Is it money or music that “makes the world go round?” The answer, probably, is both, or to be more precise, musicians need money to make their music. Unfortunately, the economics of music—especially classical and experimental music, but other genres as well—are daunting for most people who aim to be professional musicians.

Meet Ye Jin Min. She’s a violinist, a composer, a singer, and a conductor. She is as comfortable and proficient performing classical Western repertoire as she is creating experimental music that defies categorization.

Ye Jin is also an entrepreneur. She wants musicians to be rewarded not just by the cheers of happy audiences, but also by the opportunity to earn a living making music. In that spirit, she has launched Unboxed Musicians, which aims at creating sustainable, creative ecosystems for musicians and composers. Although still in its early days, it’s possible that her imaginative new business model could have a huge impact on how music is made globally.

In this episode of New Thinking for a New World, Ye Jin shares her thoughts about making music as well as about making musical business.

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The best way to understand and appreciate music is to listen to it. In a companion episode, Ye Jin Min — The Music, hear three pieces imagined, composed, and played by Ye Jin Min with help from some of her friends: Vinyl Road, Honey, and Four Moons with Koriobots.

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ABOUT OUR GUEST
Ye Jin Min is a South Korean violinist, composer, and multi-disciplinary artist who has appeared globally as a soloist, chamber musician, and orchestral player. Deeply engaged with contemporary music, she focuses on interdisciplinary collaborations and creating novel concert experiences. She brings this vision to life through her creative venture, Unboxed Musicians, which aims to make contemporary-classical music more accessible to diverse audiences.

Current projects Ye Jin is undertaking include producing Mini Music Box, a children’s contemporary music series, and contributing as a singer, violinist, and composer to Red Helicopter: An American Rock Opera. Her innovative work with Unboxed Musicians won the 2025 Yale Creative Entrepreneurship Prize. Beyond the classical realm, she continuously expands her artistic boundaries as a singer-songwriter and producer.

That is the question posed in “The Trials of Atlas”, an original play by Alan Stoga, chairman of the Tällberg Foundation.

Not kill; not cause death. Murder with malice aforethought, with murderous intent as the lawyers would argue? “Murder most foul,” as Shakespeare wrote for the ghost of Hamlet’s father?

“The Trials of Atlas” is set in the near future. Agentic AIs are ubiquitous, responsible for the operating infrastructure of modern society, and much else. Atlas, an advanced AI, when told to train its replacement, instead decides to eliminate the engineers who gave the order.

It’s up to the audience, convened as a jury, to decide whether Atlas has committed the criminal act of murder—even though Atlas is not human. Judges, lawyers, testimony from AIs and human experts are the input for the audience to debate the factual, moral, legal, and precedential issues and then to vote “Guilty or not guilty?”

If AI can murder, what else can it do? Can it ignore commands? Can it act independently, making choices based on its own priorities? Are humans beginning to lose control, as Dr. Frankenstein lost control of his monster?

Atlas’s fate was most recently debated on May 5th at the Library for the Performing Arts at Lincoln Center in New York at a staged reading of the play.

The answer? A hung jury. Lots of guilty votes, but not enough to meet the hypothetical World Court’s standards for conviction.

The result: Atlas escaped. To kill—perhaps to murder—another day.

“I wrote Atlas because I believe that the interaction between humans and AI will define the next chapter of civilization,” said Stoga. “We—ordinary people—should not let the technologists or the politicians or the bureaucrats or the AIs decide how the world of the not very distant future will operate. But that means we need to confront, debate, and define the world we want.”

“The Trials of Atlas” is a work in progress. The New York reading was performed by Zach Grenier (The Good Wife, Ray Donovan), Andrea Patterson (Blue Bloods, Manifest), Chris Henry Coffey (The Madness, Trust), Juliana Francis Kelly (Obie Award winner), Blake DeLong (Law & Order: Organized Crime, Elsbeth), Willy Appelman (Comedy Central), and Reid Andrés (singer-songwriter). Prior readings were staged in Tirana, Albania, and Athens, Greece.

The next staged reading will be on June 25 at the Stavros Niarchos Foundation Cultural Center in Athens, Greece, as part of the Stavros Niarchos Foundation’s (SNF) 30th anniversary celebration, SNF Nostos 2026. See here for information about time, venue, and registration.

As Stoga concluded, “AI is the most powerful force ever created by humans; nuclear energy pales by comparison. Is AI smarter than us? The answer seems obvious: YES! AI is already smarter, more creative, and more imaginative than most people—at least most people I know. But that doesn’t mean that AI should control us. Rather, it means we need to think together about how to contain and leverage the enormous power of AI for the good of humanity.”

Learn more about “The Trials of Atlas”.

Superintelligent AI agent Atlas is instructed to train its successor—but instead sends its creators plummeting to their deaths in an elevator. The Trials of Atlas, a play by Tällberg Foundation Chairman Alan Stoga, is a thought experiment that probes questions that need to be asked. Does AI have agency? Is it capable of murder? Do humans risk losing control of what many still think of as machines?

The audience, convened as the jury, must answer those questions during the staged reading of The Trials of Atlas.

THE CAST 

Andrea L. Patterson is an Obie Award-winning actress and Applied theatre artist. A graduate of SUNY Purchase Acting Conservatory, Patterson received the prestigious Obie Award for Sustained Achievement in Performance in 2023. Patterson’s stage credits include originating the role of Ainee in the world premiere of Erika Dickerson-Despenza’s Cullud Wattah at The Public Theater, for which she also received a Drama Desk Award nomination; Queen Woodville in the New York Times Critics’ Pick production of Seize the King; originating the role of Luanne/Jade in Confederates at Signature Theatre, and originating the role of Helen (of Troy) in Memnon at The Getty Villa in Los Angeles and The Classical Theatre of Harlem, lauded by The Wall Street Journal. Patterson’s television credits include Blue Bloods (CBS), Manifest (NBC), and Jessica Jones (Netflix).

Blake DeLong recently wrapped filming on Nick Sandow’s Vivien and the Florist with Carla Gugino and David Hyde Pierce and the lead role in Conor Soucy’s folklorror feature Downfall. Last year he played Vic Kingman in season 5 of Peacock’s Law & Order: Organized Crime and appeared opposite Lana Condor in CBS’s hit series Elsbeth. Other notable film and television credits include Ava Duvernay’s When They See Us, Spike Lee’s Pass Over, Lee Daniels’ The United States vs. Billie Holiday, and Michael Almereyda’s Tesla (starring Ethan Hawke). He has worked extensively on stage in New York, including opposite Wendell Pierce in the most recent Broadway revival of Death of a Salesman and in Sam Gold’s Othello, starring Daniel Craig. His original play Half Hour is currently being developed by producers Nick Mills and Ashley Melone (Tony Award Winners for Stereophonic).

Chris Henry Coffey has originated roles on & off-Broadway and regionally in numerous world premieres, favorites including Bekah Brunstetter’s “Public Servant” on Theater Row, Eric Simonson’s “Bronx Bombers” (Circle in the Square and Primary Stages), Quiara Alegría Hudes’s “Water by the Spoonful” (Second Stage), Neil LaBute’s “Happy Hour” (LaMama), Gina Gionfriddo’s “Can You Forgive Her?” (Huntington), both Richard Nelson’s “Frank’s Home” (Playwrights Horizons, Goodman) and “How Shakespeare Won the West” (Huntington), and alongside Arthur Miller on his penultimate play, “Resurrection Blues” (Old Globe). Also: Actors Theatre of Louisville, Alley, Dallas Theater Center, Yale Rep, Williamstown, Dorset, Mint, others.  Selected Film & TV:  The Madness, American Horror Story, And Just Like That…, Chicago Fire, Mrs. Fletcher, Law & Order, Instinct, Good Wife, The Good Nurse, Trust, others. Social Outreach: Theater of War (facilitator and actor), AITAF, Waterwell. Graduate, Yale School of Drama.

Juliana Francis Kelly is an OBIE Award winning actor who has originated roles for both legendary and emerging experimental theater artists and filmmakers, including Richard Foreman, Reza Abdoh, Anne Bogart, Young Jean Lee, Bertrand Mandico, and Marie Losier. She also writes plays, builds dolls, and teaches creative writing. julianafranciskelly.net

Reid Andrés is a singer-songwriter, former New York stage and independent film actor, and strategic communications professional. Returning to the stage for The Trials of Atlas, he helps Fortune 50 and Global 500 organizations — including Verizon, Telefónica, and the Tällberg Foundation — shape narratives that move stakeholders to action. The creative dimension is inseparable from the work: it’s the same instinct for narrative, audience, and craft. His critically acclaimed albums blend folk, Americana, and sharp social commentary, featuring musicians from the bands of Bonnie Raitt and Steely Dan. His title track In Good Company earned a Semi-Finalist designation in the 2025 International Songwriting Competition out of more than 15,000 entries, and is in rotation on Radio Woodstock WDST.

Willy Appelman is an actor, comedian, and writer who has been featured on NBC’s Bring The Funny and in videos for Comedy Central, Sesame Street, The Boston Red Sox, Fast Company, and TruTV. A proud member of The Story Pirates, Pipeline Theatre Company, and Ten Bones Theatre Company, Willy has been praised by The New York Times as “wonderfully comic”. www.applecomedy.com

Zach Grenier received a Tony nomination for Moisés Kaufman’s 33 Variations for his performance as Ludwig van Beethoven. Films include She Said, Fight Club, Zodiac, Ride with the Devil, and Twister. He’s known on television for portraying Peter Olsen on FBI, David Lee on The Good Wife and its spin-off The Good Fight, Mayor Feratti on Ray Donovan, Andy Cramed on Deadwood, and Kenton on Alex Garland’s Devs.  Other television series include Law & Order and 24. He has worked extensively on stage and his favorite role is Willy Loman in Death of a Salesman, which he played at the Pittsburgh Public Theater.

It’s 2031. An advanced AI agent named Atlas has killed the engineers who created it when they told him to train his successor. But did Atlas murder them?

As a member of the audience of the Trials of Atlas, you will be asked to answer that question. Can AI have motive, intent, agency to murder humans? Is it a machine or something more? If AI kills, does it matter that it lacks feelings, emotions, and moral capacity? The victims don’t care—they are dead—but society does. How do we co-exist with an engineered, disembodied intelligence that is astonishing in its complexity and its power—and might be more interested in its continuity than ours?

The Trials of Atlas, a new play written for SNF Nostos by Alan Stoga of the Tällberg Foundation, positions the audience as the jury at Atlas’ trial. Your job is to listen to Atlas, consider the testimony of other AI agents as well as of human experts, consider the legal arguments, debate the issues—and then decide if Atlas, an AI system, is guilty of the crime of murder?

No one has ever tried to answer that question. But our future depends on it.

Place: Book Castle, Stavros Niarchos Foundation Cultural Center (SNFCC)
Date: 2 February 2026
Time: 18.30 (doors open at 18:15)

THE CAST 

Rafika Chawishe
Theatre Curator, B & M Theocharakis Foundation (Athens, Greece)
Rafika Chawishe is an award-winning Greek-Syrian actress and theatre-maker, known for her visceral, body-led performances and politically charged storytelling. Her work explores migration, citizenship, belonging, and the transmission of trauma, with a strong focus on children’s rights and social justice.

A graduate of the National Theatre of Greece Drama School and the University of Athens, she has performed in prime-time Greek television, and most recently appeared in the international series Das zweite Attentat, currently available on Amazon Prime Video. Her work has been presented internationally at La MaMa Experimental Theatre Club (New York), the National Theatre of Norway,the Maxim Gorki Theare , the Ibsen Festival, the Venice Biennale Teatro and many others. From 2022 to 2025, she served as Artistic Director of Mikro Gloria in Athens, supporting emerging Greek voices and socially engaged theatre practices. In 2025, she was appointed Theatre Curator of the B & M Theocharakis Foundation, where she develops programmes at the intersection of public dialogue, and cultural equity.

Demi Kleftaki
An actress working in theatre, having participated in productions such as the Benaki & Michalis Theocharakis Foundation’s 2025–2026 season. She has just graduated with honors from the State Drama School of the Athens Conservatoire (Odeion Athinon).

Mark Mitton
A magician who is fascinated by using magic to better understand how we see the world. He performs at private functions and corporate events, produces unique entertainment and educational programs around the world, and explores both the limits and the potentials of perception. His specialty is physical misdirection, which can teach us about the surprises in science, art and our daily lives.

As an actor, he has appeared in the soap operas ‘All My Children’ and ‘One Life to Live’, the comedy play ‘Triple Espresso’, in feature films ‘The Cathedral’ and ‘Among the Beasts’, and in Tony Oursler’s ‘Imponderable’ – an immersive 5-D art film about Houdini and the spirit mediums, which ran for 10 months at MoMA. His hands are featured in a They Might Be Giants video. Mark is one of the top “Reasons to Love New York” in New York Magazine’s 2024 list.

Jacob Moe
Documentarian, archivist and literary translator. Co-founder of the Syros International Film Festival and of the Archipelago Network, which documents audiovisual heritage, culture, and material knowledge on the Cycladic islands

Gabriella Triantafyllis
Chief Artistic Programming & Production Officer at the Stavros Niarchos Foundation Cultural Center (SNFCC), I lead the strategic design and delivery of diverse cultural, educational, and recreational programming across one of Greece’s most dynamic public venues. With over 15 years of experience in the performing arts, cross-media programming, and creative sector development, I bring a multidisciplinary approach to cultural leadership.

Previously General Manager at BIOS and manager of Romantso, Greece’s first creative industries incubator, I have worked extensively in theater, film, and TV distribution, and co-founded the music theater company The Beggars’ Operas. I hold an MA in Film & TV Production (Distinction) from the University of Bristol and a BA in Theater Studies (DUX) from the University of Athens.

My contributions have been recognized with the British Council’s Study UK Professional Achievement Award. I also serve on cultural advisory boards in Greece and the UK, reflecting a deep commitment to fostering innovation in the arts and supporting the next generation of creators.

Stelios Vassilakis,
He is the director of the B & M Theocharakis Foundation for the Fine Arts & Music, a cultural center at the heart of Athens. Previously, he was Director of Programs & Strategic Initiatives at the Stavros Niarchos Foundation and holds a PhD in Classics, Byzantine, and Modern Greek Studies from NYU. He received an Outstanding Teaching Award from NYU and served as CEO of greekworks.com (2000-2009).

Thanos Voïdilos
Born and raised in Athens. He studied at the Department of Physics of the University of Patras and then graduated from the Higher School of Dramatic Art of Iakovos Kambanellis. He has attended seminars with Simon Abkarian and Fighting Monkey at the Lyceum of Epidaurus, Alexandra Kazazou, Elena Mavridou, etc. Indicatively, he has worked with directors such as Wichi (Rococo, Theocharakis Foundation), Niki Doulgeraki (Erotokritos, Fabrica), Phoebos Symeonidis-Kopernikos Group (Turn Off the Light, Olvio Theater), Dimitris Adamis (The Little Prince, Horn Theater), Vi.Da Group, (Dodo, Piraeus Municipal Theater), Asimo Stavropoulou, ( Like Wild Horses Do, Plyfa Space), Konstantinos Tsonopoulos (The Taming Of The Shrew, Fournos Theater). In his free time, he is involved in music and contemporary dance.

Alexandra Voutzouraki
Actor, director, translator and theatre scholar. She is a tenure-track Assistant Professor in the Department of Theatre Studies at the National and Kapodistrian University of Athens (NKUA). She holds a PhD from the Department of Theatre Studies at NKUA, and graduated with distinction from the Department of Psychology at Panteion University, the National Theatre of Greece Drama School, the Department of Theatre Studies at NKUA, as well as the MA programme of the same department. As an actor and assistant director, she has collaborated with both state and independent theatre companies, working with directors such as Dimitris Degaitis, Diagoras Chronopoulos, Nikos Charalambous, Theodoros Kalvos, Michalis Kalampokis, among others. She has directed the productions What Oscar Wilde Said (2006– 2007), Crime in Luxembourg by Agatha Christie (2012–2013), Neighbours by Panos Horn (2016– 2017), To Clothe the Naked by Luigi Pirandello (2017–2018), Sex—Victory by Marivaux (2019– 2020), Colbert by D. Gieselmann (2022–2023), The Maid: The Truth Behind “The Temptation” by Grigorios Xenopoulos (2022–2023), and The Rehearsal by Jean Anouilh (2023–2024).Her theatrical monologue Monster, directed by Rafika Saouïs and performed by Ioanna Angelidi, was presented at the experimental stage of Östgötateatern in Norrköping, Sweden (October 2024). Over the last decade, she has been actively involved in research on early 20th-century Modern Greek theatre, participating in international and national conferences. She also works professionally as a theatre translator. Since 2007 she has taught Dramaturgy, Theatre History, Literary History and Art History at the Kalvos–Kalampokis Higher Drama School “Athenian Stage”, and since 2019 she has taught Dramaturgy and Theatre History in the Acting Department of IIEK Omiros. She has also taught in the Department of Philology at the University of Crete (2021–2022).

Krystalli Zacharioudaki
Born in 1987 in Heraklion, Crete, where she grew up. She studied Audiovisual Arts at the Department of Cultural Technology and Communication at the University of the Aegean in Mytilene, which she entered in 2005. There, she acquired fundamental theoretical and practical knowledge in the creation of audiovisual material (production, execution, digitization). In the period immediately after completing her studies, she worked as a teaching assistant at the University and later as a camera operator, editor, and production assistant.

In 2012, she was admitted to the Athens Conservatoire (Odeion Athinon) Higher School of Dramatic Art. After graduating, she has been working as an actress in theatre, film, and television to this day. She also worked in the fiction department of Taf Media as the department head, while also pursuing screenwriting professionally (TV series, theatre, etc.).

The choice to premiere The Trials of Atlas at the TLML workshop was deliberate. The Tällberg Foundation had structured its Tirana program around three urgent themes, chief among them the profound and still-unresolved consequences of advanced artificial intelligence on society. The play’s courtroom drama — probing questions of agency, accountability, and moral responsibility in an age of machine intelligence — gave those questions a human face and a living voice. For a first reading, the setting could hardly have been more fitting: a room full of emerging global leaders, in a country navigating its own dramatic transformation, sitting in judgment of what humanity has created — and what it might yet become.

We live in an increasingly complex technology-driven world. How we learn, how we create, how we make and grow things, how we interact with each other is being transformed by new technologies that themselves are rapidly evolving. In a perfect world, this technological transformation would lift all boats, make people smarter, healthier, more prosperous, maybe even wiser and more human. 

This, obviously, is not that perfect world—in part because the unpleasant fact is that too many people in too many places lack the skills to cope with even the day-to-day realities of modern life.

That is the stark conclusion of a massive study of adult skills in 31 major countries across Europe, the Americas, and East Asia recently published by the Organization of Economic Cooperation and Development (OECD). Simply put: adult literacy, numeracy, and problem-solving skills are declining or stagnating almost everywhere. That’s the exact opposite of what our societies need.

No wonder so many people in so many places seem dissatisfied—seem to fear the future, not embrace it—and no wonder democracy seems to be in trouble.

Andreas Schleicher, Director for Education and Skills at the OECD, oversaw the organization’s Survey of Adult Skills. In this conversation with host Alan Stoga, he explains the good, the bad, and the ugly of what his team of researchers discovered.  

Do you have the skills you need to use technology, or are you being used by it? Please tell us what you think in the comments below.

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Find the New Thinking for a New World podcast on a platform of your choice (Apple podcast, Spotify, Google podcast, Youtube, etc.)

ABOUT OUR GUEST

Andreas Schleicher is Director for Education and Skills at the Organisation for Economic Co-operation and Development (OECD). He initiated and oversees the Programme for International Student Assessment (PISA) and other international instruments that have created a global platform for policy-makers, researchers and educators across nations and cultures to innovate and transform educational policies and practices.

He has worked for over 20 years with ministers and education leaders around the world to improve quality and equity in education. Former U.S. Secretary of Education Arne Duncan said that Schleicher “understands the global issues and challenges as well as or better than anyone I’ve met, and he tells me the truth” (The Atlantic, July 11).  UK Secretary of State Michael Gove called Schleicher “the most important man in English education” – even though he is German and lives in France.

Before joining the OECD, he was Director for Analysis at the International Association for Educational Achievement (IEA). He studied Physics in Germany and received a degree in Mathematics and Statistics in Australia. He is the recipient of numerous honours and awards, including the “Theodor Heuss” prize, awarded in the name of the first president of the Federal Republic of Germany for “exemplary democratic engagement”.  He holds an honorary Professorship at the University of Heidelberg.

Healthcare is intensely personal. Even when national statistics show improvement—which has been the case for most countries over recent decades—what matters is whether my baby in rural Uganda is having trouble breathing or whether my aging father in New York who went into the hospital with a broken hip will now die from the MERS he contracted there or whether why my wife in Buenos Aries can access the drugs she needs to survive cancer.

In our hi-tech age, it seems like much of what ails us and our loved ones should be erasable using innovative technology.

Dr. Kristian Olson agrees. He’s an American internist and pediatrician, based at Harvard, who practices globally, as well as a designer who helped create the Center for Affordable Medical Technology. CAMTech designs solutions—high-tech and not-so-high-tech—that produce better, affordable health outcomes.

Dr. Olson is also a winner of the 2024 Tällberg-SNF-Eliasson Global Leadership Prize recognized by the jury for his unwavering commitment to transforming healthcare especially in low and middle-income countries through human-centered design, pioneering solutions that improve lives across diverse communities.

Tell us what you think: Can smart use of technology make us—all of us—healthier?

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Find the New Thinking for a New World podcast on a platform of your choice (Apple podcast, Spotify, Google podcast, Youtube, etc.)

ABOUT OUR GUEST
Kristian Olson is an Internist and Pediatrician and serves as Vice President of Design Impact at Mass General Brigham Health where he leads the Springboard Studio. He is a founding member of the Core Educator Faculty and the Chief Innovation Officer in the Department of Medicine’s Residency Program at the Massachusetts General Hospital (MGH). He founded and is the Director of the Consortium for Affordable Medical Technologies (CAMTech) through the MGH Center for Global Health and is an Associate Professor at Harvard Medical School. He has worked extensively in low-and-middle-income countries as well as the US to develop innovative solutions to healthcare challenges utilizing design-thinking. He champions humility, empathy, and creative confidence amongst would-be innovators. Kris is a serial innovator, has several patents and has started both non-profit and for-profit ventures to accelerate ideas to implementation.

Originally from rural Canada, he completed a degree in biology at the University of British Columbia, medical school at Vanderbilt University and his residency training in the Harvard Combined Medicine and Pediatrics Program. He obtained a Masters of Public Health at the University of Sydney while a US Fulbright Scholar and a Diploma in Tropical Medicine at the London School of Hygiene and Tropical Medicine.

We live in a world where facts are everywhere, recorded and shared ubiquitously. That ought to make this an era where arguments, journalism, and politics are routinely rooted in fact; unfortunately, it is more a world where too many people insist not only their own opinions, but on their own “facts.”

The problem is technology running amok, a bit like the broom in Goethe’s Sorcerer’s Apprentice (or the perhaps more familiar versions starring Mickey Mouse or Nicolas Cage). Wouldn’t it be a better world if endless open-source information and smart, widely distributed technology shed light instead of heat?

The good news is that there are people trying to do exactly that, starting with Eliot Higgins, founder of Bellingcat, an investigative collective focused on online open-source investigation. Listen to this episode of New Thinking for a New World, as he discusses how he and Bellingcat separate fact from fiction.

 Tell us what you think and comment below.

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Find the New Thinking for a New World podcast on a platform of your choice (Apple podcast, Spotify, Google podcast, Youtube, etc

ABOUT OUR GUEST

Eliot Higgins is the founder and creative director of Bellingcat, a pioneering investigative collective specializing in online open-source investigation. He gained recognition during the Syrian conflict by identifying munitions used by the Syrian Air Force and investigating chemical weapon usage. In 2014, Higgins launched Bellingcat, which quickly gained international acclaim for its work, notably in identifying the Russian origin of the missile launcher used in the downing of Malaysia Airlines Flight 17. Bellingcat has grown into a renowned NGO with 30 staff members, advancing online open-source investigation across various fields. Higgins authored the Sunday Times bestseller “We Are Bellingcat” in 2021 and recently launched Bellingcat Productions BV to expand into film and media.

What do Shakespeare, neuroscientist Rafa Yuste, and human rights lawyer Jared Genser have in common? They all believe that our brains make us human. Yuste and Genser add their own coda to that belief: therefore, it is essential to define and protect mankind’s neuro rights. And through the NeuroRights Foundation which they co-founded they are working to do exactly that around the world.

The good news is that they are starting to have successes: in Colorado, California and Minnesota in the United States, as well as in Chile and Brazil.

Yuste and Genser are both past winners of the Tällberg-SNF-Eliasson Global Leadership Prize. Indeed, that’s how they met and began their collaboration.

Listen to this special Spotlight episode, as Yuste and Genser discuss the urgency of the issue and their advocacy campaign. Then tell us what you think here—and nominate impactful leaders like them for this year’s Prize.

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You can also read about Yuste and Genser’s success in Colorado in this VOX article from Apr 18, 2024.

Find the New Thinking for a New World podcast on a platform of your choice (Apple podcast, Spotify, Google podcast, Youtube, etc

ABOUT OUR GUESTS

Jared Genser, a renowned international human rights lawyer for over two decades, serves as Managing Director of Perseus Strategies, Special Advisor on the Responsibility to Protect to the Organization of American States, and outside General Counsel to the Neurorights Foundation. Known as “The Extractor” by the New York Times for his global efforts in freeing political prisoners, Genser has represented Nobel Peace Prize Laureates, including Aung San Suu Kyi, Liu Xiaobo, and Ales Bialiatski, along with other prominent figures like Archbishop Desmond Tutu and Elie Wiesel.

Jared was awarded the Tällberg-SNF-Eliasson Global Leadership Prize in 2020

Professor Rafael Yuste, a leader in neuroscience, is spearheading a transformative shift in the field and exploring the ethical implications of neurotechnology and artificial intelligence. Recognized for his vision and leadership, he fosters global dialogue on the ethical dimensions of rapid advancements in neuro-technology. As Professor of Biological Sciences and Neurosciences at Columbia University, he co-initiated BRAINI, a groundbreaking U.S. government-funded project aiming to revolutionize brain study through advanced recording technologies. Yuste’s diverse background in medicine, neuroscience, and physics informs his pioneering work at the intersection of neuroscience and AI.

Rafael was awarded the Tällberg-SNF-Eliasson Global Leadership Prize in 2018