Art and Design, Proto Gallery (NJ), and Look and Listen in Marseille France.   Haggarty earned her M.F.A from Mason Gross, Rutgers University in 2011. Currently, Haggarty is an adjunct professor at The School of Visual Arts (SVA)  also co-directs NYC Crit Club with artist and critic, Hilary Doyle.   “In the summer of 2019 I visited ancient caves in France. I remember the temperature of the caves, the lines of raw earth pigment that formed figures & animals on the dark, damp walls. The connection to drawing and to pigment begins with our ancestors and threads through time to present day.  I explore the differences between painting and drawing because the shared language offers insight on how we perceive and understand images.   By combining color, form, and patterns, I am able to expand the associations sparked by abstract animal signifiers. The level of representation in the work oscillates between recognizable figurative outlines to fields of color suggesting shape. To me, painting is both additive and subtractive and has no exact set of steps of production - rather a framework that allows in specific gestures, colors and marks in an irreversible order.  This unplanned  exchange requires my attention to where the patterns and marks lead me. I aim to remain open to movement and unforeseen connections in the work, a practice that reflects my studio habits and my way of operating in the world.  I avoid the notion of ‘knowing’ a form  in visual language by conflating soft edge form that pushes against high saturations. Confounding spatial logic and touch in this way offers more questions than answers. The collection and also the subversion of various animals' coats, footprints and patterns in the paintings is far more interesting to me than the naming of the animal.  I am not interested in the depiction of the one thing, rather I am interested in how my processes and materials can work with me to create new associations of the subject at hand.     The slippage of form in my paintings mirrors a slippage in language and meaning I notice in the world. Words are entirely abstract - they signify the subject at hand but often morph meaning with context, time, and language. Visually, I am interested in my process and subjects can mirror this dance.   This fictional space I build is not based in a logical perspective or specific environment. Pattern is used as a tool to build an environment through repetition and motion - this defies the idea that animal forms might live in a specific space.”-CH   TAKEAWAYS FROM THIS EPISODE:   -Learning how to make work that nobody likes or will see -Not knowing how you are going to get where you want to be, but taking the steps anyway -Building the community you want to be a part of -Supporting and being  in contact with more artists -Drawing from your work - A good 2 hour session can be better than an 8 hour session  -Why Catherine began curating exhibitions -Working with Ortega y Gasset Projects  -NYC Crit Club -How to be alone in the studio -Art is a life not a career -Studio is a sacred place and sacred time -The work doesn’t stop when you leave the studio Artist Shout Outs:   Andrew Prayzner Hilary Doyle    SPONSOR: Sunlight Tax  A tax expert who gets what you do! Engaging tax workshops for artists. Use code ILIKEYOURWORK25 to save $25 on Money Bootcamp! https://www.sunlighttax.com/ LINKS: https://www.catherinehaggarty.com/ https://www.instagram.com/catherine_haggarty/ https://www.nyccritclub.com/ https://www.masseyklein.com/ https://bombmagazine.org/articles/the-company-your-mind-keeps-catherine-haggarty-interviewed/   I Like Your Work Links:   I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Terrence Masson has had an incredible career. He's worked on 20+ feature films as well as many “special venue" interactive, broadcast commercials and video game projects. Some highlights include three Star Wars movies, getting SouthPark started and the world's largest interactive digital Etch-A-Sketch. Terrence is a member of the Producers Guild of America, the Visual Effects Society and has been active in SIGGRAPH since 1988, including as the 2006 Computer Animation Festival Chair, the 2010 Conference Chair, and Outstanding Service Awards Chair. Terrence's enthusiasm for the craft is infectious. Today he works at Chair of the MFA program in Computer Arts at the School of Visual Arts (SVA) in New York.

For this lesson we facetime Violeta Encarnación, an illustration student studying at School of Visual Arts (SVA). We interview her to see if she’s got the right stuff to design our school cafeteria mural, asking questions about her semester, authoritarian critiques from Steve Brodner + Thomas Woodruff, and what grinds her gears in art (Britto, among many things). Guest Info: Violeta Encarnación https://www.instagram.com/_violeta.encarnacion_ Guest outro musician: Jose Churruca https://www.churrucaguitar.com

Episode Nine features photographer Michael Halsband. He grew up in Manhattan and at age ten became interested in photography as a hobby after learning how to produce a print from start to finish. Michael pursued his passion and was accepted into the School of Visual Arts (SVA). Before graduating in 1981 he began photographing portraits for several magazines and thereafter worked with Interview, Avenue and Rolling Stone Magazine. This led to his becoming the tour photographer for The Rolling Stones. During Michael's career he worked with well know fashion brands, photographed icons and celebrities, published books, and documented the making of films. He continues to work with an 8 x 10 camera and personally processes and prints his work. This episode shares with us a chapter in Michael’s interesting life. In 1985, while working for ArtNews magazine, Michael was assigned the job of photographing four artists, one being Andy Warhol. It was that friendship that led him on a journey traveling to Paris and Lisbon with Jean-Michel Basquiat. This story must be shared. http://www.michaelhalsband.com/ https://www.interviewmagazine.com/art/michael-halsband-national-arts-club https://www.freundevonfreunden.com/interviews/michael-halsband/

Ep. nº 27 do Podcast Literário Rabiscos, apresentado por Jéssica Balbino e Tadeu Rodrigues. O bate-papo foi com a escritora, diretora de arte e transformadora Lua Leça, que vive entre o Rio de Janeiro e São Paulo e pratica e propõe rodas de escuta, especialmente com a população negra e com os povos originários. Idealizadora do #2DedosDeProsa, um projeto que promove visitas a territórios diversos, ações, trocas que rodam sobre as premissas e pilares do feminino, feminismo, lugar de fala, lugar de escuta e somas que multiplicam. Formada em publicidade e propaganda, com pós-graduação em Mídias Digitais e Didática do Ensino. Cursos de extensões em arte, na School of Visual Arts (SVA), e em planejamento digital, na Universidade de Nova Iorque (NYU). | Siga-nos | Instagram: @podcastrabiscos | @tadeufrodrigues | @jessicabalbino_ |email: podcastrabiscos@gmail.com  

Maggie is the director of The Patient Revolution, an action and advocacy movement for careful and kind patient care; arming patients, clinicians, and the public with the tools, resources and support they need to tell their stories and agitate for change in healthcare. She has spent over a decade as a designer and researcher in the healthcare space, including 7 years at the Mayo Clinic's Center for Innovation. She teaches in the Design for Social Innovation program at the School of Visual Arts (SVA) in NYC. She has published in journals ranging from Design Issues to Archives of Internal Medicine. Maggie holds a Masters of Design (MDes) from Carnegie Mellon University.

Gerald Cyrus was born in 1957 in Los Angeles, CA and began photographing there in 1984. In 1990 he moved to New York City and obtained a Master of Fine Arts degree from the School of Visual Arts (SVA) in 1992.  While at SVA, he also interned at the Schomburg Center for Research in Black Culture under the supervision of Deborah Willis. During his time in New York, Cyrus photographed regularly on the streets of Manhattan, Harlem and Brooklyn, and in 1994, he started frequenting the nightclubs in Harlem and photographed the vibrant music scene in that historic neighborhood for over six years. The resulting body of work, entitled “Stormy Monday”, was published as a book in 2008. In 2000, Cyrus moved to Philadelphia, PA and began photographing in that city as well as the nearby city of Camden, NJ.  He has also photographed extensively in Bahia, Brazil where he was a fellow at the Sacatar Foundation and in New Orleans, LA (before and after Hurricane Katrina) where he has family history. Cyrus currently lives in Philadelphia and teaches part-time at Haverford College. He is also a member of the Kamoinge, Inc. photographers’ collective.   Resources: Download the free Candid Frame app for your favorite smart device. Click here to download for . Click here to download Support the work we do at The Candid Frame with contributing to our Patreon effort.  You can do this by visiting or visiting the website and clicking on the Patreon button. You can also provide a one-time donation via . You can follow Ibarionex on and .

Andres Martinez is a graduate of the School of Visual Arts (SVA) in NYC who now works and lives in Hialeah FL. His mixed media art work is filled with traces of satire, astute word play and a nonchalant feel to it. He is cleverly aware of the type of humor his works carry and is very much in control of the art work he is producing; pieces which set visual traps for the viewer to engage and begin a form of internal dialogue with the work.        

On episode 66 of SOMEWHERE IN THE SKIES, Ryan shares the incredible story of the Brooklyn Bridge UFO abduction. In New York City, on November 30th, 1989, Linda Napolitano was seen emerging from an apartment building window twelve stories above the ground accompanied by three small alien figures. Suspended within a blue beam of light, Linda and her captors were lifted into a large reddish-orange glowing UFO, which then moved off in the direction of the Brooklyn Bridge. Noted abduction researcher, Budd Hopkin, conducted an exhaustive investigation of the case. Several witnesses, including a world political leader, saw - and later independently corroborated - this event. It is the evidence of numerous and influential eyewitnesses to this abduction that shatters all previous patterns of UFO encounters. The highly dramatic and controversial accounts of Linda and the witnesses have left both the believers and skeptics debating the Brooklyn Bridge abduction up until today. To further the debate, Ryan invites Peter Robbins to the show. Robbins is a UFO researcher, author, and former assistant to Budd Hopkins. Robbins runs us through his personal experiences with both Hopkins and Linda, and sheds light on this dark and disturbing case like never before. Guest Bio: Peter Robbins is an investigative writer, author, and lecturer, best known for his books, columns, articles, radio commentaries, interviews and conference talks. He has appeared as a guest on and been a consultant to numerous television programs and documentaries. Peter was born in Queens, New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City’s School of Visual Arts (SVA) where he also taught painting for a dozen years. In the mid-1980s, he became seriously involved in UFO research when his knowledge of classified data indicated to him the US government was not telling the public the truth about UFOs. Patreon: www.patreon.com/somewhereskies Official Store: CLICK HERE Website: www.somewhereintheskies.com Order Ryan's Book by CLICKING HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte Closing Song, "Awake" by Tycho SOMEWHERE IN THE SKIES is produced by Third Kind Productions, in association with eOne Entertainment

On episode 43 of SOMEWHERE IN THE SKIES, we continue our journey with Peter Robbins through the mysterious death of James Forrestal. This is PART 2 of the series. On May 22nd, 1949, Forrestal fell to his death from the sixteenth-floor window of Bethesda Naval Hospital, where he was treated for “depression”. An official U.S. Navy Medical Review Board convened on his death, after examining all doctors and witnesses who were in the vicinity. They could not establish the reason for Forrestal's fall. The peculiar circumstances of Forrestal's death, and the U.S. government's withholding of the complete report of the review board until 2004 has led to much speculation and controversy. What many are not aware of is that Forrestal has also been connected to the controversial MJ-12 group, an alleged secret committee of scientists, military leaders, and government officials, formed in 1947 by an executive order by then U.S. President, Harry Truman, to facilitate recovery and investigation of alien spacecraft. Before his departure as Secretary of Defense, Forrestal had a mental breakdown, which ultimately led to his untimely death. What did he know? What was he told? And what exactly happened to him in the hospital as he plunged downward into tragedy and questionable history? Guest Bio: Peter Robbins is an investigative writer, author, and lecturer, best known for his books, columns, articles, radio commentaries, interviews and conference talks. He has appeared as a guest on and been a consultant to numerous television programs and documentaries. Peter was born in Queens, New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City’s School of Visual Arts (SVA) where he also taught painting for a dozen years. In the mid-1980s, he became seriously involved in UFO research when his knowledge of classified data indicated to him the US government was not telling the public the truth about UFOs. Patreon: www.patreon.com/somewhereskies Official Store: CLICK HERE Website: www.somewhereintheskies.com Order Ryan's Book by CLICKING HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte SOMEWHERE IN THE SKIES is produced by Third Kind Productions, in association with eOne Entertainment  

On episode 41 of SOMEWHERE IN THE SKIES, Ryan is joined by author and researcher, Peter Robbins. Robbins is currently developing a lecture about the first Secretary of Defense, James Forrestal. This will be PART 1 of a two-part series.  On May 22nd, 1949, Forrestal fell to his death from the sixteenth-floor window of Bethesda Naval Hospital, where he was treated for “depression”. An official U.S. Navy Medical Review Board convened on his death, after examining all doctors and witnesses who were in the vicinity. They could not establish the reason for Forrestal's fall. The peculiar circumstances of Forrestal's death, and the U.S. government's withholding of the complete report of the review board until 2004 has led to much speculation and controversy. What many are not aware of is that Forrestal has also been connected to the controversial MJ-12 group, an alleged secret committee of scientists, military leaders, and government officials, formed in 1947 by an executive order by then U.S. President, Harry Truman, to facilitate recovery and investigation of alien spacecraft. Before his departure as Secretary of Defense, Forrestal had a mental breakdown, which ultimately led to his untimely death. What did he know? What was he told? And what exactly happened to him in the hospital as he plunged downward into tragedy and questionable history? Guest Bio: Peter Robbins is an investigative writer, author, and lecturer, best known for his books, columns, articles, radio commentaries, interviews and conference talks. He has appeared as a guest on and been a consultant to numerous television programs and documentaries. Peter was born in Queens, New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City’s School of Visual Arts (SVA) where he also taught painting for a dozen years. In the mid-1980s, he became seriously involved in UFO research when his knowledge of classified data indicated to him the US government was not telling the public the truth about UFOs. Patreon: www.patreon.com/somewhereskies Official Store: CLICK HERE Website: www.somewhereintheskies.com Order Ryan's Book by CLICKING HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte SOMEWHERE IN THE SKIES is produced by Third Kind Productions, in association with eOne Entertainment

Susanne Buckler began her art career as a sculptor but she soon found the immediacy of photography. For 25 years her photography studio, Foto Imagerie, was a major contributor in the world of jewelry, lifestyle, interiors, and food with clients including Saatchi, Unilever, Food & Wine magazine, and Avon. Her latest project, Talk to Me, is a mixed media installation of portraits of women. Buckler’s ongoing investigation of women’s bodies was spurred by her disfigurement brought on by a life-threatening disease. The project offers women a common ground to explore their emotional core through their own bodies. In 2016 Buckler was awarded the Special Recognition First Place Award in the Manhattan Arts International HERStory 2016 Juried Exhibition. She has exhibited at the Soho Photo Gallery and the Professional Women Midtown Gallery in New York, and, at LABspace in Great Barrington, MA. She has been featured in the Manhattan Arts International, Photo District News, and Photo Design Magazine, and she has taught at the School of the Visual Arts (SVA) in New York. Buckler received her BFA from the Maryland Institute College of Art (MICA). She lives and works in New York City. (http://www.advanceyourart.com/wp-content/uploads/2018/01/Susanne-Buckler-2.jpg) Susanne Buckler Links www.susannebuckler.com (http://www.susannebuckler.com) www.facebook.com/SusanneBucklerArtist (http://www.facebook.com/SusanneBucklerArtist) www.instagram.com/susannebucklerartist (http://www.instagram.com/susannebucklerartist) www.linkedin.com/in/susannebuckler (http://www.linkedin.com/in/susannebuckler) BONUS: This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri) QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments.

On episode 30 of SOMEWHERE IN THE SKIES, Ryan returns to UFOs with a detailed overview of the 1967 Betty Andreasson UFO abduction case.  One calm night, Betty was finishing dinner with her family when a group of non-human creatures entered her home, paralyzed her family into a state of suspended animation, and proceeded to abduct her and perform examinations on her aboard their craft.  This case is highly controversial and hotly debated. We'll hear from listeners on just what they think of the entire affair. We will then hear from Peter Robbins, UFO researcher and former assistant of the late abduction researcher, Budd Hopkins. What does Robbins make of this bizarre case? Could it all be an elaborate hoax? Or was Betty Andreasson taken aboard a craft in what she believed to be a half alien/half religious experience of cosmic proportions? Guest Bio: Peter Robbins is an investigative writer, author, and lecturer, best known for his books, columns, articles, radio commentaries, interviews and conference talks. He has appeared as a guest on and been a consultant to numerous television programs and documentaries. Peter was born in Queens New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City’s School of Visual Arts (SVA) where he also taught painting for a dozen years. In the mid-1980s, he became seriously involved in UFO research when his knowledge of classified data indicated to him the US government was not telling the public the truth about UFOs. Patreon Campaign: CLICK HERE Website: CLICK HERE Order Ryan's Book here: CLICK HERE Twitter: @SomewhereSkies Instagram: @SomewhereSkiesPod Opening Theme Song, "Ephemeral Reign" by Per Kiilstofte Episode Edited by Jane Palomera Moore SOMEWHERE IN THE SKIES is produced by Third Kind Productions, in association with Antica Productions

This episode is dedicated to the memory of Jim Marrs (1943-2017) On episode 17 of SOMEWHERE IN THE SKIES, Ryan speaks briefly about the recent passing of conspiracy legend and author, Jim Marrs. Then, he sits down with Peter Robbins, UFO researcher and author for an in-studio discussion. After a few beers, Robbins runs us through a brand new lecture he's currently shaping and refining on the following:  The lecture begins with questioning why 'we' respond to the subject of UFOs the way we do and how society was conditioned to understand that UFOs are nonsense. What constitutes 'proof,' or at the least, UFO related images we should consider taking seriously? What about 'ancient aliens' type images? What about other historical imagery? What we can learn from pre-digital UFO photographs, and what marks the 'real' ones as authentic? How did UFO news coverage, that is print journalism, impact public thinking in the 1940s? And what was the legacy it implanted in the public's psyches? How will the truth ultimately manifest itself? Alternate theories are examined and considered in this episode. WARNING: This conversation relied heavily on images. For the best representation, It's highly suggested that you follow along at the following link while listening for the best experience. Guest Bio: Peter Robbins is an investigative writer, author, and lecturer, best known for his books, columns, articles, radio commentaries, interviews and conference talks He has appeared as a guest on and been a consultant to numerous television programs and documentaries. Peter was born in Queens New York and studied art, design, and theater at the University of Bridgeport in Connecticut. He received his BFA (painting, film history) from New York City’s School of Visual Arts (SVA) where he also taught painting for a dozen years. He was studio assistant to Abstract Expressionist painter Adolph Gotlieb, studio assistant to American primitive painter William Cply (correct spelling), and general assistant to pioneer kinetic light sculptor Stanley Landsman. He has also worked as a carpenter, art gallery assistant, the mid-1980s he became seriously involved in UFO research when his knowledge of classified data indicated to him the US government was not telling the public the truth about UFOs. He is coauthor of the British best-seller, Left at East Gate: A First-Hand Account of the Rendlesham Forest UFO Incident, Its Cover-Up and Investigation, and author of Deliberate Deception: A Case of Disinformation in the UFO Research Community, and Halt In Woodbridge: An Air Force Colonel’s Thirty-Year Fight to Silence an Authentic UFO Whistle-Blower. Website: www.somewhereintheskies.com Email: Sprague51@hotmail.com Twitter: @SomewhereSkies Order Ryan's Book by CLICKING HERE

Full Show Notes at: https://www.pencilkings.com/podcast-home/ “You have to do the legwork. I strongly believe you have to go to the conventions and physically meet people.” ~ Kensuke Okabayashi Want to know how to become an illustrator? This week, we speak to Kensuke Okabayashi, creator of the bestselling book, Manga for Dummies, and an artist who has worked on all kinds of projects, including Magic The Gathering . So how did he get started in the industry and get his first big break? In this in-depth interview, you’ll get a fascinating insight into what it’s really like to work as an illustrator and commercial artist in the fast-paced world of game studios and advertising agencies. You’ll hear why traditional skills such as drawing and oil painting still form the foundations of a successful career as an artist, and why actually getting out there and meeting people is just as important as keeping your social media channels updated. Interview Chapters [00:00-02:07] Introduction and Overview Your host, Mitch Bowler, introduces today's guest, Kensuke Okabayashi. In this chapter, you'll hear about his work on Magic The Gathering, creating the Amazon bestseller, Manga for Dummies, and his current career as a storyboard artist in the fast-paced world of New York’s many design agencies. [02:19-03:14] Kensuke on his Latest Graphic Novel Project, The Foreigner When he’s not busy working on storyboards or book illustrations, Kensuke has found time to work on his graphic novel project, The Foreigner. After successfully funding this title on Kickstarter last summer, he’s now adding the finishing touches with a view to publishing it in the next few weeks. [03:46-05:14] How did Kensuke get Started in his Career as an Artist? Incredibly, Kensuke didn’t actually go to art school at first. Although he always loved Manga comics as a kid, he couldn’t find enough support in his native Japan to further his career as an artist. So, after an initial attempt to join the studio team behind Star Blazers as an apprentice fell through, he decided to ‘play it safe’ and opt for a career in childcare. However, it wasn’t too long before he felt burned out and expressed his real dream of going to art school and becoming an artist to his parents... [05:27-07:23] What was art School Like for Kensuke? Soon after deciding to pursue a career in art, Kensuke enrolled at the School of Visual Arts (SVA) in New York. What was his time there like and which fundamental skills did he learn? In this chapter, you’ll hear how his enduring passion for oil painting started, and why he came to the conclusion that focusing solely on Manga and comic books wasn’t necessarily going to be the best career option for the future. [08:31-10:10] Why is it so Important to be Adaptable as an Artist and Develop Your Own Style? Although many people dream of becoming a rock star comic book artist, the reality of working in this industry is often quite different. In this chapter, you’ll hear why Kensuke believes it’s so important to be open to lots of different career routes as an artist, and why developing your own signature style is a great way to stand out from the crowd. [10:38-11:36] How is the Manga Industry in Japan Different to the Comic Book Industry in America? While the American comic book industry is dominated by huge studios such as Marvel and DC, the Manga scene in Japan offers a wide range of scope for artists. In fact, you can buy a Manga comic on just about any topic you can imagine! In this chapter, Kensuke shares his insights into the Manga industry, and explains why he feels it offers much more potential for creative growth than the more rigid framework of the big American companies. [11:43-12:37] What did Kensuke do After Art School? After leaving art school, Kensuke was fortunate enough to land a book illustration gig via one of his tutors. From there, he made sure he went to as many comic cons as possible, which is where he met the art director behind Magic The Gathering. After this, he continued to reach out and make contacts, which is how he got a foot in the door of New York’s bustling advertisement and entertainment agencies and continued to grow his career... [13:35-15:30] How did Kensuke get Noticed at San Diego Comic Con? Although Kensuke’s art career sounds incredibly easy and straightforward so far, he naturally had to prove himself to art directors and other clients first. In this chapter, he reveals how he first landed the gig working on Magic The Gathering, and why it’s often a great idea to step out of your comfort zone and put everything you have into something you might not have tried before. [16:40-21:44] How did Kensuke get his Graphic Novel Project Finished? Creating a graphic novel is a huge undertaking. Not only do you have to have a great story to begin with, you’ve also got lots of other things to consider, such as editing, typography, coloring, illustration and much, much more. So how did Kensuke even begin to put his project together? In this chapter, you’ll learn a lot about the importance of teamwork and reaching out to fellow artists. You’ll discover why it’s ok to admit you’re not the greatest at absolutely everything. And, you’ll also hear why keeping in touch with your old buddies from art school can pay dividends when you start working on a big project. [22:34-25:14] How do you Promote a Graphic Novel? The business and promotion side to an art project is equally as important as the creative side. But how do you even go about promoting your art to others? In this chapter, Kensuke shares his experiences of putting together a graphic novel, and reveals why overcoming social awkwardness or shyness is one of the key ways to help get your creative project out there. [25:52-33:35] What’s it Like to Work in the Advertising and Entertainment Industries? These days, Kensuke often works in the relentlessly fast-paced world of New York’s many advertising agencies. Although it can often be a high-pressure environment, Kensuke has picked up many tips along the way to help him rise above the stress and get his work done. And, in this insightful chapter, he shares many of them with you. [33:49-41:53] What’s Next for Kensuke? Kensuke has packed so much into his creative career already, but what’s next on the horizon? In this chapter, you’ll hear what really inspires him, and why he feels there’s still so much he wants to explore as an artist. You’ll also hear why Kensuke believes social media is so important for artists, but that it’s only truly effective if you combine this marketing strategy with going out and meeting people face-to-face. [42:11-44:00] Conclusion and Where to see Kensuke’s Work Online Mitch wraps up today’s interview, and Kensuke tells you about all the places you can see his work online. So, whether you’re a fan of Manga or just want to learn more about how to become an illustrator, this final chapter should give you everything you’re looking for.

The objective of Lucy Knops’ master’s thesis, The Void: Finding Value in Nothing, was to reframe the “role of absence” in people’s daily lives. She began on a conceptual level by asking simple questions: What if nothing could be something? What if we could add to our lives by taking away more? Can absence give us substance? The objects, services, interventions and experiences created around the topic of The Void are materializations of the abstract theories that ground and inspire the work, as a way to make them tangible and available for consideration. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Design strategist and storyteller Julia Plevin did not realize how much of an effect the environment had on her wellbeing before she moved to New York City to attend the Products of Design program and found herself yearning for nature. In her master’s thesis, Gowanus Outdoors Club, she was delighted to learn that psychologists and scientists are realizing the impact that the environment has on mental health. Australian philosopher Glenn Albrecht coined the term psychoterratica, to encompass the whole set of earth-related mental health disorders—nature deficit disorder, generational environmental amnesia, solastalgia, eco-anxiety, global dread, eco-paralysis, and eco-phobia. Julia’s thesis uses design to create products and interventions that lead to soliphilia, the act of healing a place, community, and the environment with positive energy. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Andres Iglesias’ master’s thesis, Shift: A Proposal to Lift Community Morale, explores two principal ideas: the power of optimism to change the way a group of people see their immediate surroundings, and how searching out “the good” in one’s environment—rather than focusing on the flaws—can be crucial for developing of a sense community. The project moved through many phases, from researching positive psychology to designing a collection of conceptual objects, to creating a platform for community collaboration. Using disposable cameras as the vessel, the thesis culminated in a neighborhood-wide scavenger hunt for the good. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

George Crichlow’s master’s thesis, Organizing Principle, examines the innovation process in the context of design. No two client’s business challenges are exactly the same. So why do companies hire consultancies that use a standardized process to solve unique business challenges? George’s thesis looks at creating Organizing Principles to uniquely solve any business challenge by combining different stages of the design thinking and design making process. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Vidhi Goel’s master’s thesis, Kona: Changing Perspective on Learning in India, challenges the structure and effectiveness of the current curriculum and public school system in India. She believes that “learning should empower children and liberate them from mental barriers and social crutches.” She questions both how well children learn in schools, but also the degree to which they find value in what they are learning. Are pedagogy and schooling only about delivering content and preparing for examinations? The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Heath Wagoner’s master’s thesis, Disclosional, centers around HIV and the role of conversation. Acknowledging that oftentimes “a conversation is simply not enough,” Heath argues that in the case of HIV, it is imperative. Disclosional is aimed at making communicating about HIV status easier, and to remove its stigma. Heath’s thesis work began with him volunteering at the Lower East Side Harm Reduction Center (LESHRC) in New York, and ended with a participatory and immersive exhibition and an educational app. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Eliz Ayaydin’s master’s thesis, I Was There When, explores how people deal with traumatic memories—specifically, mental relief following natural disasters. Arguing that “at base, designers make sense of messes,” Ayaydin set herself the challenge of making sense of one of the most unexpected and uncontrollable messes there are. Natural disasters are comprised of a highly complex ecosystem, killing on average 106,000 people a year around the globe. And while disasters result in huge physical losses, the effects on the mental well-being of those who survive is equally significant. 30–40% of people affected by natural disasters will experience Post-Traumatic Stress Disorder (PTSD), depression, or anxiety symptoms. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Berk Ilhan’s master’s thesis, Uplift, addresses the quality of life of cancer patients—identifying opportunities that cultivate joy and happiness, and strengthening the support group around the patient. Based on his hypothesis that, through design, joy and humor can positively change most experiences—and inspired by the revolutionary physician Hunter Doherty (popularly known as “Patch Adams”), advocate of humor, fun, and love in healthcare—Berk’s work re-imagines hospital and outpatient experiences beyond conventional boundaries. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Elisa Werbler’s master’s thesis, Things, explores how we ascribe value to our everyday possessions. It examines the things we cherish from our past, the things that signify our relationships with others, the things we consume, the things we share, and the things we can’t bear to part with. Western society suffers from an affliction known as “loss-aversion”—the pain of losing something is greater than the pleasure of gaining something. This term, coined by world renowned psychologist Daniel Kahneman, goes hand in hand with what’s known as “the endowment effect”—the idea that something is more valuable to you than anyone else, simply because it’s yours. The combination of these two ideas led Werbler down a path of trying to pinpoint the exact moment when a decision is being made about something, whether it is in anticipation of a purchase, or an attempt to let go. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Lance Green’s master’s thesis, Grey Space, is a study focused on the interstitial spaces in which we often find ourselves working, and on our ability to adapt to new or unfamiliar working environments. The project is a study rooted in human behavior, exploring interventions—both physical and digital—as a way to help us be most at peace within ourselves, and within the world around us, and culminates in a device designed for the inevitable “virtual office” of the future, dealing with conceptual as well as ergonomic considerations. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Miguel Olivares’s master’s thesis, In Knead: Rebuilding Intent in Our Relationship with Food, examines how food can be a material for relationship building. Miguel’s love for food and design began in a 10-day immersive workshop held in the Domaine de Boisbuchet, France, studying the physical, emotional and experiential benefits associated with cooking. Inspired by the work of neurologists such as Frank Wilson and philosophers such as Martin Heidegger, In Knead focuses on the influence that the hands have on how we engage our way of being in our daily lives. In Knead is a case study in creating purpose through cooking, and is explored as a digital product, tools, public experience, and business enterprise. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

May Shuchang Sun’s master’s thesis, Her Sense: Women, Technology and Intervention, is aimed at helping women in the workplace by creating technology that builds confidence. The thesis work grew from her initial question: “How can we build and strengthen the relationship that women have with technology?” and culminated in the construction of two robotic interfaces: Puppi and LookBot. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Steve Hamilton’s master’s thesis, Enough is the New More: Reframing Scarcity to Feel Like Abundance, began with a manifesto of dialectics, eschewing our persistently growth-based metric for success, rejecting the last several centuries of western economic culture that led to the consumerization of happiness in the United States, and offering a more humane and sustainable alternative. His early research centered around a plethora of “wicked problems”—including those pertaining to vastly embedded systemic structures such as energy, materials, transportation, and the design of our cities—and culminated in a set of radical artifacts that speculate on an alternative future. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Brandon Washington’s master’s thesis, The Spectacle, is an investigation into Guy Debord’s theory of the same name and how it relates to contemporary society. The spectacle is a communication tool that employs fantasy in order to sell the idea of how we should live our lives, and what we should aspire to be. Brandon’s thesis takes the form of an intervention that aims to wake people up, expose them to alternative and freethinking, get them in touch with their own desires, and express their true selves. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Lusha Huang’s master’s thesis, It’s Chinese to me: Luck and Cultural Empathy, explores the disconnect between Chinese an American culture. As a Chinese student in an international design department, Lusha enthusiastically took on the role of messenger—eager to share her country’s tradition and philosophy with others. Her over-arching goal is to build a cultural bridge, fostering understanding between Americans and Chinese. Central to her thesis is the theme of luck, which dates back to ancient China and has always been extremely important to Chinese culture. The thesis project is the capstone of the MFA in Products of Design program at the School of Visual Arts (SVA) in New York City. Learn more about the program at http://www.productsofdesign.sva.edu.

Peter Robbins Peter Robbins is an investigative writer, author and lecturer best known for his UFO related papers, columns, articles, editorials, commentaries, lectures and media appearances. He is a regular fixture on radio and has appeared as a guest on and been consultant to numerous television shows and documentaries. Robbins' background is fairly nonstandard for his chosen field. He was born in New York City and studied art, design and theater at University of Bridgeport in Connecticut, receiving his BFA (painting, film history) from New York City's School of Visual Arts (SVA). He taught painting at SVA in their Department of Continuing Education for more than a dozen years, was a member of the art faculties of St. Anns School in Brooklyn Heights and the Oklahoma Council on the Arts ‘Arts Encounters' program. Following graduation from SVA, Peter joined the Norwegian Merchant Marine and for a time worked on a freighter as a common seaman. During the years following he was studio assistant to the world-famous abstract expressionist painter Adolph Gotlieb and to the American primitive painter William Cply. Robbins also worked as a framing carpenter, interior demolition specialist, art gallery assistant, copy writer, editor, and House Manager for New York City's distinguished Mirror Repertory Company. From 1988 until 1994 Peter was a crisis intervention volunteer for the Samaritans International. He has traveled in approximately thirty countries, is an experienced New York City tour guide, and an accomplished photographer. He is also co-author, along with Larry Warren, Left at East Gate: A First-Hand Account of the Rendlesham Forest UFO Incident, Its Cover-Up and Investigation. In May 2014 he published Deception, investigation and analysis of a serious disinformation operation in contemporary ufology. The book is available at no cost from the author.  probbinsny@yahoo.com

Peter Robbins Returns to the show to talk more about the UFO Phenomenon. We discuss the role of hypnosis in the UFO Phenomenon, Peter's connection to Whitley Strieber, and much more. Peter Robbins is an investigative writer, author and lecturer best known for his UFO related papers, columns, articles, editorials, commentaries, lectures and media appearances. He is a regular fixture on radio and has appeared as a guest on and been consultant to numerous television shows and documentaries. Robbins' background is fairly nonstandard for his chosen field. He was born in New York City and studied art, design and theater at University of Bridgeport in Connecticut, receiving his BFA (painting, film history) from New York City's School of Visual Arts (SVA) where he taught painting for more than a dozen years. He was a member of the art faculties of St. Anns School in Brooklyn Heights and the Oklahoma Council on the Arts ‘Arts Encounters' program. Following graduation from art school he was studio assistant to the abstract expressionist painter Adolph Gotlieb and to the American primitive painter William Cply. He worked in Off Broadway theater for years, primarily as house manager for New York City's distinguished Mirror Repertory Company. Peter has traveled in approximately thirty countries, is an experienced New York City tour guide and an accomplished photographer. He is also co-author, along with Larry Warren, of the highly acclaimed British best-seller, Left at East Gate: A First-Hand Account of the Rendlesham Forest UFO Incident, Its Cover-Up and Investigation.Halfway through we will be joined by Ryan Sprague, who is also an UFOlogist, who has written a play about the Rendlesham Incident, called Rendlesham, The Play. Originally from Syracuse, NY, Ryan graduated from Oswego State University with a degree in Theatre and Playwriting in 2006. After countless readings, workshops, commissions, and productions, Ryan went on to become artistic director for Loaf Theatre Company. He also served as Literary Manager for The Secret Theatre in Queens, NY. Hosted on Acast. See acast.com/privacy for more information.

For the first time, we have a live in studio guest in Peter Robbins. Peter and I discussed different theories on UFO's, and thoroughly delved into The Rendlesham Forest incident.Peter Robbins is an investigative writer, author and lecturer best known for his UFO related papers, columns, articles, editorials, commentaries, lectures and media appearances. He is a regular fixture on radio and has appeared as a guest on and been consultant to numerous television shows and documentaries.Robbins' background is fairly nonstandard for his chosen field. He was born in New York City and studied art, design and theater at University of Bridgeport in Connecticut, receiving his BFA (painting, film history) from New York City's School of Visual Arts (SVA) where he taught painting for more than a dozen years. He was a member of the art faculties of St. Anns School in Brooklyn Heights and the Oklahoma Council on the Arts ‘Arts Encounters' program. Following graduation from art school he was studio assistant to the abstract expressionist painter Adolph Gotlieb and to the American primitive painter William Cply. He worked in Off Broadway theater for years, primarily as house manager for New York City's distinguished Mirror Repertory Company. Peter has traveled in approximately thirty countries, is an experienced New York City tour guide and an accomplished photographer. He is also co-author, along with Larry Warren, of the highly acclaimed British best-seller, Left at East Gate: A First-Hand Account of the Rendlesham Forest UFO Incident, Its Cover-Up and Investigation.Television appearances include “The Early Show,” CBS; The History Channel's “Britain's Roswell;” "Unsolved Mysteries;" "Good Day New York;" “The O'Reilly Factor;” “The Real Roswell,” National Geographic Channel; The SCI FI Channel documentary “UFO Invasion At Rendlesham;” “Cultural Odyssey,” Voice of America TV (Chinese Branch); “The Geraldo Show,” NYC; "L'Odyssee De L'Etrange" (France); “The Nina Hagen Show” (Germany); "Network First: UFO" (UK); Lifetime Network and “Conspiracy”(Film One Production) Canada; "EXOCILIZATIONS," La Locale Television, Paris; as well as numerous BBC TV affiliates around the United Kingdom.Radio interviews and commentary include “Coast 2 Coast” with hosts George Noory and George Knapp; "The Art Bell Show;” “Hieronimus & Company” (Baltimore); “The Paracast;” “Wake Up U.S.A.” and “UFO Undercover” (New Orleans); "Sightings On the Radio with Jeff Rense” (LA); “The James Whale Show” (London); “The Alan Colmes Show” (NYC); “The Paracast;” “Through the Keyhole” (Rochester, NY); WBAI-NY's "UFO Desk;"”The Kate Valentine UFO Show,” NYC; “The Jerry Pippin Show;” BBC World Service "UFO's - Fact, Fiction or Fantasy?" and numerous BBC Radio affiliates, among other programming. Hosted on Acast. See acast.com/privacy for more information.