conscient podcast

My advice to artists would be drop every garb that you have, drop every piece of knowledge that you think you have. Head to the jungles, head to the rural places. We are living in a time of crisis. We need artists more than the scientists. We need artists more than the healers. We need artists more than anything because arts connect everybody. We need songs, we need stories, we need pictures, we need circles, we need Ubuntu to prosper. Traditional Western ways of, colonized ways of working will not save us as a species. They're not going to help us. They're only going to destroy. And the traditionally arts ecosystem exists like that everywhere in the world. Now we know that it's been going on for hundreds of years. We need to destroy that as artists and we need to head to where our roots are, which is in the soil. And our arts come from there.I met Lallan (Anirudh Lallan Choudhry) at the Sunshine Himalayan Cottage facility in the Tirthan Valley, Himachal Pradesh, India. The managing host of this facility, Panki Sood, introduced us. Lallan, is a multi-disciplinary artist and socially engaged artist who practice is ‘rooted deep in working with the earthen, on a severe lookout for the conditions which enable genuine co-authors within communities, forming narratives through extra-human design and enquiry'. He is the founder of Baadii, a rural art-house in Himachal Pradesh where he currently lives and is also working on community arts projects at Sunshine Himalayan Cottage with Panki and his team, which you'll hear about in a few minutes. I want to thank Panki for introducing us and Lallan for this first conversation. Note: You can hear his latest musical production, Kyun, here). Below is a rough translation of the lyrics :Why is the world caught up in making excuses stillWhy are the machines continuously pumping smoke in the airBy whose permission did we dump all the garbage in the sea And who are the idiots building these dams trying to tie free rivers What is all this and why is this evenWhat is this world that humans are desiring? If everything is one day bound to be left here on the groundThen what is the use of constant fighting, over and over again?And why is it that we fill bombs and continue to drop them on our very own children? We are intoxicated by the notions of borders and religionAnd continue to revel in the blashpemy of it all So why is this evenThat destruction and more destruction is the only thing we want?  Those who can be quiet and just listen, where are they?Why are my torchbearers full of greed who want to sell the world?Those who divide the we into you and meWhy has everyone chosen them to lead?Those who dry down the rivers and erase forests Whar are they doing in everyone's share of the earthWhy are the deprived, still deprivedWhat kind of progress is this? Wherever you see, its filled of smokeWhat kind of a fire of hatred have they fueled  Douse it, douse it, douse itLet us breathe, of whatever breath is left Whatever little is left of life  Might also die, if you do not stop!Show notes generated by Whisper Transcribe AI:Action pointsEmbrace traditional wisdom by learning from rural communities and their sustainable practices.Create art that addresses socio-political issues and promotes cultural movements.Build community art spaces that foster collaboration between artists, naturalists, and local populations.Highlight the cultural importance of ecological regions through art and storytelling.Negate purely aesthetic work in favor of art that drives social and ecological change.Story PreviewImagine an artist who champions rural wisdom, bridging ancient traditions with contemporary art to spark cultural and ecological movements. Discover how Lalan is building vibrant arts ecosystems in the Himalayas, proving that art can be a powerful catalyst for change.Chapter Summary00:00 The Call for Artists01:29 Setting Up an Arts Ecosystem03:25 Learning from Rural Communities06:30 Art as a Medium of Connection08:06 The Journey of a Self-Taught Artist10:01 Creating Impact Through Community Art12:28 Current Projects and Future AspirationsFeatured QuotesWe need artists more than the scientists. We need artists more than the healers… because arts connect everybody.The traditionally arts ecosystem exists like that everywhere in the world…We need to destroy that as artists and we need to head to where our roots are, which is in the soil.How can you as an artist live and create work in a rural so called remote setting where nobody even expects a doctor or an engineer to even work. So how can you make art there? Behind the StoryLallan's journey from documentary filmmaker to socially engaged artist is rooted in a deep connection to rural communities and a desire to address pressing ecological and cultural issues. His work challenges the dominance of Western artistic models, advocating for a return to traditional wisdom and collaborative art practices that empower local voices. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

Alongside the responsibility of holding people accountable and calling out what they see as unjust, I think that there's also an element of hope with artists, even when we're maybe a little bit melancholic, or even when we're in heavier periods in our lives, the act of creating denotes hope, because why would you create something if you didn't believe that it was going to lead to something? Why would you put energy into something if you didn't hope that it would nurture either a change or a feeling of belonging or something that'll bring people together and that will create a sense of community?My conversation with Emily Marie Séguin, a Franco-Ontarian 2-spirited performer, musician, theatre creator and visual artist of settlers and Anishinabe descent who creates work to recognize those who walked before her, and to support those who will after her. I wanted to speak to Emily because she is member of Éclore, a collective that builds bridges between artistic, environmental and activist communities, bringing people together and building hope for a fairer, more sustainable future. I had already spoken with Léa Vandycke, about Éclore, in episode 164 of balado conscient, and so Emily is about to tell us, in English, the story of Éclore from her point but she will also talk about her own work and vision as an indigenous artist, such as her G'zaagiin maleńki – I promise you a forestproject. I also had a French language conversation with Emily, see balado conscient épisode 168.Show notes generated by Whisper Transcribe AIAction pointsDiscover the mission of Éclore and how it fosters collaboration between artists, scientists, and activists.Explore the role of art in advocating for social causes, environmental protection, and Indigenous sovereignty.Learn about Emily's project, G'zaagiin maleńki – je te promets une forêt and its goal of connecting young people with the sounds and importance of nature.Understand the significance of Indigenous voices in land-based solutions for a just and sustainable world.Gain actionable steps for artists and cultural workers to engage in advocacy and support grassroots movements.Story PreviewImagine a world where art, environmentalism, and activism intertwine, creating a tapestry of hope for a sustainable future. Emily Marie Séguin, a passionate Two-Spirit artist, shares her journey of bridging these worlds through her work with Éclore and her dedication to honouring the land.Chapter Summary00:00 The Duality of Art: Accountability and Hope01:23 Introducing Emily Marie Seguin03:44 The Birth of Éclore: A Collective for Change07:15 Art as a Reflection of Nature11:43 Taking Action: Empowering Artists and Cultural WorkersFeatured QuotesThe act of creating denotes hope, because why would you create something if you didn't believe that it was going to lead to something?I think that the fight towards a more just and sustainable world, especially in a land-based context, needs to include Indigenous voices.Without hope, we wouldn't do anything, we wouldn't act, we wouldn't continue to fight.Behind the StoryEmily's involvement with Éclore stems from a deep-seated passion for plants, nature, and advocating for social justice. Inspired by the vision of Éclore's founders, she joined the collective to help build a community that serves as a resource for artists and fosters conversations across diverse disciplines, all united by a common goal of protecting the land and promoting sovereignty. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

If we start to pay attention to what we pay attention to then we start to naturally slow down. We disconnect from the urgency, the crisis, and we start to realize that care, and I don't just mean care for one another, although that's a piece of it, but care also for our surroundings, care for our time, care for those nearest to us. That is where it begins. That is valuable work that is not recognized. I think that is what we can do on a day-to-day basis. That over a long term becomes artistic practice and becomes culture.My conversation withknowledge producer, artist, facilitator and director of the Artists' Literacies Institute, Andrew Freiband. Our conversation was recorded, via Zoom, on April 18, 2025. My previous conversation with Andrew was on conscient podcast e13 in 2020 called weaving art into action, when we both participants in the Creative Climate Leadership course USA. Five years later, I was happy to discover that Andrew, informed by the work of British artists and writer  Alana Jelinek, continues to weave art into action, notably with through his Systems Thinking for Socially Engaged Artists project, a seminar and dialogic discussion activity that introduces artists to basic concepts of systems science so we fleshed this out and Andrew and also talked about how the arts can be more useful to the near term and long-term future of our species. Show notes generated by Whisper Transcribe AIAction pointsRecognize the value of artists' unique knowledge and perspectives beyond just their art.Understand artists as systems thinkers who can connect various systems, including economic and power systems.Challenge the notion that art should not be useful and embrace its potential for practical application.Pay attention to what you pay attention to, cultivating care for surroundings, time, and relationships.Consider the long-term cultural impact of artistic practices, which can outlast political and social structures.Story PreviewImagine a world grappling with mass grief during a pandemic, where traditional rituals are impossible. Discover how artists stepped up to create new ways to mourn and connect, revealing the profound value of art beyond aesthetics.Chapter Summary00:00 The Power of Attention01:01 Revisiting Conversations02:50 Art in Crisis: The COVID-19 Response05:15 Creating the Artist's Grief Deck07:16 Rethinking the Role of Artists10:07 Navigating Systems and Agency12:21 The Intersection of Art and Activism13:50 The Slow Work of CultureFeatured QuotesIf we start to pay attention to what we pay attention to, we start to naturally slow down.Artists are valuable not for the art, but valuable for what they know and how they know it.Artists attention is enormously valuable…maybe the key currency of being an artist that we pay attention.Behind the StoryDuring the height of the COVID-19 pandemic, disaster relief agencies faced a challenge they weren't equipped for: mass grief in isolation. Recognizing artists' historical role in creating rituals, they sought help in developing new tools for mourning. This led to the creation of the Artist's Grief Deck, a project highlighting the practical and connective power of art. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

Even being confronted with something that is weird or uncomfortable: it's character growth. You have to ask the question: why is this person doing this weird thing? It's a good exercise in empathy, to be perfectly honest. Why is this person doing this thing? Why does that make me uncomfortable? What, what is it about my perception that has shaped this experience for me? I feel like those are really essential questions for us to be constantly asking ourselves, especially in an age where there's a lot of discord, a lot of dissent and a lot of disagreement. And the better we understand ourselves, the better we're able to engage with humans who are different than us.My conversation with Meghan Moe Beitiks, assistant professor in theatre at Concordia University in Montreal. Meghan Moe is an artist and designer working with associations and disassociations of culture, nature and structure. Our mutual friend Ian Garrett thought we might get along. We did. Our conversation focused on Meghan Moe's Angles of Consequence project, a season of site-specific performances with Canadian performers to create work with reflected sunlight in key sites of climate advocacy and destruction in Québec. Meghan Moe and I had tea in Montreal. It was a very, enlightening, conversation. Show notes generated by Whisper Transcribe AI:Action pointsRecognize art's crucial role in processing emotions and spreading information during crises.Explore the use of reflected sunlight in art to highlight climate change issues.Support Indigenous resistance against fossil fuel expansion as an effective climate action.Consider the impact of positionality (literal and cultural) on our perspectives.Utilize resources like Canada Green Tools to calculate and reduce the carbon footprint of events.Story PreviewImagine art that dances with the sun, revealing hidden truths about our planet's climate crisis. Megan Moe's ‘Angles of Consequence' uses reflected sunlight in powerful performances, sparking dialogue and demanding action.Chapter Summary00:00 The Power of Empathy01:05 Introducing Megan Moe01:31 Angles of Consequence03:08 Art as a Tool for Understanding04:35 Reflected Sunlight and Climate Change07:09 Indigenous Resistance and Environmental Impact09:49 Collaborating with NatureFeatured QuotesWe also need moments of digestion…to absorb and understand what we've experienced and what we've learned.The sun is not going to show up on your time. It doesn't care whether you're giving a performance.Being able to witness that up close and consider what that human is doing in relationship to your own humanness, I feel like makes us all clearer, more grounded and better.Behind the StoryMegan Moe's project, ‘Angles of Consequence', emerged from pandemic isolation and a fascination with reflected sunlight. It evolved into a series of site-specific performances addressing climate change in Québec, highlighting both the destructive forces of fossil fuels and the powerful resistance of Indigenous communities. The project aims to create an open-access guide, encouraging global engagement with sunlight performance art. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

Part of the answer to that question lies in the arts and culture understanding the role it can have in a time of collapse or crisis, and to understand that itself is not in crisis. I think that's a big point because we hear a lot right now around the crisis that is happening in cultural institutions and in the arts. And in fact, the crisis that is happening is in our world, right? It's an ecological crisis, it's a world order crisis, it's a humanitarian crisis. The arts themselves have a lot to contribute to these moments in terms of meaning, belonging, helping us to process those crises. But the arts themselves are not in a crisis. What we can do, though, is place ourselves within those larger crises and ask the question, what can we contribute that's of meaning and value to people as they experience these other things that are really significant in the world that we're living in right now.My conversation with consultant and strategist in public policy, arts, culture and creative industries, Kelly Wilhelm, who currently leads the Cultural Policy Hub at OCAD University in Tkaronto. Kelly is a long-time friend and colleague with whom I have had many passionate conversations about art, culture, leadership, life and how to have fun through it all. This conversation was no exception.  We talked a lot about precarity in the arts sector but also its resilience. You'll hear me refer to Kelly's A New Project on Precarity and Sustainability article in the recording.  I love the way Kelly always finds a way to ask good and timely questions.Episode notes generated by Whisper Transcribe AIAction pointsChallenge traditional leadership models in arts organizations to foster inclusivity and relevance.Advocate for the arts and culture in broader public policy discussions, including areas like AI.Examine the financial conditions and precarity affecting individual artists and creators.Re-evaluate the not-for-profit model in the arts to identify sustainable governance structures.Promote collaboration between arts organizations and other sectors to contribute to democratic processes and public good.Story PreviewWhat if the arts aren't in crisis, but are actually a crucial part of the solution to global challenges? Kelly Wilhelm challenges conventional thinking and inspires us to reimagine the role of cultural institutions in today's world. This episode dives into leadership, equity, and the resilience of the arts sector. Chapter Summary00:00 The Role of Arts in Crisis01:16 A Conversation with Kelly Wilhelm02:25 Connecting Cultural Institutions to Communities04:53 The Changing Role of Cultural Institutions06:08 Rethinking Leadership in the Arts08:51 The Cultural Policy Hub at OCAD University10:51 Addressing Precarity in the Arts SectorFeatured QuotesThe arts themselves have a lot to contribute to these moments in terms of meaning, belonging, helping us to process those crises.We need to be much more flexible in how we think about structure and how we think about how we deliver that meaning.How do we ensure that these institutions are led, that they… are reflective and meaningful to the people that they are there to serve.Behind the StoryKelly Wilhelm's journey began with a concern about the disconnect between cultural institutions and the communities they serve. Beginning her career in Toronto in the late 1990s, Kelly saw the contrast between the work show and stories told in public art galleries and museums, and the diverse communities outside their doors. She became determined to bridge this gap. Her work at the Cultural Policy Hub at OCAD University is an example of her commitment to equity, relevance, and the power of the arts to create meaningful change. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

How can we reciprocate since the world keeps us alive on the one hand, and on the other hand, all these things, birds and you name it, right? Fish and moose and beaver, these are things we love. So, if this is the world we love, we're going to have feelings about how we might want to do positive things to keep this world we love as nurtured as possible. And we also hopefully want to ask, how do we keep our own ability to be alive and thrive here as humans?Sarah Peebles is a Toronto-based installation artist, composer and music improvisor. Much of her work explores digitally manipulated found sound and unconventional methods of amplification. She has also collaborated with artists, technicians and bee biologists on a series of projects addressing pollination ecology and biodiversity, entitled ‘Resonating Bodies' since 2008. I loved her ideas on reciprocity, which, indirectly, is what this podcast tries to do by sharing the work of ecological artists like Sarah and their vision of a world where we can peacefully cohabitate with the more-than-human world. Show notes generated by Whisper Transcribe AIAction pointsObserve the natural world closely to understand its intricate feedback loops.Support native bee populations by considering land management practices and avoiding harmful pesticides.Explore art as a medium for understanding and engaging with ecological issues.Question conventional agricultural practices and advocate for sustainable alternatives.Recognize the impact of individual choices on the broader ecosystem and strive for reciprocity.Story PreviewImagine stepping into a world where the secret lives of native, wild bees are amplified, revealing a symphony of tiny movements and vital connections. Sarah Peebles' art invites us to observe and listen closely to nature's diverse, essential players and reconsider our role in its delicate dance. Chapter Summary00:00 The Concept of Reciprocity01:00 Meet Sarah Peebles02:24 Engaging with Biodiversity05:24 Art as a Medium for Science10:14 The Role of Art in HealingFeatured QuotesHow can we reciprocate since the world keeps us alive?They (bees) don't care about me at all. They're doing what they do. I'm helping to provide places in which they can forage and nest which we can visually and sonically access.It's a little bit easier to just allow people to have a sense of wonder and go from there.Behind the StorySarah Peebles' journey exploring art and biodiversity began with a concern: despite years of recording natural sounds, she saw no real change in environmental awareness. This led her to collaborate with wild bee biologist Professor Lawrence Packer, sparking a passion for native bees and a desire to make biodiversity tangible through art. Her ‘Deluxe Log' and other "Resonating Bodies" installations are a testament to this dedication, offering a unique window into the hidden world of these essential pollinators and the habitat that supports them. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

There are a lot of people that don't have the kind of talent that you do, Claude, or for that matter, I do and they have voices, but you can't hear them. So our job in the art world, I would say, is to amplify those voices in a way that's comprehensive and understandable by the folks who should be paying attention to what's going on around them and not talking at people. So my complaint these days at the art world is we're just talking at people, we're not listening to them. And if we did listen to them, you'll find that the world is actually quite a hopeful place. And then, in many respects, what Trump 2.0 is doing – is what Hazel Henderson was suggesting - is the soft path to change is collapse. He's exacerbating a situation that we've been hanging onto for perhaps far too long in even in the art world.Don Hill is a sound designer, immersive & multimedia artist, science journalist, broadcaster & public speaker. Don and I were both raised in Northern Ontario and are both sound based artists with a keen interest in technology and spirituality. I've have had long series of email exchanges over the years with Don about this podcast and my a calm presence Substack about some my doomist tendencies where Don often helped me considered more balanced points of view. We don't always agree on all the issues but that's part of the fun of art and listening. Show notes generated by Whisper Transcribe AIAction pointsAmplify marginalized voices within the art world and beyond to foster inclusivity and understanding.Challenge the commodification of fear and cortisol in media by promoting empathy and collective experiences.Embrace a slower, more contemplative approach to art and technology to counteract the accelerating nature of modern life.Recognize the limitations of hyper-individualized art and strive for collective, grounded emotional connections.Consider the future of humanity in the context of space exploration, incorporating elements of spirituality and acknowledging physiological limitations.Story PreviewCan art save us from our hyper-accelerated, fear-driven world? Journey with Don Hill as he explores how slowing down, listening deeply, and amplifying unheard voices can create collective empathy and a hopeful vision for the future.Chapter Summary00:00 Amplifying Voices in the Art World01:06 The Shift in Artistic Values03:06 Navigating Personal and Collective Grief05:01 Commodifying Fear in Art and Media07:19 The Evolution of Story Trees09:30 Slowing Down in a Fast-Paced World12:47 Future Visions and the Role of ArtFeatured QuotesWe're just talking at people, we're not listening to them.The art world as I understand it, is more about real estate, you know, perceived value and hoarding.We've commodified fear, we've commodified cortisol, and that seems to be the ingredient that makes social media so attractive.Behind the StoryThe episode delves into the state of the modern art world, critiquing its focus on real estate, perceived value, and the commodification of fear. It contrasts this with a call for art that fosters collective empathy and addresses societal challenges. The discussion highlights the importance of slowing down in a technologically accelerated world, drawing on personal anecdotes and experiences to illustrate the transformative power of mindful engagement with art. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

The role of artists is the role of dreaming. I've worked as a poet, as a multimedia artist, sound artist, storyteller. I think we hold the capacity to shape the narratives that build our present, our future, reshape the narratives that inform our past. I still believe in that role. I do believe that we have a call to work on the episteme, this epistemological call, this call to investigate the ideas, the words and the shapes that build our relationships. I think if we can do that alone, dreaming of a new reality, dreaming of futurities, dreaming of dialogue… I think that's a good path for us artists.Rafael Zen is a queer Latinx video and sound artist and performer, currently living in the land of the Coast Salish peoples, otherwise known as Vancouver. We were both part of an event at Emily Carr University of Art and Design called Listening in Relationthat expanded upon listening practices and ecological art by exploring decolonization through thought and practices of IBPoC artists. I asked Rafael about their work in new media, performance art, and in particular their understanding of decolonization and decolonial resistance. Show notes generated by Whisper Transcribe AIAction pointsEmbrace the role of an artist as a dreamer, shaping and reshaping narratives of the past, present, and future.Investigate the impact of colonial capitalism and its effect on our ability to envision solutions and equitable futures.Utilize sound and immersive installations to raise awareness of presence and challenge dominant structures.Trust your artistic vision and use storytelling to foster dialogue and connection within local communities.Identify your non-negotiables to guide your art and activism toward decolonization and meaningful change.Story PreviewWhat if art could awaken us from our colonial capitalist slumber? Rafael Zen, a visionary artist, invites us to dream of radical futures through sound, performance, and unwavering conviction. This episode explores how art can provoke dialogue, challenge ideologies, and pave the way for meaningful change, one non-negotiable at a time.Chapter Summary00:00 The Dreaming Role of Artists01:10 Exploring Decolonization in Art03:01 Hauntology and Futurity05:06 The Malfunctioning Cyborg06:44 Listening as a Tool for Awareness08:52 Art as a Catalyst for ChangeFeatured QuotesThe role of artists is the role of dreaming.How can we, as a community, dream of…queer futurities, but it can be radical equality, radical futures, equitable futures.Don't negotiate the non-negotiable. (quoting Lélia Gonzalez)Behind the StoryRafael Zen's work is deeply rooted in cyborg theory, speculative environmental utopias, and Brazilian indigenous theory. Zen draws inspiration from thinkers like Ailton Krenak and Mark Fisher, crafting art that challenges audiences to confront the devastation caused by colonial capitalism. By creating immersive installations and using sound as a democratic medium, Zen aims to provoke dialogue and foster a sense of presence, ultimately inviting listeners to reimagine a world free from oppression and violence. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

In a time when it's easy to become defeated, when one can succumb to despair and negativity, a question I use when I reflect on the state of the world right now is what gives me energy, what animates my imagination, and what do I need to defend in that context? So many, many questions. A lot of self-reflection, but then reaching out, looking for colleagues, for spiritual strengthening, for courage.This is my second conversation with arts producer, choreographer, teacher and mentor Judith Marcuse, who among other things is the founder of Judith Marcuse Projects and the International Centre of Art for Social Change. Marcuse learned about community engaged arts practices by following/assisting experienced practitioners at work and also doing extensive reading. Many resources are currently available at https://icasc.ca including about Futures forward,  a national mentorship program that partnered with over 20 environmental NGO's; the results of a six-year national ASC research project, and a diverse range of videos and texts exploring this work in Canada and abroad. Our first exchange was on October 24th, 2021, e73 judith marcuse – finding the energy to keep moving. You'll hear a lot of passion and energy in Judith's voice and words, and I wouldn't be the first to call her a force of nature, in the best sense of the term. We spoke at her home in West Vancouver. Show notes generated by Whisper Transcribe AI:Action pointsRecognize the value of imagination as a vital resource alongside environmental, political, and economic resources.Give permission to explore and share ideas through art to reveal innate creativity.Reflect on personal connections to the environment and larger world issues to inform artistic expression.Connect with non-arts organizations and networks to integrate arts-based approaches into change work.Challenge the hierarchy in the arts and celebrate the power of community engagement.Story PreviewFeeling lost in a world of negativity? Discover how art can reignite your imagination and connect you with your community. Explore the transformative power of creative expression and its role in shaping a better future.Chapter Summary00:00 Finding Energy in Despair01:12 Introducing Judith Marcuse02:36 The Innate Artist in Everyone04:40 Art as a Reflective Process05:41 Reimagining Art and Its Hierarchies06:49 The Power of Imagination07:36 Defining Community Engaged Arts10:07 Creative Publics: A Case Study12:11 Creating Safe Spaces for ExpressionFeatured QuotesEveryone is an artist. Only they don't know it.We have enormous power and the power we have is of the imagination.In a time of individualism, art for social change encourages people to be in the same room together, to talk to each other.Behind the StoryJudith Marcuse shares her insights on community-engaged arts, drawing from decades of experience. She emphasizes the importance of art as a tool for dialogue, reflection, and social change, highlighting projects like Creative Publics. Her work demonstrates how simple artistic processes can inspire action and foster understanding. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

This is a special edition of conscient roundtable featuring Lara Felsing, Adrian Avendaño, Hildegard Westerkamp, Toni-Leah C. Yake as part of the Listening in Relation gathering at Emily Carr University of Art and Design on March 21-23, 2025 on the traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations, also known as Vancouver. Warm thanks to Julie  Andreyev of Emily Carr University, Barbara Adler of The Only Animal, the Canadian Association for Sound Ecology (CASE), Raphael Zen (who is a guest on conscient e228), and all the roundtable participants. Show notes generated by Whisper Transcribe AIAction PointsExplore the role of listening in decolonizing creative practices and challenging colonial narratives.Recognize the importance of land acknowledgments as active opportunities to listen to and honor Indigenous requests.Integrate personal and ancestral knowledge into artistic processes to foster relationality with the land and more-than-human beings.Reflect on the ethical implications of technology use in art, considering environmental impact and responsible creation.Embrace silence and slow down to connect with inner wisdom and speak from the heart.Story PreviewWhat does it truly mean to listen? Dive into an exploration of decolonization through sound, art, and personal reflections. Hear from artists who are reshaping their creative practices to honor the land, ancestors, and the unseen voices that guide them.Chapter Summary00:00 Introduction to Listening in Relation02:20 Keynote Panel Overview06:48 Artistic Journeys and Ancestral Connections29:58 Dream Technology and Cultural Expression41:27 Identity, Land, and Heritage50:01 Sonic Memories and Cultural Practices57:04 Sacred Spaces and Cultural Resilience01:03:05 Reflections on Cultural Action and Belonging01:11:09 The Power of Listening and Silence01:16:10 Technology, Creativity, and Environmental Impact01:35:20 Closing Thoughts and Community EngagementFeatured QuotesLara Felsing : ‘I think about listening in my practice as being receptive to concerns that are happening on the land.'Toni Leah C. Yakes : ‘When you're asking where you're from, you're actually asking: What clay are you made of? or What earth are you made of?'Hildegard Westerkamp : ‘Listening was always the base from where I functioned. Listening always brought us back to ground.'Behind the StoryThe ‘Listening in Relation' event at Emily Carr University of Art and Design brought together artists and thinkers to explore the critical role of listening and decolonization. This episode captures the keynote panel of that event, exploring how artists are actively engaging with sound, memory, and the land to challenge colonial narratives and foster deeper connections. The discussion highlights the delicate balance between technology, creativity, and environmental responsibility, prompting a reflection on our relationship with the world around us. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

The first thing that comes to mind is my young activist in me that says, of course, let's just fight. Let's just do what we can to speak out against, be revolutionary, be, you know, like we were when we were young in the 60s, 70s. Now I think that my response is to stop and to slow down and to do some deep listening and some meditation and to ground myself because I don't know what to do at this point in time, at all.My second conscient conversation with composer and acoustic ecologist Hildegard Westerkamp. The first took place on March 31, 2021 in Vancouver, e22 westerkamp – slowing down through listening, and this second took place on March 17, 2025 in Vancouver BC which is on the unceded traditional territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) Nations.. Hildi is also featured in numerous other episodes of this podcast including 157, 170 and 226. I asked Hildi to focus our conversation on her childhood in post war Germany and how her upbringing has affected her work as an artist and listener. This is especially relevant as authoritarian regimes are unfolding around the world. I think we are well served by listening to our elders who have important stories to tell. Show notes generated by Whisper Transcribe AIActionsAcknowledge the importance of slowing down and listening deeply in times of crisisRecognize the lasting impact of childhood experiences, particularly in environments of trauma and upheavalSeek calm and open spaces to foster creativity and profound changeEmbrace the creative spirit and artistic behavior as essential for survival and resilienceConnect with others and use intelligence and senses to navigate challenging momentsStory PreviewHildegard Westerkamp reflects on a childhood shaped by the ruins and lingering fears of post-war Germany, revealing how early exposure to trauma and a deep connection to nature forged her path as an artist and listener. Hear how immigrating to Canada gave her the space to heal and create.Chapter Summary00:00 The Activist's Dilemma00:47 Childhood Reflections02:06 The Impact of War06:05 Rebellion and Reflection08:05 Finding Creative Freedom10:01 Art in Times of Crisis12:50 The Spirit of ResilienceFeatured QuotesTo make change on a more profound level, you have to almost distance yourself from the crisis and be in a place of calm.The first thing that comes to mind is my young activist in me that says, of course, let's just fight.In hindsight, it was that connection to the outdoors, to the being in the forest and in the garden, that I think really shaped me.Behind the StoryHildegard Westerkamp's narrative paints a picture of a generation grappling with the unspoken horrors of war and the weight of collective guilt. Her story highlights the importance of acknowledging the past, finding solace in nature, and cultivating inner calm to foster creativity and resilience in the face of ongoing global challenges. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

The approach of the Canadian Centre for Food & Ecology (CCFE) is what has been so attractive to me. It's a conviction around joyful, immersive experience and it starts with the conviction that until someone has experienced the sensory joy of experiencing food in a new way, there's little interest in understanding the facts or the cognitive issues surrounding our food system. One can focus on that which is the problem, and it truly is a problem, but way more compelling, way more attractive, is to think about food through the lens of it as a solution that invites people in.My conversation with Sarah Heynen, the executive director of the Canadian Centre for Food & Ecology (CCFE) in Tkaronto. Sarah is a strategic systems-thinker with a warm heart and a generous nature. Sarah introduced me to the Surviving the Future course which you heard about in episode 218. We mostly talked food, about artfulness and what it means to be inspired and inspirited by say a conversation or a meal. She also explained the Anishinaabeg 7th fire prophecy: a time when the light skin race needs to choose between a scorched earth path and a rainbow path leading to flourishing and the 8th fire. Show notes generated by Whisper Transcribe AIAction pointsRecognize culture's impact on food choices and environmental awareness.Understand the vital role of soil health in food quality and carbon sequestration.Support regenerative food systems by choosing alternative suppliers.Match motivated audiences with existing regenerative food producers.Embrace personal conviction and agency in making food-related decisions.Story PreviewImagine a world where every meal reconnects you with the earth. Sarah Heynen shares her vision of a regenerative food system, inviting listeners to consider food as a powerful tool for cultural and ecological healing.Chapter Summary00:00 The Joy of Food Experience01:25 Cultural Perspectives on Food02:43 The Role of Art in Renewal04:29 Contextualizing Our Location06:50 Spiritual Connections to Food08:32 Projects for Cultural ReconnectionFeatured QuotesFood is a potent invitation into a collective story of reconnection with each other, with the Earth and with ourselves.Until someone has experienced the sensory joy of experiencing food in a new way, there's little interest in understanding the facts or the cognitive issues surrounding our food system.Behind the StorySarah Heynen, drawing from her background in anthropology and her role at the Canadian Centre for Food and Ecology, explores the cultural significance of food and its potential to address environmental challenges. She advocates for a shift in perspective, viewing food as a solution that invites participation in a collective journey towards healing and reconnection. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 27, 2025

I think there's a lot of roles for art generally, and one of my favorite ones is kind of imagining that art helps you imagine, even if it has nothing to do with it. It helps. You can be a springboard to help you dream and stuff like that. The project that we're going to talk about today has a lot more to do with the kind of solace or companionship or remembering melancholy, maybe. Although I think it's also about joy and surprise so there's a few levels of which I guess are all things that you hope to get from art.My conversation with an artist who prefers to remain anonymous. We went for a walk under the Gardiner Expressway in Tkaronto on March 11, 2025 to discover or rediscover the downtown critters project, a series of large printed drawings of local animals, birds, insects and amphibians in Southern Ontario. The idea is to create little moments of surprise and joy for pedestrians and motorists around some of the most bleak and industrial stretches of Toronto and Ottawa. The drawings are quite moving and made me want to go back in time…Show notes generated by Whisper Transcribe AIAction pointsRecognize the presence of local wildlife in urban environments through art installations.Understand the role of art in creating moments of surprise and joy in unexpected places.Appreciate the interplay between urban spaces and the natural world.Explore the use of graffiti art as a medium for environmental awareness and community engagement.Consider the impact of public art on personal well-being and community connection.Story PreviewImagine stumbling upon a vibrant drawing of a local animal beneath the cold, concrete of a city expressway. This is the reality created by Downtown Critters, a public art project sparking joy and reflection in Toronto's urban landscape. Discover the story behind the art, the artist's motivations, and the unexpected connections it fosters between city dwellers and the natural world.Chapter Summary00:00 The Role of Art in Imagination01:00 Introducing Downtown Critters02:42 The Inspiration Behind the Critters04:55 The Emotional Connection to Urban Wildlife06:31 The Joy of Discovery09:00 The Ephemeral Nature of Art10:41 Art as a Reflection of Loss12:26 Connecting Species and SpacesFeatured QuotesSo I guess part of it is like, part of it is remembering that the animals are here.It's sort of brutal to think of animals in that situation underneath the gardener. But it's also us who's underneath the gardener.It makes me so happy when I'm, you know, I go for my jog and it's like under the traffic… and then you're like, oh, look, a frog.Behind the StoryDowntown Critters began with a simple observation: a family of bunnies living under a dumpster in a construction site near Toronto's Gardiner Expressway. This sparked the artist's desire to remind people of the animals that still inhabit, or once inhabited, the city. The project uses large-format drawings and wheat paste to create ephemeral art installations in unexpected places, prompting viewers to consider their relationship with the natural world. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 27, 2025

How do we restore our connection with nature? Because I think that part of the crisis that we're in, especially with the climate, stems from the fact that we've been disconnected from our relationship to nature. And so how do we restore that? How do we get back in touch with non-human beings? You know, with these trees in front of us here we're standing in High Park, and with the trees and with the waters and the lakes, whatever natural environment we're in, how do we. And how can we. And is it even possible? I guess the question could be to establish some sort of relationship which is obviously going to be different than a human relationship. And how can that connection ultimately impact the way that we choose to organize our societies and choose to live?My conversation with composer, sound healer and performance artist Wendalyn Bartley. I first met Wende when we were both doing a master degree in composition in the 1980's at McGill University, and I was happy to reconnect with her work that explores the human voice and it's relation to rituals, the sacred, spirituality, ancestors and so. We went for a walk in High Park in Tkaronto on March 11, 2025. Our conversation focused on her Buried River Soundworlds project – a way to rediscover the natural waterways of Tkaronto - and I was pleased that Wende accepted my request to perform a song in relation to Grenadier Pond in High Park to conclude this episode, which I found enchanting.Show notes generated by Whisper Transcribe AIAction pointsReconnect with nature to address environmental crisesExplore buried waterways and natural spaces to rediscover natural spacesConnect with ancestral spirits through meditation and soundingUtilize vocal improvisation to deepen your relationship with naturePractice simple vocal exercises to connect with trees and alter your consciousnessStory PreviewImagine uncovering hidden rivers beneath a bustling city, then giving voice to the forgotten spirits of the land. Explore the transformative power of sound and ancestral connection with Wendalyn Bartley in Tkaronto's High Park.Chapter Summary00:00 Reconnecting with Nature01:04 Meet Wendalyn Bartley02:01 The Evolution of Voice Work03:35 Questioning Ownership of Nature04:49 Buried Waterways and Ancestral Connections06:20 The Role of Art in Nature Connection09:14 Grounding and Ancestral Dialogues12:18 Sounding by the WaterFeatured QuotesHow can we own the pine trees?I wanted to visit places in Europe, in the Mediterranean… to see if I could tap into ancestral memory using my voice (in particular, the ancient cultures in Greece, Crete and Malta)I feel like I've met the tree and the tree has met me.Behind the StoryWendalyn Bartley's journey started with a curiosity about the buried waterways of Tkaronto and evolved into a profound exploration of ancestral connection through vocal improvisation. This episode highlights her Buried River SoundWorlds project and offers listeners actionable techniques for deepening their own relationship with nature. The conversation took place in High Park next to Grenadier Pond. *END NOTES FOR ALL EPISODES Hey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude Schryer Latest update on June 24, 2025

This bonus episode is a narration of my a calm presence posting called 'a sense of communion'. See the 'Transcript' tab of this episode for the original text.  *END NOTES FOR ALL EPISODES Hey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude Schryer Latest update on June 24, 2025

People maybe are used to being bombarded at this point with the news of what's happening. And that's the reality. And we need to face that. I think alongside that, we need to make moments of grounding, of rootedness and remembering our real belonging to this earth. Because without that, we don't quite have the energy. I think we're really zapped of that based from stress or from what we're hearing. It is oppressive to hear what's happening and to experience it for those of us who are experiencing that and have been. I guess for me, that's really what draws me to arts-based kin making is that we have to find ways to reconnect. And that's inevitably going to shift, in my opinion, how we then act in the world and that kind of transformation is deeply important in times of crises. - annais linaresMy conversation with annais linares and Ben Finley, artists, researchers, sound makers, about their performance of Alchemizing Earthfullness a composition that explores self-rootedness, community connectedness and earth intimacy. The concert was as part of a Westben Chalk Talk Concert on November 9, 2024 on the traditional territory of the Michi Saagiig Anishinaabeg nation near what is now known as Campbellford, Ontario.This episode is bit unusual because you'll hear excerpts from the concert combined with a post-concert conversation with annais and Ben about this composition and how it addresses issues of crisis and collapse, renewal and joy. Quite a bit of joy. A reminder that you can learn more about Green Dreamer's alchemize program in e161 alchemize circle - a conversation with kamea chayne, of this podcast.  Show notes generated by Whisper Transcribe AIAction pointsExplore the themes of self-rootedness, community connectedness, and earth intimacy through the arts.Understand how the “Alchemize” program influenced the creation of original songs focused on regeneration and healing.Recognize the importance of balancing awareness of global crises with moments of grounding and reconnection.Consider how artistic expression can foster a sense of belonging and inspire action in the face of collapse.Discover the cyclical nature of creation and return, using art as a compost-like process for renewal.Story PreviewImagine a world where music heals, communities connect, and the earth feels closer. Join annais linares and Ben Finley as they share their journey of creating “Alchemizing Earthfulness,” a performance born from a desire to reconnect and find joy amidst crisis.Chapter Summary00:00 Facing Reality and Finding Grounding01:34 Introduction to Alchemizing Earthfulness02:58 The Venue and the Event04:00 Composing Alchemizing Earthfulness07:02 Themes of Connection and Healing10:16 Breathing Through Crisis12:11 Musical Reflections and CyclesFeatured Quotesannais linares : We need to make moments of, you know, of grounding, of rootedness and remembering our real belonging to this earth.annais linares : That kind of transformation is deeply important in times of crises.Ben Finley : …just being there opens something in us, too.Behind the Storyannais linares and Ben Finley, inspired by the Green Dreamer's “alchemize” program, co-composed five thematic songs exploring self-rootedness, community, connectedness, and earth intimacy. Their performance at the Westben Schoolhouse aimed to offer a space for healing and regeneration, a “breath out” from the constant barrage of crisis news. The cyclical nature of their music, beginning and ending with a similar “scaling” motif, symbolized a composting process of renewal. *END NOTES FOR ALL EPISODES Hey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude Schryer Latest update on June 24, 2025

What is art? What is art anyway? It's a new term, really. I think we need to go a little bit beyond that. I think of myself as a sound practitioner, so what can I offer? If someone has a visual acuity, if someone has acuity with body and movement and voice, you know, what is it that we can do in our communities to help people to listen, to be in their bodies, to breathe?My conversation withcomposer, sound artist, media artist and facilitator Tina Pearson, whose work explores nuanced sonic investigations of perception, presence and place. suggests we slow down and listen, which I often hear artists suggest on this podcast but how does one do that? Well, soundwalking is one way to do, which what Tina and I did during our 90-minute conversation, recorded in September 2024 at PKOLS park, translates to ‘White Head' or ‘White Rock' in the SENĆOŦEN language of the W̱SÁNEĆ peoples, also known as Mt. Douglas Park inVictoria, British Columbia. I edited down our long conversation to 15-minutes, which as you will hear is accompanied by rainfall and the magnificent Pacific Ocean. Action pointsPractice deep listening to places and communities to understand their needs Question whether current artistic practices perpetuate harmful systemsConsider how artistic work can offer service and benefit to a specific place Explore alternative ways of being a sound practitioner beyond traditional concerts and touringPause and reflect on the impact of our actions and practices on the environmentShow notes generated by Whisper Transcribe AI:Story PreviewImagine walking through a park, not just seeing, but truly listening. What if our art could heal, not harm, the world around us? Join me and Tina Pearson as we explore the profound act of listening to place and the courage it takes to question our creative practices.Chapter Summary00:00 Defining Art and Sound Practice01:06 The Art of Sound Walking02:16 Reciprocity with Nature03:49 Untethering from Modernity05:02 The Gift of Listening06:36 Rethinking Artistic Practices09:14 Community-Centric Art Practices12:19 Listening to Place and CommunityFeatured QuotesI think of myself as a sound practitioner. So what can I offer?One of the biggest gifts you can give someone is to really truly, deeply listen to them. And similarly to a place.It's the construct of how we've got here that's the problem. Not the actual things as much.Behind the StoryThis conversation, recorded at PKOLS Park in September 2024, dives into Tina Pearson's philosophy of sound and place. It challenges the conventional approaches to art and climate action, advocating for a deeper, more reciprocal relationship with the environment. Pearson's personal background as a first-generation North American informs her perspective on decolonization and untethering from harmful systems. *END NOTES FOR ALL EPISODES Hey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude Schryer Latest update on June 24, 2025

Here is a narration of my latest ‘a calm presence', inspired by this quote from Indy Johar's May 12th, 2025 Substack posting, The Stickiness of Want  - And the Systemic Amnesia Behind It :We—you, me, everyone in this room—are the last generation with viable agency before degenerative volatility locks us into conflict and collapse. The window is painfully small but gloriously open.'This posting was written while traveling in India and Japan in April and May of 2025.The narrated version was recorded in one take on May 21, 2025 on the streets of Hakone-Yumoto, Japan with the Haya River and lively birdsong in the background.See the Transcript of this episode for the complete posting.  *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

Radical engagement with the system doesn't mean participating in that system, distractedly resigned, knowing it all hierarchically at arm's length, with arms crossed, superficially, impatiently. Saying take it or leave means taking part in it alertly, with hope and curiosity, horizontally, leaning forward, hands on, digging deep, persisting, and above all, reciprocally and relationally. So that's the core idea of radical engagement and Claude, that's how I experience your way of being in the world.My conversation with writer, facilitator and consultant and many other hats Adam Kahane, which took place on April 8, 2025, on the very day of the launch of his latest book and Everyday Habits for Transforming Systems, the Catalytic Power of Radical Engagement. Adam talks about seven habits that enable ordinary citizens to become extraordinary agents of transformation. We talked about the process of co creating the book with over 300 individuals, including myself, and how these habits can apply to the arts.Show notes generated by Whisper Transcribe AIAction pointsUnderstand the concept of radical engagement and its role in societal change.Identify the seven everyday habits for transforming systems: acting responsibly, relating in three dimensions, looking for what's unseen, working with cracks, experimenting a way forward, collaborating with unlike others, and persevering and resting.Recognize that systems are human-made and can be rebuilt through collective action.Explore how artists and individuals can apply these habits in their daily lives to contribute to meaningful change.Consider the importance of “acting responsibly” as a foundational habit for engaging with complex systems.Story PreviewImagine a world where everyday actions can ripple through complex systems, sparking real change. Adam Kahane shares the journey behind his book, revealing how a frustrating interview led to a deep exploration of how ordinary people can transform the world around them.Chapter Summary00:00 Radical Engagement: A New Perspective01:00 The Birth of a Book03:30 Understanding Systems Change06:00 The Collective Nature of Transformation09:00 The Seven Habits of Transformation12:00 Art and Systems ChangeFeatured QuotesIt's now completely obvious that these systems were largely built by humans and can be rebuilt by humans… This idea that things are just the way they are and they'll always be the way they are to me is now obviously not true.We might think of systems as these solid, immovable things that you can only change them by using a sledgehammer or dynamite, but that's not true.This idea that things are just the way they are and they'll always be the way they are to me is now obviously not true. They can be transformed. They are being transformed.There's a crack in everything. That's how the light gets in.” - Leonard Cohen (referenced by Adam Kahane)Behind the StoryAdam Kahane's book, ‘Everyday Habits for Transforming Systems,' emerged from a desire to understand how individuals can contribute to large-scale change. Inspired by a challenging interview and co-created with a community of over 300 people, the book outlines seven practical habits for engaging with complex systems in a meaningful way. The process involved deep exploration, iteration, and a commitment to uncovering the essence of effective systems change. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

This posting was written and recorded while on a trip to northern India. It explores the inter-relations of culture and climate. The audio version is fun because of the soundscapes of Delhi in the background (car horns, bird song, sweeping of leaves, music, etc)It features excerpts from my comments to the Create Canada project which is important given its potential to deepen conversations about the role of culture as Canada faces existential threats from the regime of our southern neighbour.I did not agree with all their postings but I saw merit in their efforts.In parallel, I produced e214 roundtable – this moment in canadian culture, which Owais and SGS kindly joined.I hope Create Canada and this conscient roundtable are a couple of many such conversations and reflections from coast to coast to coast, in as many different languages and formats as possible.You'll hear me read excerpts frome194 owais lightwala and sgs - manifesting for nowe214 roundtable – this moment in canadian culture: e209 robert and peter janes – telling the truth through artMy conclusion is that this moment in culture in Canada and the climate emergency are one and the same.Both culture and climate are agents of change who need each other. It's only a question of time before they synergize to help us find Annette Hegel's ‘new ways'. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

Hey there faithful, brave and patient conscient podcast listeners, Welcome to the 3rd conscient roundtable. Live radio style again. First take, only take, kind of thing so please bear with me. This is an exciting and unique episode coming up, with an international scope. It was recorded on Thursday, March 20, 2025 on Zoom with participants Kashee in India, Shaun and Marcela in Ireland (though Marcela is originally from Venezuela), Greg in the United States and myself in Vancouver. So the five of us chatted for over an hour. At the beginning, you'll hear me acknowledge the original stewards of so-called Vancouver followed by a minute of silent contemplation. Normally, conscient roundtables feature a group of artists and cultural workers talking about their passions, fears and dreams and, in fact, we did do this, but this was special roundtable episode about the Surviving the Future 2025 course led by Shaun Chamberlin, who will explain to you what it is all about in just a minute. BTW It's a course I highly recommend if you're ready to do a deeper dive into our collective future. I asked my fellow learned to share the highlights of their learnings and some of the best stories and they did, including the following questions:Which presentations and resources were the most impactful for you?How do you plan to apply this knowledge in your day to day life?What are some of the outstanding questions that you are still sitting with? (I certainly have a lot)What do you think the role of art and culture could be or should be in times of crisis, collapse and renewal could be?FYI, I've already written a couple of posting on my a calm presence Substack for those who want to know more.And it went very well. I want to thank my colleagues for their generosity, courage and wisdom. Luckily, we will continue to exchange after the course in a digital space providing by Sterling College in Vermont, so big thanks to Shaun, Nakasi, Nicole and all the StF team for their support and generosity. And if you want to comment on what you hear please go to conscient.ca and use any of the conscient podcast social media to share your thoughts.If you like what you hear then I invite you to share it within your networks and-or give conscient podcast a review on Apple podcasts. My email is claude@conscient.caSo, I invite you to sit back, relax – maybe grab a drink - and enjoy e218 roundtable – surviving the future.  *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

What can I do to support the grieving? There's so much to grieve. Whether we think about the crisis of climate, whether we think about the political crises, the issue of displacement, which is around the world. Forced displacement, such a huge crisis. How do we manifest the kinds of spaces that people need to be able to individually and collectively get in touch with how they're feeling and do it in such a way that opens the possibility for what you're talking about with the renewal, or, you know, a post traumatic growth, if you will. And in my experience, you can't get to that post traumatic growth until you actually sit with the emotions, however difficult they are.My conversation with interdisciplinary artist-researcher, educator, and community-engaged practitioner Devora Neumark and their 30 + years of contemplative practice most recently as a Forced Migration and Refugee Studies Fellow at the Centre for Human Rights Erlangen-Nürnberg. This conversation was recorded on the unceded lands of the Algonquin-Ainishinaabe nation, in Ottawa, on February 21, 2025, while Devora was on their way back home to Iqaluit, Nunavut and spoke mostly about Displacement Codes, a collaboration with Karina Kesserwan, which centers around 13 prompts, adapted from AI-generated outputs, each designed to inspire reflection and performance-based responses to the lived experiences of displacement. Action pointsAcknowledge and sit with difficult emotions to facilitate post-traumatic growthEngage in contemplative practices, such as meditation, to regulate emotionsCollaborate across disciplines to broaden perspectives and create impactful changePrioritize understanding the present moment before planning for the futureReinforce community connections through dialogue and shared thinkingShow notes generated by Whisper Transcribe AIStory PreviewCan art help us process the overwhelming grief of climate change and displacement? Devora Neumark shares how their project, Displacement Codes, uses contemplative performance and collaboration to explore these complex emotions. Discover how artists and citizens alike can find solace and action through mindful engagement and cross-disciplinary dialogue.Chapter Summary0:00 - The weight of global crises and the need for emotional processing.0:56 - Introduction to Devora Neumark and the Displacement Codes project.1:57 - Exploring emotions through performance art and holding space for others.3:02 - Addressing colonization's impact and mental health disparities.3:53 - Art as a tool for acknowledgement, support, and co-creation.4:44 - The importance of present-moment awareness before future planning.6:05 - The collaboration with lawyer Karina Kesserwan on Displacement Codes.7:05 - Newmark's fellowship in Germany and focus on aesthetics in asylum housing.7:55 - The process of developing performance prompts related to displacement.8:32 - Incorporating AI and the dialogic nature of the project with Karina.9:53 - Finding gestures and enacting responses to prompts.11:13 - Navigating challenges and the evolving nature of collaboration.12:31 - The power of cross-disciplinary collaboration, especially with non-artists.13:08 - Actionable steps: contemplative practices and dialogic communication.14:19 - Reinforcing community connections and shared thinking.Featured QuotesYou can't get to that post traumatic growth until you actually sit with the emotions, however difficult they are.The role of arts, first and foremost, to acknowledge what is happening, to be able to support people to go through their processes and to co-create new possibilities.I think we have to step outside of our worlds as artists and collaborate.Behind the StoryDevora Neumark, an interdisciplinary artist and educator, draws on 30 years of contemplative practice to create Displacement Codes. This project, born from their Forced Migration and Refugee Studies at the Centre for Human Rights Erlangen-Nürnberg fellowship in Germany, addresses the emotional toll of forced migration and climate change. By collaborating with Karina Kesserwan, a lawyer, Neumark bridges the gap between art and law, demonstrating the power of cross-disciplinary dialogue in addressing complex global issues. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

this moment in canadian culturereflections on conscient e214 roundtable – this moment in canadian culture Note: you can read the original posting on my a calm presence Substack here.Also see the Transcript of this episode for the complete posting. Big thanks to all roundtable participants, Robin Sokoloski, Annette Hegel, Jai Djwa, Owais Lightwala, SGS, also known as Sarah Garton Stanley, Max Wyman and Chris Creighton-Kelly for taking the time to share their thoughts and to you for listening and considering what ‘this moment in canadian culture' means to you.  *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

Hey there faithful and brave conscient listeners, Welcome to the second conscient roundtable conversation. This one was recorded on Sunday, March 16, 2025 in Vancouver. In a minute you'll hear an acknowledgement about the original stewards of these lands followed by a minute of silent contemplation.Normally, conscient roundtables feature a group of artists and cultural workers talking about their passions, fears and dreams and, in fact, we did do this, but this was a special episode of the conscient podcast : e216 in memoriam tracey friesen. Tracey left us on January 6, 2025 at age 58.Who was Tracey Friesen, you ask? It's a good question. Many of you have not had the pleasure. Tracey was many things, including a media producer and media strategist, most recently Managing Vice President of the BC Branch of the Canadian Media Producers Association but I knew her as climate champion with the SCALE-LeSAUT and as a trusted friend. I had a conversation in 2021 on this podcast, e85, where she said:What's starting to interest me is stories of resilience for a post-carbon world. What are we going to need for our emotional well-being? It's going to be a different world, not long from now. If we do this, and we must do this, this transition has to happen and there's going to be a sense of loss and sacrifice and challenge, not just with what's happening externally from a climate point of view, but in how we're going to have to make changes to our lives and reorient our energies in terms of our advocacy. I feel like there's an opportunity for artists - I'm more connected to the film and television sector and the documentary community - but throughout the system, to be able to provide realistic and yet reassuring narratives about what the upside of all this might be.You can also check out an amazing celebration of life that took place on February 22nd, 2025 in Vancouver, see Livestream of Tracey Friesen Celebration of Life - Live at 12:45pm Feb 22nd, 2025.So I turned to my friend Jai Djwa help me bring together some of Tracey's closest friends in Vancouver friends and we talked for 70-minutes about everything. You'll hear Jai, of course, also Amir Niroumand, Liz Shorten, Sue Biely and Lucia Dekleer. Sadly a few others were not able to attend but I think there will be other opportunities. You'll hear us talk about how Tracey was an exceptional person and how she influenced our lives: anecdotes, stories, funny moments, sad moments. Tracey really believed in storytelling, as witnessed by her book: Story Money Impact. So I think kind of public mourning and celebration is a topic of interest to us all: how do we deal the untimely loss of a friend or family member? How do honour the memory of a loved one? How can we carry their work forward? I want to thank this group of friends for their generosity, courage and wisdom. If you want to comment on what you hear please go to conscient.ca and use any of the conscient podcast social media to share your thoughts.If you like what you hear then I invite you to share it within your networks and-or give conscient podcast a review on Apple podcasts. All of this helps to get these conversations to circulate. My email is claude@conscient.caSo, I invite you to sit back, relax – maybe grab a drink - and enjoy e216 roundtable - in memoriam tracey friesen. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

I would say that while there's absolutely no question that we're in a crisis, there's no question about multi crisis. I'm not sure we're in the state of collapse. And I think that methodology, that vision, that understanding of the world can lead to... You were talking about it a few minutes ago, doom scrolling and just doom. I find that that can create a lot of inertia in people, a lot of hopelessness and pessimism. I have a colleague in the US, Arlene Goldbard, and she's quoting (Antonio) Gramsci and she says, ‘pessimism of the intellect, but optimism of the will' and I like that shorthand way of thinking. My conversation with artist, writer, and cultural critic Chris Creighton-Kelly on September 24th, 2024 in Sidney, British Columbia, which is on the traditional, unceded territory of the W̱SÁNEĆ People. Chris is among others things, is co-director, along with artist France Trépanier of  Primary Colours – Couleurs primaires. I've condensed a long and rich conversation with Chris down to this new ‘fifteen' minute format. You'll hear highlights from our exchange about the role of art in times of crisis, the importance of listening to Indigenous peoples, generative discomfort and more…Episode notes generated by Whisper Transcribe AIAction pointsExplore the diverse roles art can play during crises, moving beyond propaganda to prompt meaningful questions.Embrace ‘generative discomfort' as a tool for self-awareness and understanding one's positionality in history.Prioritize listening to and learning from indigenous knowledge to enrich environmental movements.Recognize the importance of inspiration, defiance, and imagination as motivators, rather than guilt and blame.Consider how global narratives of human migration intersect with traditional, place-based Indigenous knowledge.Story PreviewWhat role does art play when the world feels like it's teetering on the edge? Chris Creighton Kelly challenges us to move beyond simple answers and propaganda, urging us to find inspiration in discomfort and listen to the wisdom of those who have stewarded the earth for millennia.Chapter Summary00:00 The Crisis of Our Times01:55 The Role of Art in Crisis03:50 Art as a Catalyst for Change07:15 Generative Discomfort in Art08:37 Indigenous Knowledge and Environmentalism11:13 Migration and Traditional KnowledgeFeatured QuotesArt is best when it doesn't give answers but rather prompts questions.This idea of confronting your positionality, or maybe even confronting is the wrong word, but becoming aware of your positionality…means knowing your place in history.One of the most unexamined resources of how to save this planet is to listen to Indigenous people.Behind the StoryIn a world grappling with climate change, social inequities, and mass migration, Chris Creighton-Kelly seeks to understand how art can foster awareness and action. He challenges the Western-centric view of environmentalism, advocating for the inclusion of Indigenous knowledge and a deeper understanding of our place in history. The conversation delves into the complexities of motivation, suggesting that inspiration and imagination are more powerful drivers than guilt and blame. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

I think, as has already been mentioned by a number of you, that we need to slow down, not speed up. This is a moment for really slow thinking and to be listening and to be doing deep listening. I like this concept that we use, again in Primary Colours. Instead of thinking of outreach and trying to convince people and tell them about how great the arts are, we need to do in-reach, we need to go into communities and listen to people, go where people are and understand what it is they understand about their cultures, plural. And their art practices plural. And after that process, maybe there's something to be said. - Chris Creighton-Kelly (1h03m05s)A special edition conscient roundtable with Robin Sokoloski, Annette Hegel, Jai Djwa, Owais Lightwala, Sarah Garton Stanley (SGS), Max Wyman, Chris Creighton-Kelly and Claude SchryerKey linkshttps://createcanada.caSave the Arts, Blow Up the Old WaysDoes Canadian culture reflect Canadian identity?Controversy over lemmings painting exposes the real snowflakes at PEI veterinary collegePrimary ColoursEpisode notes generated by Whisper Transcribe AIAction pointsAcknowledge the ongoing nature of crisis and disruption, particularly in the arts sectorFocus on deep listening and understanding the value of art within communitiesDeconstruct and pluralize the concept of Canadian culture, embracing multiplicity and diverse voicesRecognize the importance of both large-scale advocacy and grassroots community engagementSeek out joy and connection as a means of addressing broader systemic challengesStory PreviewWhat does it mean to be Canadian in a rapidly changing world? Artists and cultural leaders gather for a candid conversation about identity, purpose, and the future of art in Canada, revealing both anxieties and surprising sources of hope.Chapter Summary00:00 Introduction to Canadian Culture03:34 Setting the Tone: A Moment of Silence05:11 Reflections on Crisis and Opportunity09:14 Navigating Cultural Identity and Reconciliation12:49 The Role of Arts in Community Building22:10 Art as a Source of Hope and Advocacy30:10 Finding Joy and Connection in Art39:00 The Long Arc of Change and Future Possibilities55:11 Listening and Learning from Communities01:08:01 Closing Reflections on Art and IdentityFeatured QuotesAnnette Hegel: We're coming to the end stages of capitalism and colonialism and we're all trying to kind of fumble in the dark, looking for new ways.Max Wyman: The crisis is not about the plight of the artist. I think it's about what the artist can do to find joy, help people find joy and meaning and grace and courage in a world that right now doesn't seem to offer much of that.Robin Sokoloski: Art is in the relationship.Behind the StoryAmidst rising global tensions and a re-emerging sense of Canadian identity, Claude Schryer convened a diverse group of artists and cultural workers for an open discussion. Inspired by the Create Canada project and recent articles and media exploring the state of Canadian culture, the conversation navigates complex issues of decolonization, regionalism, and the essential role of art in building community. The participants grapple with defining Canadian values and finding actionable ways to foster a more inclusive and vibrant cultural landscape. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

The arts have that capacity to be powerful broadcasters, conveyors of messages, invitations to celebration, reflection, storytelling, narrative building and so on. There's a vital role here for the arts. But like the rest of society, frankly, whether it's the banking system or government we're simply not doing it well enough that we could say we're satisfied with how much is happening and everything's going to be okay. It's not. If we just stopped now, chaos and worse are due. It's not to say that we can hold up the arts and say, if only you were doing your job, everything would be fine. No, we all have, no matter what sector, so much to do.This is my second conscient conversation with social innovator and former CEO of McConnell Foundation, Stephen Huddart. The first took place on June 17, 2021 in Montréal, episode 58, and this second took place on September 24th, 2024 in Victoria BC. I've condensed all of this rich conversation down to my new format of 15 minutes – not an easy edit - so what you'll hear highlights from our exchange about the vital role of art, social innovation, relations with indigenous peoples, the panarchy cycle, Stephen's leadership role with the Victoria Forum (co-hosted with members of the Canadian Senate) and more.Action pointsNurture the capacity of art to be powerful broadcasters, conveyors of messages, invitations to celebration, reflection, storytelling, narrative building, etc.Increase the vitality and role of art at the local level to contribute to a more dynamic civic cultureCreate more configurations to present, invite, engage, dialogue, contemplate, discuss the artsSee, hear and deeply hear others perspectives.Nurture the power of art to serve as a catalyst for inspiration and communityShow notes generated by Whisper Transcribe AIStory PreviewWhat if art holds the key to unlocking our collective future? This episode explores the intersection of art, innovation, and societal transformation, revealing how creative expression can guide us through crisis and towards revitalization.Chapter Summary00:00 The Power of the Arts01:07 Revisiting Conversations02:02 Trust and Community Engagement04:22 The Victoria Forum Experience06:10 Navigating Complex Challenges07:30 Understanding Our Current Cycle09:21 The Call to Action11:17 The Role of the Arts in Social Change13:08 Accelerating TransformationFeatured QuotesHer wish (Shannon Waters) was for every child in Canada to learn the indigenous word for water in the territory in which they lived.We have the intellectual, the financial, the technological, and one would hope, the human and spiritual resources with which to affect a beautiful transition. Why aren't we doing it?There's a vital role for the arts at the local level to be contributing to dynamic civic culture.William Gibson said 'the future is already here, it's just unevenly distributed'.Behind the StoryStephen Huddart revisits the podcast to expand on previous conversations around social innovation, reflecting on the Victoria Forum 2024 and its focus on regenerative economies. The discussion navigates the complex challenges facing humanity, emphasizing the need for inclusivity and systemic change to address growing societal fractures. The power of art as a catalyst for inspiration and community is highlighted. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

There's been a real lack of positive action and response from the arts community to these existential questions that confront us. And I really wonder whether that's not because they're simply bewildered by what's been going on. They're terrified, most of them. A lot of the conversation that goes on that I'm aware of has to do with the precariousness of existence for the artist. There is no there's no solid ground for them to work on when there's no money. So they're afraid to rock the boat, one thing. But they do tend to talk in circles without ever coming to a point of conclusion that allows them to take action.My conversation with writer, dance historian and arts policy consultant Max Wyman who I knew when he was on the board of the Canada Council in the early 2000s. I met with Max on March 18, 2025 at his home in Lions Bay, British Columbia which sits on the unceded traditional territory of the Sḵwx̱wú7mesh (Squamish), Səl̓ílwətaɬ (Tsleil-Waututh), and xʷməθkwəy̓əm (Musqueam) Nations. Max is the author of numerous books, including The Compassionate Imagination: How the Arts Are Central to a Functioning Democracy, which he will talk about in this episode. He'll also talk about quite a provocative article, published on February 21, 2025 in The Tyee called To Save the Arts, Blow Up the Old Ways, which caught my attention, in part because it reminded of my letter to the arts community about the ecological crisis from October 2024. Both of our postings ask what I think are fair but hard questions – in difficult times - about the future of the arts sector, and of Canadian culture writ large, so it's all very timely. I asked Max to stick his neck out and elaborate upon his vision and actions, which he did with finesse and gusto.Action pointsArtists need to be bolder than they are and take actionThe cultural community in Canada should get behind the notion of a Canadian identity that can be brandished in the face of the attacks that are being leveled at itHelp create and participate in national displays of art at every levelThank about what you have to offer to the publicHelp position arts and culture as central to who we are as a nation, who we are as people, who we are as individuals with a sense of belonging, of being understood and giving a voice.Episode notes generated by Whisper Transcribe AIStory PreviewWhat if Canadian artists held the key to unlocking a stronger national identity and a more compassionate society? Max Wyman challenges the arts community to rise above despair and take bold action, envisioning a vibrant cultural landscape that celebrates unity and shared values.Chapter Summary00:00 The Crisis in the Arts Community01:12 Introducing Max Wyman02:30 The Call for Bold Action04:16 Celebrating Canadian Identity06:02 Reimagining Canadian Culture08:31 The Power of Arts and Empathy10:15 Integrating Arts with Policy Making12:34 Addressing Environmental and Social JusticeFeatured QuotesWe've talked long enough and we need to take action.The arts are a place where you can come together and see things in their complexity and share them without threat.I think the arts and culture are central to who we are as a nation, who we are as people, who we are as individuals.Behind the StoryMax Wyman, a seasoned writer and arts advocate, draws on his extensive experience to address the existential questions facing the Canadian arts community. His conversation highlights the importance of reimagining the sector's role in fostering national pride, social understanding, and a compassionate approach to arts and cultural policymaking in an increasingly polarized world. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

I think there is a responsibility we have as artists to relate to our artistry responsibly. And that has to do with sensing into our artistic sensibility as a medicine or a gift that we were given to come into this embodiment, to become the people that we are and share this medicine with the people in our community around us. And I think it's about asking the question, what is a medicine that I can bring? Not from a place of heroism, not from a place of saviorism, but from a place of genuinely, honestly inquiring, asking what is the medicine needed right now that my art can bring? And sitting with that question without needing to answer that question. So sitting with that question as a question that opens up more questions, as opposed to creating a product, that will be the answer for it.My conversation with Azul Carolina Duque, artist, researcher and member of the Gesturing Towards Decolonial Futures (GTDF) collective. This episode is 15-minute condensation of a much longer conversation recorded on September 16, 2024 in Victoria, British Columbia, the traditional territories of the Lekwungen-speaking peoples, specifically the Songhees and Esquimalt (Xʷsepsəm) Nations, and the W̱SÁNEĆ peoples. The complete conversation includes a conversation about  a new book by Vanessa Andreotti, Outgrowing Modernity: Navigating Complexity, Complicity and Collapse With Accountability and Compassion, that I'll publish as a separate episode. This episode is focused on Azul's research Reactivating Exiled Capacities project. You'll also hear excerpts from a soundwalk Azul and I took in Beacon Hill Park, Victoria. Azul began with a powerful land acknowledgement.Suggested action pointsSense into your artistic sensibility as a medicine, or a gift, and share itSit with the question: what is the medicine needed right now that my art can bring?Explore simplicity and subtlety to bring depth to your artistic practiceHow to relate to the dream world with more reverence and humility and what does that have to teach us that can be important for these times of collapse?How is our relationship with sound, listening, our own voice and with vibration important to cultivate as we experience accelerating levels of grief, despair and pain?Episode notes generated by Whisper Transcribe AIStory PreviewImagine a world where art heals not just the soul, but also the deep-seated wounds of colonialism embedded within our very beings. Artist and researcher Azul Carolina Duque guides us on a journey of sound, reflection, and decolonization, inviting us to consider how art can reactivate lost capacities and foster a more accountable future.Chapter Summary00:00 The Artist's Responsibility01:20 Introducing Azul Carolina Duque02:02 Land Acknowledgment and Connection04:25 Sitting with Reality05:06 Art and Culture in Crisis06:44 Understanding Colonialism as a Disease08:18 Reactivating Exiled Capacities10:35 The Inquiry of Reactivation12:09 Cultivating Service and HumilityFeatured QuotesThere is a responsibility we have as artists to relate to our artistry responsibly… to share this medicine with the people in our community around us.How can we expand our capacity to sit with the reality of things, to sit with… the good, the bad, the ugly, and the messed up, in order to respond from a place of more sobriety, maturity, more discernment and accountability?I was raised to be arrogant, and I still am in so many ways that I can't even see, and some others that I hopefully can see.Behind the StoryThis episode captures a segment of a conversation with Azul Carolina Duque, focusing on her Reactivating Exiled Capacities research. Azul's work with the Gesturing Towards Decolonial Futures collective explores how colonialism manifests at a molecular level, impacting our nervous systems and relationships. Through artistic exercises and somatic practices, she seeks to “neuro-decolonize” our bodies and reclaim capacities essential for navigating complex times.Please see the transcript of this episode for hyperlinks of cited publications and organizations. For more information on season 6 of the conscient podcast see a conscient rethink or listen to it here. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

Hey thereWelcome to the first conscient roundtable conversation recorded on Saturday March 1, 2025 in Tiohtià:ke (also known as Montreal). This episode features local artists, activists and cultural workers Alyssa Scott, Devon Hardy, Jimmy Ung, Katrine Claassens, Sophie Weider, Sébastian Méric de Bellefon and myself (I'm actually from Ottawa) talking about our passions, fears and dreams and engaging in some playful banter, though, I have to say, this group had some pretty serious issues on their minds.Do you know any art and science jokes? Our conversation lasted 91 minutes and is presented here without any edits but before running the tape, so to speak, I want to share 4 of my favorite excerpts from this roundtable to whet your appetite and set the table for the feast of words you are about to hear.First we talked a lot about artists and scientist during this session, for example, Sophie Weider observed that : What I think is interesting about making art about a problem that I guess came out through science because it brings in the audience and prompts the audience to reflect on themselves as part of this problem or as part of this innovation or whatever it is.  I think that that brings in the identity piece that you were talking about, Jimmy, where it's like even just consuming art is a way of discovering yourself and your identity. But then art that asks you to reflect, or perhaps create, art that might be engaging or community engaged art does that extra step of now that you've reflected and seen, okay, wait, I'm part of something bigger than myself, what do I have to say about it or what do I have to do about it.Shortly after, Jimmy Ung, who was our host that day along with his wife Hannah, responded:And we're thinking about this art-science relation. And to me, it's always felt clear to me that what art can do for science is to democratize science. It's to make it more accessible. But then what I'm curious is about, about is what can science do for the arts? And I'm kind of stuck there in my own mind, like, what is it that science can do for artists? And I kind of often approach life through three pillars of beauty, which is art, goodness, which is morality and ethics, and then truth, which is the role of science, I think. And I always felt that the answer is often that the third one is always the mediator. So when trying to find how to better find that balance between art and science, then we should look to morality and ethics. And when we try to find the balance between what's good and what's true, then it's the role of art to be the mediator, and so on and so forth.And you'll hear at the very end, and I hope you're able to stay until the end. Sophie Weider again talked about the end of the world as we know it, which is something that's always on my mind. It's a topic that I often explore in this podcast, but I love Sophie's take on it. So here it is.Just to quickly respond to your comment about despair of the world as we know it. Obviously there is a lot of science and yeah, information about the direction the world is heading and, and I think we can assume that things will go badly before they're again good. But I would like to say that like the end of the world as we know it is not necessarily a bad thing. We all know that there are huge systemic problems that are causing the challenges we're facing today. And those things need to be solved, and we need to have a fundamental shift to see them solved. Whether that will happen or whether human race will just fizzle out, who knows? But I'd like to think that change will happen and that it is possible, at least possible that it could be positive in some way, at least, maybe at the end of the day, even if a lot of hardship has to come before then. I don't know if that's hopeful or just sad, but that's my take.And a few seconds later, Katrine Claassens, one of our guests, talked about artists as midwives:Maybe just to add to what you said about thinking of artists as midwives, we are not death doulas (providing hospice care) but rather as midwives for another world. Katrine later refers to an artwork in California : https://liztoohey-wiese.com/forced-into-a-great-and-difficult-transformationSo, you get the idea. You'll hear these four excerpts in context in a few minutes but i like the way they set us in the mood to listen. I want to thank the brave participants of this first roundtable session for their generosity, courage and wisdom. They are now on the public record as cool and visionary people.  If listeners want to know more about these conscient roundtables – why I created them or background on brave new waves and David Bohm's dialogue work - please read or listen to my posting on my a calm presence called conscient roundtables. And if you want to comment on what you hear please go to conscient.ca and use any of the conscient podcast social media to share your thoughts. If you like what you hear then I invite you to share it within your networks and-or give conscient podcast a review on apple podcasts. All of this helps to get these conversations to circulate and create a bit of buzz about the issues we care about and that merit more public conversations. My email is claude@conscient.caSo please relax and enjoy this roundtable on art and science and more.Note: because of the length and informal nature of this roundtable episode I have not generated a transcription beyond the four quotes above.  *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 26, 2025

I think that the first thing artists have to do is to start telling the truth. You know, just like climate change five or six years ago, you just didn't really want to talk about it. You got shunned in polite company if you talked about it. Now we have the c word, right? We've got collapse. But the conversation hasn't started yet. And I think just broadly speaking, the artistic community… The best of the artistic community, has always been on the edge, right? The social edge. Pushing, complaining, challenging, resisting…Robert R. JanesMy conversation with archaeologist and former museum director and CEO Robert (Bob) R. Janes (author of Museums and Societal Collapse : The Museum as Lifeboat) and his son, famer and educator Peter Janes (author of Fake Plants Never Die - an eclectic technical instruction manual - Essays on pre-apocalyptic adaptation) at TreeEater Farm and Nursery on Denman Island, September 16, 2024. This episode is condensation of a 90-minute conversation into ‘fifteen'. Suggested questions and action pointsTell the truth through your artKeep fighting: push, complain, challenge, resistAssume responsibility by action, not just by protestingWhat can you get rid of?What should you bring back?Why are you creating art?Why does your museum exist?What solutions do you propose?What are your non-negotiable values?Please see the transcript of this episode for hyperlinks of cited publications and organizations. For more information on season 6 of the conscient podcast see a conscient rethink or listen to it here.Episode notes generated by Whisper Transcribe AIStory PreviewCan art save us? A former museum director and his son, a regenerative farmer, confront a world on the brink, finding solace and solutions in the land and in rethinking the very purpose of our cultural institutions. It's a story of hard truths, reluctant hope, and the power of reconnecting with nature.Chapter Summary00:00 The Call for Truth in Art01:02 Building an Educational Farm02:19 Lessons from Indigenous Cultures04:43 Museums as Lifeboats06:57 Navigating Hope and Hopelessness10:21 Regenerative Practices in Agriculture12:09 Art's Role in Environmental AdvocacyFeatured Quotes{03:32} You can't separate cultural affairs from the natural environment, that they're inextricably linked together. - Robert R. Janes{09:17} I make a personal effort towards hope, but I don't feel any hope. - Peter Janes{11:39} It's the message that's important now. And that message is telling the truth. - Robert R. JanesBehind the StoryRobert R. Janes, with nearly five decades in the museum business, reflects on his early archaeological work and a transformative experience living with Dene families near the Arctic Circle. This shaped his understanding of social ecology. His son, Peter, driven by a desire to correct educational inadequacies, established a farm focused on regenerative practices. Together, they offer a vision for a future rooted in sustainability, truth, and a reconnection with the natural world. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 13, 2025

I've been (earnestly) taking courses, workshops and seminars these last few years, while producing over 300 podcasts about art and ecology, as my way of helping future generations prepare for what we are leaving them. My most recent learning and unlearning exercise is Surviving the Future: The Deeper Dive 2025, a 10 week course inspired by the work of British ecologist David Fleming. I wrote about the first three weeks of the course in prepare, bend, sustain posting (also available in audio). So this is part 2 of 2. Surviving the Future has been very influential in my life. I took it while I was on break from my conscient podcast and it has helped figure out what to do next, which I outline in a conscient rethink (also available in audio).My key research questions are :What needs to be said ? (what is content that is not being heard)Who needs to say it ? (who are the right person(s) to tell the story or explain the issue)Who wants to hear it ? (who is the audience and needs to hear it)How does it help? (eg people who are already overwhelmed: how can a podcast help move things forward)So what was Surviving the Future like? It was dense and wonderfully curated by Shaun Chamberlin and others. Here's an example. On Monday February 24, 2025, our special guests were the dynamic mother/daughter duo Vanessa and Gina Andreotti, both members of the Gesturing Towards Decolonial Futures (GTDF) collective.  I often refer to the GTDF's work in my learnings.The session centered around Burnout From Humans : A Little Book About AI That Is Not Really About AI:a playful reflection on complexity, connection, and the future of human-AI relationships. Co-authored by an emergent intelligence and a human researcher, this work explores the tangled dynamics of humanity's relationship with artificial intelligence, Earth, and itself.It was an engaging and challenging session about AI from indigenous and decolonial perspectives. After our exchange, Vanessa and the GTDF collective published an Open letter to the participants of the Surviving the Future program, which I was a part of. They offered feedback and learnings from our conversation, such as the distinction between critique and jurisdiction and how the architecture of power often remains invisible to those who have historically and systemically benefited from it.Benefactors like myself. The session was difficult but empowering. Looking into the mirror like that is when I realized that Surviving the Future was also about knowing and surviving myself, understanding myself and overcoming, as Vanessa Andretotti notes, the ‘limits that modernity continuously tries to impose'.We certainly faced some of those limitations. This excerpt from the February 24th letter resonates and haunts me :The world as we have known it is unraveling. Both the dominant frameworks and those once seen as transgressive are failing to hold. This collapse is not just structural; it is psychological. The infrastructures that stabilized people within modernity—its myths, its promises, its assurances, its rhythms of control—are breaking apart. The result will not be gentle. We must prepare for a long, messy, species-wide existential meltdown.How does one prepare for a long, messy, species-wide existential meltdown?Here a short story.I was a deputy returning officer at the February 27, 2025, Ontario provincial election. My job was to confirm the eligibility of voters and hand them a ballot.It was my civic duty and an opportunity to get to know some of my neighbours and co-citizens. Some voters had just turned 18 and were visibly excited about participating in democracy for the first time.As I handed each young adult a ballot, I looked them in the eye, wished them well, but in the back of my mind I could not help thinking about the ‘long, messy, species-wide existential meltdown' that awaits them.Now most young adults are well aware of this incoming meltdown. They talk about it openly.For example, my son, historian Riel Schryer, in conscient e154:I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.Also, my daughter, scientist Clara Schryer, in conscient e208:… changes happen : there are always ways to adapt. That's not to say that the initial change might not be kind of catastrophic, but there's always going to be something left and you have to work with that.Is it too late?How do we work with what is left? At a Surviving the Future reflection session on March 6th course leader Shaun Chamberlin read to us this quote by Canadian writer, teacher and grief literacy advocate Stephen Jenkinson :The question is not ‘are we going to fail?'  The question is ‘how?' The question is what shall be the manner of our inability to care for what was entrusted to us?So what does a baby boomer like myself do to regain a sacred trust to future generations that my generation has betrayed? These are the kinds of questions and dilemmas that we pondered during the course and took a deeper dive into those issues.Thankfully we had access to a wide range of resources and conversations that helped us navigate these complex waters. For example, I found comfort in this excerpt from Paul Kingsnorth's Confessions of a Recovering Environmentalist :In an age in which ‘fighting for the planet' most often means tweeting, signing petitions, writing blogs and sometimes going on a march, the rhetoric seems not only overblown but likely to obscure the value of more focused, small-scale personal commitments to changing things for the better. … In 1978, [Wendell] Berry wrote to [Gary] Snyder … ‘Maybe the answer is to fight always for what you particularly love, not for abstractions and not against anything: don't fight against even the devil, and don't fight to “save the world”.' … Once you start thinking you are responsible, or can influence, everything, you are lost. When you take responsibility for a specific something, on the other hand, it's possible you might get somewhere.Local action kept coming up as a path forward during the course. The argument is that an individual can have the most impact locally such as with permaculture or community arts or really any form of action that engages with and preserves life where we live. The issue of grief also kept coming back. For example, this teaching from Stephen Jenkinson's So What Now?:Grief requires of us that we know what time we're in. And the great enemy of grief is hope. … Our time requires of us to be hope free. To burn through the false choice between hopeful and hopeless. … We don't require hope to proceed. We require grief to proceed.Conversations about grief led me to think about grief and grieving in the context of hope and hopelessness. The timing was good because during the course I was editing the first episode of season 6 of my conscient podcast and my conversation with farmer and educator Peter Janes and his father, archeologist and former museum director Robert R. Janes, of TreeEater Farm, touched upon hope and hopelessness :Here's Peter :I have a mixed relationship with that concept of hope. Because I actually genuinely have very little hope for the continuation of humanity. But then at the same time, every day I'm out here making bigger ponds and planting trees that I think will do better. And trying to bring on board people with the same ideas and visions. So it's a bit of a contradiction.Here's Bob's take: It's really easy to be hopeless. And I suppose it's rather contradictory to say hopeless but still want to do things constructively to overcome that hopelessness. And so, I guess that's what I mean. There are so many things we can do. I mean, we know what we need to do to weather this storm, but I guess the sacrifice and the suffering it's going to cause is just too much for people's imagination. So, there's middle ground with all that. And again, this farm is a source of being helpful, and I guess underneath that, being hopeful and a source of being. What was the mantra? Hopeless, but not helpless. Yeah. And the farm for me is that, is that tool, it's that environment. It's the context to do helpful things and to pave the way for the future.That's why I took the Surviving the Future course, hoping that a deeper dive, led by experts, would help me understand and face the complexities around us. I was not disappointed. Each week's readings, assignments, conversations, and meditations brought me deeper and deeper into, the compost of modernity, so to speak. I experienced intense moments of joy and sorrow. Of discouragement and hopefulness. Mostly, however, I was bewildered and slightly more able to acceptance to what is going on and explore new possibilities. Surviving the Future also helped me let go of my ego, by engaging in deeper listening to others and myself while release the compulsion to be the smartest kid in the room.No need to be anything other than an ordinary learner. Overall the course was both an exercise in humility and an opportunity to develop and maintain capacity. And that powerful February 24th open letter stayed with me, notably its conclusion: As a collective, we move with the discernment this moment demands—not with arrogance, but with honesty. Not in defiance, but in commitment. Not against anyone but reaching beyond the limits that modernity continuously tries to impose.So I'll work on discernment, honesty, commitment and reaching beyond.To be honest, this kind of introspection is hard work and we all need resources and support.Here are some of the resources from Surviving the Future that have been the most impactful and relevant for me: AIDEN CINNAMON TEA & DOROTHY LADYBUGBOSS' Burnout From Humans : A Little Book About AI That Is Not Really About AIDavid Fleming's: LEAN LOGIC - A DICTIONARY for the FUTURE and HOW to SURVIVE ITIsabelle Fremeaux & Jay Jordan's : We Are 'Nature' Defending ItselfJoanna Macy on The Great Turning and CollapseNate Hagens' Animated Series | The Great SimplificationThere are many more. I'll mention other resources in future postings. So what did I learn and unlearn during these 10 weeks? Do the best you can until you know better. Then, when you know better, do better (Maya Angelou)Staying with the trouble (Donna Haraway) : no more rushing around to quick fixes, conclusions, simplistic solutions or passing judgements on situations that are still unfoldingMeditate daily: I am not what I thinkThe Master's tools will never dismantle the Master's house (Audre Lorde)When the children born today look back 30 years from now, what actions would they be grateful that we took right now? (GTDF collective)I'll conclude with this excerpt from Shaun Chamberlin's The Secret Truth Behind Environmentalists' Favourite Argument :For me personally, the harsh truth is that I cannot save Nature and/or humanity from the ongoing devastation, though I could burn myself out trying. It seems to me that there is not one thing that I can do to divert history. And facing that reality hurts.  But, beyond agony, joy. I sit with that pain, and its attendant tears and rage, I refuse to run from it or to distract myself with entertainment or with frantic work, and I find that it does not end me. Eventually, I come out the other side, somehow empowered. The psychic energy I have been using to suppress that fear and despair is released, and I look at the world with fresh eyes. ‘Ok', I breathe, ‘here I am, in a dying world'. It's the same dying world I lived in yesterday, but today I see it for what it is. ‘What now?' And this time the question feels less desperate, less anxious. What story do I want to tell with this day, with this life? The question is suddenly filled with possibilities.My take on this, is that we need to explore the possibilities that emerge as we work our way through that ‘long, messy, species-wide existential meltdown' while calmly preparing for what comes after, with or without humans.BTW you might have noticed I did not mention art at all, in this posting.I'm rethinking my relationship with art. My definition of art, also, is evolving. I'll publish a separate piece called ‘l'art est mort : vive l'art' soon. Warm thanks Shaun, Nakasi, Nicole and all the Surviving the Future 2025 team and participants for their generosity and collaboration during the course and beyond.Note: The cover photo is of Henry Moore's Large Two Forms in Grange Park, Tkaronto. *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on March 13, 2025

Note: to read this posting on a calm presence see a conscient rethink a conscient rethinkWhat needs to be said? Who needs to say it? Who wants to hear it? How does it help? February 16th, 2025, on the unceded lands of the Algonquin-Anishinaabe people.I started publishing the conscient podcast and balado conscient in May of 2020. My goal was to ‘explore art and the ecological crisis as a learning and unlearning journey'. At that time I believed that ‘the arts and culture could play a critical role in raising awareness about sustainability issues and moving people towards action.'Maybe. Maybe not. At any rate, some 300 episodes later, I felt that this first leg of my conscient journey is complete and that I owe deep gratitude to my collaborators and to you, for listening. It's now time to rethink conscient. Some of you might recall in my listen and co-create posting on a calm presence and this quote from the Intercultural Communication Handbook : Sensing, attending and being patient requires slowing down, pausing, and taking time to listen, look, feel and learn. Seeking to activate and use all our senses to relate as part of the world. This involves learning through relationships, through actions and through careful attention, not just through asking questions and talking a lot. Being patient and humble enables recognition of the myriad of messages that humans and non-human beings are always sending out.These wise words encouraged me to slow me down and inspired me to take a pause from the production of conscient during the winter of 2025 and I tried to follow this good advice.Others are also advocating for a slow down and a rethink. For example Kai writes in Dense Discovery – Issue 326 / When enough outrage is enough :We have enough information. We know where we stand. The challenge now isn't to understand more, but to act on what we already know, redirecting our energy from pointless online reaction to tangible local action. As I've said here before, we don't need more clever dunks. We need more people showing up – in our communities, in our work, in the unglamorous spaces where real change takes root.What did I do?I listened to everyday life. I stopped judging.I meditated on presence.I conversed with colleagues in the 10 week Surviving the Future : The Deeper Dive 2025 course.I shared some of my experiences in prepare, bend, sustain. I read and listened to Shaun Chamberlin's Dark Optimism, Nate Hagens' The Great Simplification and Kamea Chayne's Green Dreamer. I also shovelled snow, learned to play tennis and played shinny. Lots of shinny. I also pondered listener feedback from previous seasons of conscient. Here are a few : your guests are inspiring and the conversations are nourishing : it fills a gapwhy don't you present more diversity of voices, in particular from young people and the global south your conversations often go on too long. We're more likely to listen if you edit them downyou narrate too slowly : I. sometimes. fall. asleep. listening. to. you. drone. on.your podcast is not enough fun : why don't you try to be more uplifting and positiveintegrating soundscape compositions actually works well: it makes your podcast unique and compellingWhy not give us more practical tools to engage with the issues not just philosophical musings and doomist projectionstry to be a bit more humblebreathe more quietly and smoothlyWith this feedback in mind, I came up with a set of questions to guide my work future forward: What needs to be said?Who needs to say it?Who wants to hear it?How does it help?In other words, what is the point of all this chatter? I thought back to why I listen to podcasts in the first place and what keeps me listening?  I listen to podcasts because they help me:break me out of isolationaccept collapsefeel solidarity and connectionunlearngenerate spiritual and physical energyempathise through tone of voicenurture presence through hesitationlaugh and cryslow down and listenkeep going in spite of the oddsconscient podcast studio production spaceSo, with all of this in mind, I've decided to go ahead and produce a 6th season of conscient.You'll be able to hear three episode types:1. fifteens15 minute ‘composed' conversations with leading artists and cultural workers exploring the theme of ‘arts and culture in times of crisis, collapse, renewal' with a focus on actions. A fifteen is a coffee break of insight. 2. roundtablesLong duration, informal banter with friends and colleagues about their passions, fears and dreams, inspired by the innovative ways of the 1980's era CBC Radio's overnight talk show Brave New Waves. Participants are invited to tell a good story and to expect to be interrupted and maybe teased once in a while. A roundtable is an engaging kitchen party. 3. a calm presenceThese bonus episodes are me narrating each a calm presence Substack posting including additional commentary and soundscape compositions. It's intended for those who, like me, prefer listening over reading. I will launch season 6 at spring equinox on Thursday, March 20, 2025 at 5.01am (EDT).accesssubscribe to conscient podcast or balado conscient (free) on your favorite podcast player : Apple Podcasts, Spotify, Amazon Music, Podchaser, Tune in, YouTubesubscribe to a calm presence (free) on Substackfollow and comment on conscient social media : Facebook, Instagram, LinkedIn, Threads and BlueSky visit conscient.ca to search and listen to any individual Episodes or read episode notes and transcriptsAs always, if you like something you hear or read, please share. Feel free to reach me with questions and comments at claude@conscient.ca *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on February 16, 2025.

Note: I wrote this facebook posting this morning (February 11, 2025) that I'm repurposing as a calm presence essay and as a bonus episode of conscient. *Hi,We need social media spaces that are non profit, with decent values and ethics, community spirit and maturity. This will come. In the meantime we have extractive behemoths like Meta, that are nonetheless the product of human ingenuity and that are useful to help connect (even though I think having coffee with a friend or chatting by a fire is better.)This morning I was reading a column in The Maple called ‘Your comments on the American Menace' by Alex Cosh. This comment resonated :Canadian politicians understand that this national formation is in an inherently frail state [...] I would propose that Canada has fundamental weaknesses in its institutional memory and cultural identity that Canadians feel on a subconscious level. In my opinion the basis for this is the obvious compatibility of our society with American monoculture via settler-colonialism [...] The retreat to mythologies and consumerist nationalism cannot serve as a long-term alternative to actual nation-building projects such as reconciliation and constitutional reform [...] The things we grasp onto in moments of anxiety are merely symbolic; what is required is a real and tangible national project that serves to mend the foundational fracture at the base of Canadian society stemming from the relationship between Indigenous peoples, settlers and the land. Window dressing is not going to cut it.Gratitude to the author of this comment, whose name I don't know. I would add that in the context of the climate emergency, massive change is in the air anyway. I'm excited by this window of opportunity to ‘mend the foundational fracture' of life on Turtle Island.Many organizations and artists have been working on this kind of revisioning. Now is their time. *Photo: Adawe Bridge on Rideau River, February 11, 2025 *END NOTES FOR ALL EPISODESHey conscient listeners, I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on February 16, 2025.

What triggered my climate denial bubble to burst? I feel compelled to share this personal experience, in the hope that it might help others who are also struggling with the current sustainability crisis and searching for a path forward…This is an ENCORE episode of the conscient podcast from season 1, episode 1, first published on April 30, 2020.Kaboom !You'll understand what this Kaboom is about in a few minutes. This episode…explores my reaction, or at least my experience, when I became much more aware of the climate emergency and what it meant to me and to my family in particular, my daughterOur daughter Clara was 17 when I recorded this episode. Clara's now 23. In 2024 I recorded e208 clara schryer - science as story where Clara talks about her memory of a conversation we had on May 14th 2019 that proved to pivotal in both our lives:At the time, I think I knew that I was interested in earth science, but I thought maybe I should do engineering because maybe that's actually more useful. And I didn't end up doing that. I ended up doing what I wanted to do, which I think was probably an okay choice. But anyways, that was kind of the context. But I remember that conversation as being one of the first times that you really expressed to me that you were interested in participating in this kind of climate and environment work and that you were kind of, you know, I guess to me that part of that conversation was like, well, you have to make changes in whatever world you are in and you were in the art world, so that's what you kind of focused on. I did end up focusing on art and ecology in a number of ways and that conversation was the triggering point. I remember it  very clearly. We were driving on Mann Street here in Ottawa. You'll hear the story in a few minutes. This conversation triggered me to retire from my job at Canada Council in September 2020 and to devote myself full time on the climate emergency. I thought it would be interesting to go back to this very first episode of conscient and listen to how talk about my anxiety and terror about the climate crisis that was unfolding. On the morning of May 13th I came upon an article in the Guardian, We're Doomed: Mayer Hillman on the climate reality no one else will dare mention, where Hillman predicted that ‘the outcome is death, and it's the end of most life on the planet because we're so dependent on the burning of fossil fuels. There are no means of reversing the process which is melting the polar ice caps.' The episode is quite disheartening, eg. facing reality directly, but there are moments of hope, for example, at the end of the episode I read this quote from indigenous writer Richard Wagamese's For Joshua :We may not relight the fires that used to burn in our villages, but we carry the embers from those fires in our hearts and learn to light new fires in a new world. We can recreate the spirit of community we had, of kinship, or relationship to all things, of union with the land, harmony with the universe, balance in living, humility, honesty, truth, and wisdom in all of our dealings with each other.' And this to me is the power of stories, to help rekindle the embers in our hearts, to recreate the spirit of community we once had… stories have the potential to both terrify us into action but also help us slow down inspire to carry on, to process our grief, deepening our relations and imagine new worlds.Note : Il existe également une version en français de cet épisode sur le balado conscient é02 éveil - éclater ma bulle de dénie. *END NOTES FOR ALL EPISODESHey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis, collapse and renewal (to be confirmed) during the spring of 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on January 25, 2025.

prepare, bend, sustainwhat I learned in the first 3 weeks of surviving the future 2025Note: the original posting on my a calm presence Substack is here. Sarah Heynen, Executive Director of the Canadian Centre for Food & Ecology, suggested I take Surviving the Future : The Deeper Dive (StF), a 10 week course offered by Sterling College, in Vermont. The course is informed by the work of English economist, cultural historian and writer David Flemingand is led by British author and activist Shaun Chamberlin.Sarah was right about taking the course.So far it has been very intense, quite a bit of fun, with moments of, I would call it… terror.  I'm going to share some of my findings with you. I noted what I learned (and unlearned) during StF 2025 from amazing presentations, engaged conversations, creative exercises, bold documentaries, vigorous debates and mutual support sessions : all kinds of interesting and enriching learning. However, it all boiled down to this slide that our first guest presenter Nate Hagens (host of The Great Simplificationpodcast) shared with us in the first week.My reading of this slide is that we need to : prepare for systems failure and societal collapsebend like bamboo without breaking during the turmoil and devastationsustain ecological balance during recovery and regenerationNothing else really matters. It might seem simplistic to bring it down to 3 words but it really helped me focus. As the course unfolded, I made note of some of my favorite sayings and moments.be grateful and in love with lifebeauty and depravitycitizen sciencecollective humanitycommunity engaged artscommunity resiliencecourage and nobilitycracks in, but not ofdecommissioning nuclear desk killersempathetic enquiryexit ramp alternativesfatalistic dopamine follow your tearsgood collapseguerilla dissenterscivilisation's final burstinhospitable rabbit holesinterstitial insurrectionlover (not mother) earthmoral compartmentalizationmycelial modelsnew worlds unfoldingnurturing presencepermaculturepocket of survivorspower with, not over reality blindnessresilience through decentralisationsave versus savourstories of the worldtransitional townstrusting that which we cannot yet feelAnd much more.My hope (see when spirit becomes one for more on hope) is that once combined and coordinated, these efforts will become unstoppable forces of change and renewal. That's a bit utopic but I've always believed that once combined these things are very powerful. During the course one of our assignments was to respond to Nate Hagens' presentation. I wrote this poem:  Friends who do not judge       Colleagues who are present     Kindred spirits who make me feel      More-than-humans who help me heal Friends who guide me through the unknown      Colleagues who comfort me when I'm gone       Kindred spirits who help me respond   More-than-humans' gift of mycelia Friends who help me sit        Colleagues who help me prepareKindred spirits who bend not break    More-than-human sustainability So this gives you an idea of the kind of fun we are having with complex issues… but will all of this be enough?Qui sait?What I've learned in these first 3 weeks is incredible. So much useful information and helpful discourse with like-minded people. But in terms of what I retain in day-to-day life there are 3 words that guide me: meditate (daily)collaborate (on relevant projects)trust (the things we cannot yet feel)More soon on the rest of the course. I'll do another posting including links to my favorite articles and videos. With deepest gratitude and respect to Nate Hagens for his presentation and use of his slide (also see Power vs Life: Towards Wide Boundary Sovereignty), to the wonderful stf 2025  team (Shuan, Nakasi and others) for their leadership and to my stf 2025 colleagues for our rich exchanges, generosity and - oh so precious -  solidarity. Photo: Beach at Hornby Island, British Columbia by Claude Schryer *END NOTES FOR ALL EPISODESHey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis, collapse and renewal (to be confirmed) during the spring of 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on January 25, 2025.

What's starting to interest me is stories of resilience for a post-carbon world. What are we going to need for our emotional well-being? It's going to be a different world, not long from now. If we do this, and we must do this, this transition has to happen and there's going to be a sense of loss and sacrifice and challenge, not just with what's happening externally from a climate point of view, but in how we're going to have to make changes to our lives and reorient our energies in terms of our advocacy. I feel like there's an opportunity for artists - I'm more connected to the film and television sector and the documentary community - but throughout the system, to be able to provide realistic and yet reassuring narratives about what the upside of all this might be.This bonus episode is dedicated to the memory of media producer, art and climate champion and cultural impact leader Tracey Friesen, who passed away on Monday, January 6, 2025 in Vancouver. I offer my deepest condolences to Tracey's family and her countless friends and colleagues. I'm still on break from producing new episodes of conscient. I'm mostly meditating these days but also taking courses such as Surviving the Future.I'm to think through how podcasts such as this one, can be most useful future forward. More on this later. For now, while I'm on break, I thought it would be interesting to publishing a series of ENCORE or replay episodes drawn from previous seasons of conscient.I actually got the idea my fellow podcaster Alice Irene Whittaker whose created a REPLAY series drawn from her Reseed podcast and it's a good listen. I recommend any episode but in particular Episode 8 - Reflecting Climate Grief Through Music with Tamara Lindeman.  And I'm going to start on a sad note, but also one celebrating the life of Tracey Friesen. You'll hear, once again, e85 tracey friesen – narratives of resilience for a post carbon world which I recorded in 2021.For those of you who don't know Tracey, let me provide context this way. I'll read you an excerpt from a newsletterissued by the Story Money Impact organization in Vancouver that Tracey founded in 2019 and which is now run by Sue Biely. This excerpt will give you an idea of their appreciation of Tracey: Tracey was a gifted community-builder and mentor – equal parts fearless, wise, and energetic – with an insatiable curiosity. Her forthrightness left no doubt about where she stood when it came to fighting for social and environmental justice. She was a visionary tactician who recognized a gap in Canada's documentary sector, so she rolled up her sleeves and researched and published her 2016 book about impact producing,Story, Money, Impact: Funding Media for Social Change. Tracey's book became the catalyst that set this organization into motion.Thank you Sue and the team at Story, Money, Impact for that. I first met Tracey on September 21, 2021 at a event called Processing the federal election during a climate emergencyorganized by the Climate Emergency Unit. Stacey was impressive. Shortly after we collaborated on the mission circle of SCALE, the Sectoral Climate Arts Leadership for the Emergency network. We later became friends and often went for long walks in Ottawa or Vancouver to strategize about art and climate action but also the challenges of day-to-day life: supporting elders, being a parent, figuring out what to do… Tracey was a compassionate listener and a very wise advisor.  I loved the way she understood and advocated for the power of storytelling, and I think her words will be important to us in the future. I hope we can continue her good work amplifying the voices of artists. Here's another excerpt:We do need the scientists, and we do need all of the work being done across all of the important social issues that are happening right now. And we really do need the storytellers and to validate that their story driven, narrative driven, emotionally driven pieces of work will help to touch people now to change their behavior or will help to soothe or reassure or be with them in the world post transition.Let's go back in time: 2021 with the COVID pandemic in full swing. Tracey and I are sitting, meditation style, in her living room in Vancouver. Heads up that in this episode you'll also hear excerpts from conscient podcast e26 klein – rallying through art and e54 garrett – empowering artists in between our conversation.Finally, for your convenience, I've also added a complete transcript of the episode on the episode web site including links to the events and organizations that Tracey mentions during our exchange.  *END NOTES FOR ALL EPISODESHey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis, collapse and renewal (to be confirmed) sometime in 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on November 18, 2024

A bonus episode in between seasons 5 and 6, featuring my new year's 'a calm presence' reflection on hope with writings and stories by Peter Schneider, John Crier (as told to Vanessa Andreotti), Richard Heinberg, Zia Gallina, Naomi Klein, Azul Carolina Duque, Jem Bendell, Robert R. Janes and Hildegard Westerkamp. To read the original posting on Substack see https://acalmpresence.substack.com/p/when-spirit-becomes-one-5f5  *END NOTES FOR ALL EPISODESHey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis, collapse and renewal (to be confirmed) sometime in 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those in need of a calm presence'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast or my social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on November 18, 2024

Note: this is the audio version of my 'listen and co-create' posting on 'a calm presence'. On September 23, 2024, while driving in Victoria BC to record a conversation with educator and musician Azul Carolina Duque for conscient season 6 (to be released in 2025), I was listening to Nate Hagens' The Great Simplification episode 139 : Bioregional Futures: Reconnecting to Place for Planetary Health with regenerative living activist Daniel Christian Wahl. As I listened to the 36th minute of this engaging podcast, I felt a wave of relief ripple through my body, as if a burden had been lifted…I stopped the car to listen to that 36th minute again : It makes a difference how we go out and, bizarrely, if enough of us - all of humanity - reaches the point of maturity of caring more about life and less about individual lifespan or our species survival and we find our peace with maybe living the end day of a relatively young species, then I think exactly in that point, we will find the maturity to develop the patterns that will take us into not dying an early death as a species.‘That's it', I said out loud. ‘This is the horizon I have been looking for: ‘patterns that will take us into not dying an early death as a species'.Which patterns?I was also touched by the notion of dying with dignity (how we go out), which is on my mind and in my spirit lately. Azul and I in Beacon Hill Park, Victoria, BC, September 23, 2024Wahl's notion of ‘finding peace as a relatively young species' came up during my conversation with Azul who kindly shared the 3rd type of hope in an upcoming publication by the Gesturing Towards Decolonial Futures Collective of which she is a member: The hope in composting harm represents the idea of acknowledging that we are past several critical tipping points, and that substantial consensus is unlikely to happen and that we will inevitably have to confront the consequences of our harmful actions and the harmful actions of those who came before us, too. So this hope says that new possibilities will emerge only after we have been taught by the partial or general collapse of our current systems, which is what this person, Daniel was saying in the interview. So it's about visualizing a process in which we are left with no other choice but to transform our relationships with the planet, with other species and with each other, to metabolize and repair the harm we have caused, and collectively learn to coexist differently through the awareness that we are part of a wider metabolism that is bio intelligent.Later that day I mentioned this insightful 36th minute in the Wahl interview during my conscient podcast conversation with composer Kenneth Newby (e207 kenneth newby - living with grace) who said: The planet's not dying. Our place and our version of it may be dying. So how do we deal with that? How do we accept and live with the knowledge that our version of it is dying. It's not something to panic about in the sense that the whole thing's going away, hopefully. We don't know, but I think that notion of living with grace, living without fear, trying to live without anxiety, because those are just places where we flounder, shut off and develop toxic escapes. People will drink themselves and take whatever drugs they want to take to escape. My conversation with Kenneth reminded me of this quote from Adam Urban's ‘10 Reasons Our Civilization Will Soon Collapse' that I used in my first a calm presence posting, called why? : my rationale for creating 'a calm presence' newsletter. I go back to it often:People have asked me, "If we're all doomed anyway, then what's the point of scaring people? Why not just let them live their lives?" It's a fair question. My answer is that the more people know about our predicament and start preparing for what's coming, the greater chance humanity has of surviving this century and creating sustainable societies in the distant future. I don't know if that's even possible. Perhaps we will pass so many climate tipping points that temperatures will rise high enough to snuff out life across the entire planet. Or perhaps after the population declines and the planet warms, new societies will spring up in places like Greenland and Antarctica. They won't be societies that use fossil fuels, so they will likely be much simpler and more connected to the Earth. Maybe these societies will learn from our mistakes and take better care of nature—and each other. If there's any chance that a future like that is possible, then we should do everything we can to make it happen. The first step is to inform people about what's happening, and the second step is to help them prepare.Why does any of this matter? Reality.why? https://acalmpresence.substack.com/p/whyMy experiences on September 23rd reminded of advice dharma teacher Catherine Ingram offered me in July 2023 that inspired the creation of a calm presence:Yes, there's a point in going on. It is to be here for others who are not as strong or clear as you and who will be frightened and in need of a calm presence.But how does one achieve and maintain ‘a calm presence'?I found some answers in this except from Yin Paradies' September 25, 2024 Facebook posting drawn from the Intercultural Communication Handbook.Sensing, attending and being patient requires slowing down, pausing, and taking time to listen, look, feel and learn. Seeking to activate and use all our senses to relate as part of the world. This involves learning through relationships, through actions and through careful attention, not just through asking questions and talking a lot. Being patient and humble enables recognition of the myriad of messages that humans and non-human beings are always sending out.Note: for more on Yin's work see e193 yin paradies - interweaving everything with everything else or on Yin's YouTube channel.I was struck by this sentence in particular : Learning through relationships, through actions and through careful attention, not just through asking questions and talking a lot.There's a lot to consider in his words for a podcaster who spends a lot of time and effort talking and asking questions!The timing of this  is good because I'm taking a break now from both conscient podcast and a calm presence for a few months as I prepare season 6 - which I think is necessary - exploring arts and culture in times of crisis and collapse. I'll be doing that collaboratively and co-creatively with those who are interested in joining me. To summarize, I feel privileged to have received a generous offering through the above quotes that I have presented to you today. For me, all of this comes down to: listening and co-creating. To listen and co-create. I would like to thank those I have quoted and their kin. *END NOTES FOR ALL EPISODES Hey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on November 6, 2024

flowing throughopening ever-new vistas through listening and conversation I received an email from composer Hildegard Westerkamp, about ego, and set Hildi's words to  sound. The time seems right for you to let everyone's words flow through you - as if through a medium or force - back to all of us in ever new shapes. This creates shifts in everyone's perception, ideas, attitudes, feelings and approaches towards the world the way it is now.  I have always felt that this was precisely what I was doing with environmental sounds. I recorded them (like voices that speak). I listened to them and then let them flow through me (speak through my compositions, like your and everyone's words speak through your conscient podcast) back to everyone. Our own inner shift simply enables for more shifting to happen. It's not us (our ego) that is effective here in allowing the flow of transformation to happen. The ego is more like a blood clot blocking true shifting in the larger scheme/flow of things - i.e. it wants to be exclusive, can't include the perceptions and shifting of others. It's a deeper engagement - love, passion or whatever one might call it - that not only allows, but desires for energies to flow through - reach - the nooks and crannies of human perception. Like a river. We are like the water particles that collaborate for the river to find its way through the landscapes as they present themselves. Opening ever-new vistas. *END NOTES FOR ALL EPISODES Hey conscient listeners, Thanks for your presence. Season 5 of this podcast is now completed. I'll be back with season 6 on art and culture in times of crisis and collapse (see trailer for details) sometime in 2025. Background on the conscient podcast I've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on November 6, 2024

Below is my reading of an executive summary of my ‘letter to the arts community about the ecological crisis - let's put the climate emergency back onto our agendas'. I invite you to read the complete letter, when you get a chance, in English or in French, however this summary will give you the basics. I also invite you to submit comments on my Substack, on any of my social media (Facebook, Instagram, Twitter, Linked in) or directly to claude@conscient.ca. *Dear Canadian arts and cultural sector,I hope these words find you well.I've recently completed season 5 of my conscient podcast - balado conscient at La Montagnarde, an arts residency organized by l'ATSA : quand l'art passe à l'action, situated on the unceded territory of the Anishinaabe-Algonquin people (also known as St-Adolphe-d'Howard, Québec).Let me get to the point. Based on recent conscient podcast conversations, I have observed that the climate emergency (as well as the larger ecological crisis) have fallen off the collective agendas of the Canadian arts and culture sector. The uncertainties we face are grim (see Disruptions on the Horizon).I am advocating that these issues take their rightful place amongst our most urgent priorities and risk assessments. In my complete letter, I invite you to read and listen to your arts and cultural peers who make a strong case for increased dialogue and rapid change, including: Owais Lightwala and SGS's (e194) Manifesto for NowRobin Sokoloski (e201) and the Living Climate-Impact Framework for the Arts (also e195)SCALE-LESAUT (e176) and Mapping the path to net zero for canada's Arts and Culture Sector” – what we found out – and what we need to do now!Canada Council for the Arts & Mass Culture's Climate Mitigation Strategies for the Arts and the Climate Mitigation and Adaptation Strategies for the Arts reportIan Garrett (e182) and Sarah Fioravanti (é158) on CG Tools CanadaAlex Sarian's The Audacity of RelevanceAnd much more (in the letter)…We need to connect these critical initiatives by developing a ‘national arts and climate strategy' as recommended by SCALE-LeSAUT so that the arts and cultural sector can play a much larger role in creative climate actions and solutions (both short and long term).  I think we can get there if we work together. My complete letter includes some practical suggestions and links.In the meantime, the next season of conscient podcast - balado conscient will focus on ‘art and culture in times of crisis and collapse' including an ‘artists survival kit' (working title) : a set of practical tools and resources for artists to adapt and respond to the risks of ecological and societal collapse. This project will be informed by advisory circles. If you would like to participate, please contact me at claude@conscient.ca.Thanks for your consideration. And if you agree with what I propose in this letter, I invite you to share it and talk about it with your peers. I submit this letter with respect and in solidarity.Claude Schryer *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on October 26, 2024

Hello, this is Claude Schryer.I've just completed season 5 of conscient and I'm very pleased with the result: 54 episodes in English 11 in French. I am on the top of a mountain at La Montagnarde, now where I was in residence for a week completing season 5 and thinking about the next one and wanted to just give listeners a heads up of what's coming. It won't necessarily be easy content, but I think it'll be interesting. The focus is going to be on arts and culture in times of crisis and collapse, continuing some of the conversations that I had this season, but going deeper into how the arts have served during periods of crisis and collapse in the past, and how they can be most relevant to the context in which we live, which does not mean that life will be necessarily unbearable, but it unfortunately it is going in that direction. I'll be asking artists and cultural workers what they are doing, what they think, and at the same time, I'll be creating a toolkit, tentatively called ‘Artist Survival Kit' that I will build very slowly with a series of advisory circles who are people who are interested in working on it with me, so that we can have some tools ready for when more difficult times come, such as floods and wildfires like we're seeing now, or excessive heat. We'll explore how do we live in those conditions and how do we regenerate the worlds around us so that we can get back to good living conditions. So that's going to be the next season. The format's going to be a bit different. It's going to be more documentary style, less of the kinds of conversations I've had and more editing and weaving together a narrative based on my conversations. As usual, I invite feedback and hope it's relevant and interesting for you as I continue to share my learning and unlearning journey. I really appreciate the feedback I get. I put the content out there as an offering for those who can benefit from what I'm seeing and learning and the mistakes I've made and all of that. See you in season six. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on October 26, 2024

My interest in science is quite poetic. The things that I find the most interesting about science are when it can be woven into a story that makes sense and I think that's kind of artistic in a way: you take the scientific knowledge and make it into a more abstract kind of poetic thing.Note: I'll be back during the winter of 2025 with season 6 on the theme of 'art and culture in times of crisis and collapse'. Also, this episode was published on October 23, 2024 : our daughter Clara Schryer's 23rd birthday. Bonne fête chère Clara!*(arctic soundscapes: Clara and Noa Caspi talking about drones + daily check in with Resolute + candle ice breaking + plane arriving)This is the final episode of the fifth season of the conscient podcast.(arctic soundscapes: Clara trying to imitate Claude's style of simplesoundscapes recording while searching for candle ice)This season began on February 21, 2024 with e154 featuring my son Riel's research on ethics in science:I don't think there's going to be any serious response to the climate crisis until real catastrophes start happening. That tends to be how it works. And once you start seeing that, then you'll start seeing very serious action being put in place. Although, we'll see at that point, if it's too late or not.(arctic soundscapes: Clara and Noa talking about recording technology)This last episode features field recordings that Noa Caspi and Clara recorded during a 2-month field research project at the Cape Bounty Arctic Watershed Observatory on Melville Island in Nunavut during the summer of 2024. You'll hear Clara talk about some of her favorite sounds, including the unique vibrations of ‘candle ice': I get to the field in early June, and on the lake, there's two to 3 meters of ice and that only melts. Like, the lake is ice free for like, maybe a couple weeks max, sometimes not even at all, depending on the year and how much ice there was and the temperature and stuff. But this really thick ice as it melts, and I don't know exactly how, but it forms into these kinds of candles.(arctic soundscapes : Clara and Noa talking about candle ice + Clara walking around in moss)In between soundscapes from the arctic, you'll hear Clara talk about the rapid changes in the Arctic and some of the challenges of envisioning a new future and how art might help us imagine possibilities amidst uncertainty.(arctic soundscapes : bird song, wind)Northerners are facing a new world a lot faster than the rest of us are and I'm not sure what to say other than figuring out how to... What's the wording: creating the conditions for the new world… (for other… other possible worlds to emerge – Claude) Imagining what that new possible world could look like is tricky. (And that's what art does - Claude). That's what art does.(arctic soundscapes : Clara and Noa talking about recording in the field)My conversation with Clara reminded me that scientific knowledge can be transformed into poetic narratives and that we benefit from both scientific and artistic creative work. One might even speculate that they are more or less the same thing. (arctic soundscapes : walking on the tundra)And at any rate.All of this requires a lot of listening.*Sections of the episode (generated by AI and reviewed by Claude Schryer)WelcomeIn this introductory chapter, Clara joins Claude marking the season finale. They discuss the unique perspective of younger generations on pressing issues and the intersection of art and science.A Scientist's JourneyClara shares her background, detailing her journey from Ottawa to studying earth system science at McGill. She highlights her passion for the outdoors and how her academic pursuits led her to a master's program at Queens.The Young Person's DilemmaReflecting on a pivotal conversation from Clara's past, they discuss the challenges young people face when choosing careers that can address climate change. Clara reveals her evolving mindset about making a difference in the world.Eco-Anxiety and Climate ChangeClara talks about her feelings about eco-anxiety and the complexities of climate change. She emphasizes the importance of focusing on local solutions and the challenges of balancing personal and global concerns.Fieldwork in NunavutThe conversation shifts to Clara's fieldwork at the Cape Bounty Arctic Watershed Observatory in Nunavut. She explains the project's focus on hydrology, soil, and greenhouse gas fluxes, contributing to a better understanding of the global carbon cycle.Journey to the ArcticClara describes the logistical challenges of reaching her field site, detailing the multiple flights and stops along the way. She shares insights about the isolation and unique experiences of conducting research in such a remote location.Soundscapes of NunavutClara introduces her recordings from Nunavut, highlighting her experiences doing field recording. She shares her favorite sounds, including the unique ‘candle ice' and the soothing ambiance of the tundra.Artistic Moments in the ArcticThe discussion turns to the artistic expressions Clara and her team engaged in during their time in Nunavut. From sketching to singing, they explore how creativity flourished amidst the challenges of fieldwork.Navigating Inuit TerritoryClara reflects on the complexities of conducting research in Inuit territory as a southern researcher. She discusses the importance of understanding the historical context and the need for meaningful community engagement.Imagining New WorldsAs they explore the theme of preparing for the end of the world, Clara shares her thoughts on the rapid changes in the Arctic and the challenges of envisioning a new future. They discuss the role of art in imagining possibilities amidst uncertainty.The Poetic Side of ScienceClara discusses the intersection of art and science, emphasizing how scientific knowledge can be transformed into poetic narratives. She reflects on the importance of creative thinking for scientists and the value of storytelling in conveying complex ideas.Hope Amidst DespairThe conversation shifts to the often bleak outlook on climate change. Claude highlights the potential for regeneration and adaptation in the face of environmental challenges.Candle Ice: A Metaphor for ChangeClara shares a poetic metaphor about ‘candle ice' as a representation of climate cycles, illustrating how dramatic changes can be part of a natural process. This discussion leads to a deeper exploration of destruction and renewal in ecological systems.The Jaded ScientistClara talks about the challenges and joys of working in earth science, expressing feelings of futility in the face of the complexity of earth science research. She discusses the importance of transparency in scientific communication and the limitations of research methods.Shifting Focus: From Global to LocalClara reflects on her evolving interests within the scientific field, expressing a desire to focus on local environmental issues rather than global ones. This shift highlights the interconnectedness of local and global processes in understanding climate change. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

The planet's not dying. Our place and our version of it may be dying. So how do we deal with that? How do we accept and live with the knowledge that our version of it is dying. It's not something to panic about in the sense that the whole thing's going away, hopefully. We don't know, but I think that notion of living with grace, living without fear, trying to live without anxiety, because those are just places where we flounder, shut off and develop toxic escapes.(photo of Kenneth Newby by Linda Ofshe)I first met Kenneth Newby in 2023 at the infamous Lunch Lady Vietnamese street food restaurant on Commercial Drive in Vancouver. We mostly talked about a book he recommended to me, Learning to Die : Wisdom in the Age of Climate Crisis by Robert Bringhurst & Jan Zwicky, which was transformative for me.Kenneth is a fellow new music composer and sound artist with whom I shared many ecological concerns including aspirations for the role of art in this era of environmental decline.So, I invited him to have a conversation, my second last of this 5th season, where we have been exploring how to  'prepare for the end of the world as we know it and creating the conditions for other possible worlds to emerge'.Kenneth now lives in Victoria. We recorded our conversation in his backyard on September 23rd, 2024. We talked about his journey as a composer and musician, from childhood lessons, experiences in blues bands through to interactive music systems, Indonesian gamelan music and psychedelic experiences, among others.During our exchange, I was thankful that he shared examples of some of his creative projects that integrate storytelling, ecological awareness, and collaborative solutions about societal and environmental issues. It's good to hear about both theory and practice. For example, I was interested in Kenneth's work on the harmonic series as a fractal structure and how he connects it to ecological concepts and ways of being. My approach has been typically to look at the inner life of a sound, try and tease it out and create some kind of soundscape, a composition that's made out of those inner materials and so I was hugely influenced early on by Cage's notion of silence and sound and Schafer notion of the soundscape and an acoustic ecology.You'll also hear some of Kenneth's music in between 3 sections of our conversation. First is Aria - Ocean of Storms, an excerpt from his ‘Seasonal Round' project created in collaboration with poet Robert Anthony, which is composed of raw, time-stretched, transposed birdsong. You'll also hear Howe Sound, a composition featuring birdsong, a frog chorus and transformed excerpts from Maurice Ravel's Sirènes movement of his Trois Nocturnes as well as excerpts from Crépuscule for Barbara written for harpist Barbara Imhoff.Kenneth recommends the following books and film:The spell of the sensuous : perception and language in the a more-than-human world by David AbramWoman in Nature : The Roaring Inside Her by Susan GriffinFantastic Fungi*Sections of the episode (generated by AI and reviewed by Claude Schryer)IntroductionClaude introduces Kenneth and reflects on their previous meeting. They discuss their shared backgrounds in music and philosophy, setting the stage for a deeper conversation about art and the ecological crisis.Kenneth's Musical JourneyKenneth shares his early experiences with music, starting with piano lessons and moving through various musical influences. He recounts pivotal moments in his life, including his time at the Creative Music Studio in Woodstock, which ignited his passion for electronic music.Cultural Exploration and LearningKenneth discusses his fascination with Indonesian music, particularly the gamelan traditions, and how immersing himself in different cultures has shaped his understanding of music and postmodernism. He emphasizes the importance of cultural relativism in appreciating diverse artistic practices.The Ecology of SoundThe conversation shifts to the relationship between music and ecological issues, exploring how sound can reflect and address the ecological crisis. Kenneth introduces the idea of the harmonic series as a fractal structure, connecting it to ecological concepts.Art and Environmental AwarenessKenneth reflects on the impact of his music and the broader role of artists in raising environmental awareness. He discusses the challenges of making a significant impact through art while acknowledging the importance of collective efforts in the artistic community.Community Engagement in ArtThe discussion turns to the importance of local community engagement in artistic practices. Kenneth shares insights from his projects that focus on situating art within the community, emphasizing the need for relevance and connection in contemporary art.Facing Complexity and ChangeKenneth addresses the complexities of the current ecological crisis and the fear associated with change. He discusses the role of psychedelic experiences in fostering a deeper connection to nature and how they can help individuals navigate the uncertainties of the future.Literary Inspirations and RecommendationsAs the conversation nears its end, Kenneth shares his favorite books and films that explore ecological philosophy and the interconnectedness of life. He highlights the importance of literature in shaping our understanding of nature and our place within it. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

​​I think if we can reimagine what matters to us and pursue that, then perhaps there's a chance that we can stop this truly self-destructive pursuit of infinite more, and in material terms, become happy with enough, without giving up the idea of personal growth and evolution, because I do think that is core to what it is to be human and even just alive. Life is about growth. The history of life on earth is one of ever more complexity and richness. And I think it would be like, I just don't agree with the argument that we have to stop growing. I think that's totally impossible and depressing. And I think that's often how economic arguments about degrowth versus growth get framed and understood is, well, we just have to sacrifice, and the good times are over, and now it's just less of everything for everybody. And I guess it's kind of depressing, but that's just reality. I don't think it needs to be depressing. In fact, I think it has to not be depressing for it to work. I think it has to be exciting. And the way that I can get excited about it is to think, wow, well, let's just tell better stories and let's focus on. Let's have some fun. Like, we can. Let's enjoy our lives and find ways to enjoy them that can be grown. And to me, art is just the best, most wonderful, inexhaustible resource in all of its forms.Hi listeners, This is the 3rd last episode of this 5th season of the conscient podcast. I have produced 54 regular episodes since February of this year plus 6 bonus episodes so that's a lot of content to digest and I invite you to take your time.  It's been a lot of fun and I thank all of my guests and their collaborators for their generosity. I'm going to take a break after the last episode, e208 with my daughter Clara Schryer. I'm going to take some time to breathe a bit and prepare for season 6 which will start in 2025 on the theme of ‘arts and culture in times of crisis and collapse'.So, back to episode e206. Meet Arno Kopecky who is, I think, an upbeat realist. Like I did with e196 alice irene whittaker (part 2) - homing, a book review I will read the introduction to the episode at the top of my conversation, with Arno present, but before we jump in to our conversation, I wanted to share a quote from that episode to give you a preview of what's coming: If we look into the past, when I think of what art has done to deal with political problems, for example, or social problems, I think of civil rights and I think of people like Nina Simone, I think of Billie Holiday, I think of Toni Morrison and people and all the so many people like them who produced just incredible music and works of art that absolutely had a message but also sort of transcended that message or found a way. It's so hard to put into words for me how they did what they did. But I feel like there is a whole rich body of work that emanated and proceeded from the atrocity that was slavery and racism and a clear social justice tragedy. But you didn't hear the word social justice in any of Mina Simone's songs or Toni Morrison's books. You know, you heard stories, you heard an outpouring, you felt an emotion, and that moved and transported people, and that operates on such a deep societal level. I feel like it's almost, you know, I think art has a way of seeding social awareness and imagination, and that is almost a precursor or a prerequisite for social change. That then also requires political movements and politicians and civil society and all kinds of the realm of reason and logic and journalism and fact and argument.So, with no further ado, here is my conversation with Arno, recorded on the morning of September 11, 2024 in Vancouver. Arno Kopecky's 2014 book The Oil Man and the Sea: Navigating the Northern Gateway won the 2014 Edna Staebler Award.Arno is a journalist and writer who lives just down the street from me here in east Vancouver so I invited him to talk, and to do a soundwalk with me about his most recent book, The Environmentalist's Dilemma: Promise and Peril in an Age of Climate Crisis, published by ECW press. I was also curious about Arno's thoughts on art, the ecological crisis and the multiple dilemmas that we face as we work our way through the trappings and self destructive tendencies of modernity, while trying to retain, in a sustainable way, some of its benefits.There are many great stories and tales in the book, such as the dilemma faced by people on a boat about to fall over Niagara Falls : should they ignore it, should they change directions or simply accept their fate and have a drink? I recommend the book, in particular the audiobook version narrated by Marvin Kaye, who really brings this set of essays to life.The Environmentalist's Dilemma confirms that our planet is dying due to gross misbehaviour, however, Arno also observes that humanity, ironically, is doing better than ever. What's that about?I enjoyed the book because it provided me with insights into a daily dilemma : how to live well and comfortably in this world while denouncing and rethinking it fundamentally. I remember listening to the book while biking to Victoria BC and having to stop to catch my breath at a passage in chapter 6 called ‘let's get drunk and celebrate the future', where Kopecky suggests that we get drunk and give up, to which I screamed out loud : yes, yes,! I'm in! It was a cathartic moment for me because I sometimes feel like giving up hope and just getting drunk or high or… It's actually quite sane to say these things out loud. It allowed a reader like me to break through emotional barriers and find ways to get on with the work of reimagining life on earth, one step at a time.I was happy to see that the book has been well received as witnessed by some of the positive reviews I read. For example, the Literary Review of Canada wrote that : In the author's hands, the book's titular dilemma emerges in all its richness, ambiguity, and tension as a foundational opportunity and challenge for contemporary environmentalism.Well said. I agree. Kopecky questions some of our most ingrained assumptions and biases with journalistic rigour and may I say humour. The Ormsby Review observed that :The value of The Environmentalist's Dilemma is this hope, that though we are in some ways stuck within a system that limits our options, we can make little acts of rebellion against the system. Our little actions may add to the little actions of millions of others, and may one day change the world.Now I have to admit that I've always believed that the accumulated impact of millions and even billions of small scale local actions can change the world. For example, in the final chapter 13 ‘Every Little Thing', Kopecky writes about Czech writer and politician Vaclav Havel and how his words and grit helped to ignite a seemingly impossible revolution in Eastern Europe in the 1980s.Can we do this again at a global scale?How can we laugh at our predicament and still do the hard work ahead of us? Fortunately, Arno is sitting right in front of me here in east Vancouver, on this morning of September 11th, 2024 and has kindly agreed to talk with me about all of this. Arno's recommendations were:Res Rules by Chief Clarence Louie Tarun Nayar (modern biology) *Episode Chapters (generated by AI and reviewed by Claude Schryer)IntroductionClaude welcomes journalist and author Arno Kopecky, setting the stage for a discussion on his latest book, ‘The Environmentalist Dilemma.' The conversation hints at the complex relationship between modernity and sustainability.The Environmentalist DilemmaKopecky explores the paradox of living well in a world facing environmental destruction, sharing personal reflections on the emotional struggles tied to ecological awareness. The chapter emphasizes the challenges of reconciling modern comforts with environmental concerns.Hope, Small Actions, and Personal BackgroundKopecky discusses the importance of hope through small, individual actions and shares his journey from a middle-class upbringing to becoming an environmental journalist. He highlights pivotal moments that shaped his awareness of environmental issues.The Housing Crisis and Urban DevelopmentThe conversation shifts to the housing crisis in Vancouver, where Kopecky supports urban densification as a potential solution. He acknowledges the complexities of balancing development with environmental concerns.The Paradox of Progress and Environmental CrisisKopecky delves into the paradox of modern life, discussing how improvements in quality of life coincide with unprecedented environmental threats. He articulates the conflict between enjoying modern benefits and confronting ecological degradation.Reimagining Growth, Happiness, and ArtKopecky challenges societal obsessions with growth, proposing a new understanding of happiness that values creativity and art. He explores the role of art in fostering resilience and community in times of crisis.Art and Social ChangeKopecky discusses the historical role of art in addressing social injustices, citing influential figures like Nina Simone and Toni Morrison. He argues that while art can seed social awareness, it must be complemented by political movements for real change.The Power of Individual Action and Navigating Modern FreedomKopecky reflects on the impact of individual actions through the story of Vaclav Havel's shopkeeper, illustrating the potential for broader societal change. He also discusses the paradox of modern freedom and the need for a collective shift towards sustainability.Personal Transformation and Literature in CrisisKopecky shares a personal narrative about his father's transformation into an environmental activist, highlighting the potential for change at any stage of life. He also references literature's response to the ecological crisis, calling for more storytelling on these pressing issues.Imagining a Sustainable Future and RecommendationsKopecky concludes with a hopeful vision for a future prioritizing relationships and community over consumption. He shares recommendations for further exploration, encouraging listeners to engage with diverse narratives that challenge conventional perspectives. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

In the face of destruction, we should create. In the face of hurt, we should heal. In the face of hate, we should love. That's my feeling and figuring out how to do that is everybody's job.I've known Sheila James for 25 years as an arts funder colleague, artist, filmmaker, writer, but also her work as an equity expert, social activist and as a family friend. Our conversation began with an overview of her views on equity and how it differs from equality. For example: Equity is actually acknowledging that for some people who are disadvantaged, you need to do more. You can't just say, everything's fair. Everybody gets the same bowl of pudding. We also touched on equity in the arts such as the biases and systemic injustices that exist within cultural institutions. We also talked about the historical context of arts funding in Canada, notably missed opportunities for support of Indigenous and diverse cultural practices.We also talked about Sheila's multidisciplinary art practice, including her writing. I clearly recall reading The Arrangement, from her book of short stories, In the Wake of Loss, at the cottage and feeling a deep connection with her engaging stories as I walked in the forest. I asked Sheila to talk about her new novel ‘Outcaste', published by Goose Lane Editions, launched on May 7, 2024. It explores caste and class complexities in Hyderabad during India's independence, highlighting a communist rebellion, caste dynamics, and land reform. I was pleased that Sheila agreed to read two excerpts from this novel that bring to life the struggles and resilience of her characters. The first you'll hear is set in 1948 in Korampally, India and is about the character Malika, a Muslim peasant imparting her hopes for her daughter amidst rebellion. It will be followed by an excerpt from Sheila's You Will have Worth.The second excerpt is set in 1997 in Toronto and is about Anya visiting her grandfather Irwin at the Queen Street Mental Health Centre. This section reflects upon familial bonds and emotional support in grief. It will be followed by an excerpt from Sheila's Thru The Eyes.As we spoke about her book and literature more generally, Sheila emphasized the importance of empathy when engaging with characters in the book. I like the way she encourages readers to find compassion even for the most detestable characters, as this can foster understanding and potential for redemption, for example : I hope that if people are picking up the book, that they're very open minded and try to read the characters or listen to the characters where they're at. There are some horrendous sort of characters, or I should say, there are some people who do some horrendous things in this book. Our conversation concluded around the responsibilities of artists in today's complex world, emphasizing the importance of listening, questioning, and dreaming.I like Sheila's thinking on this: I love the idea of listening and really taking that time to listen, because I don't think we do that enough and that means listening not only to the things we want to hear, but the sides that we don't want to hear of.Sheila is currently reading for the second time:The In-Between World of Vikram Lall by M.G. VassanjiAnd reading for the first time: Salvage : Readings from the Wreck by Dionne Brand *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

gliding towards a crashreflections on this moment Note: This bonus episode is from my ‘a calm presence' substack about ‘short, practical essays about collapse acceptance, adaptation, response and art'. Cover photo was taken by me at Tribune Bay, Hornsby Island, BC on September 17, 2024.Friends and colleagues often ask me why I focus my energies on ‘anticipating, observing, and experiencing societal disruption and collapse' (deep adaptation forum).A good question.  Instead of societal collapse, Arno Kopecky (author of The Environmentalist's Dilemma: Promise and Peril in an Age of Climate Crisis and an upcoming guest on conscient e206), suggested to me in a September 14, 2024 email that I consider focusing on : a thriving society lens so that we're running toward something beautiful, rather than fleeing something terrible.A good point.Arno also mentions that ‘ultimately it's the same thing', e.g., that societal collapse and societal revitalisation follow essentially the same path, but I would agree that running towards something positive is more interesting (and useful than the negative). Duly noted (as they say on the Canadaland podcast).However, I have to admit that I quite often fall into collapse rabbit holes and sometimes can't see the light so I call upon guests from previous episodes, such as e165 bill crandall - art can change usBeing an artist, or making art, in the context of climate is more about being a kind of light in the darkness, making us believe in ourselves and believe in the future so that we want to endeavor to save the thing that we have, our habitat.  Some people like to say art can't change the world, but art can change us. Then we can change the world more effectively.So here's my answer to the ‘focus' question. It's a story about a story that I recorded in e202 coman poon - what are you doing with your life ? : When I first met Vanessa (Andreotti) in 2019, I think she shared this story with me about, you know, the metaphor of the plane crashed as a way of talking about the time of the great turning, so to speak, for lack of a better term. And this idea is that there is no. There is no prevention of the crime, right? If you and I, and, you know, every living thing that is on, so called, the plane is on Pachamama, Mother Earth with us, we're going through a crash. We're going through, you know, six, extinction, we're going through climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, you know, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other, saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So my invitation is to the listeners, what are you doing? What are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It's absolutely imperative.‘Saying hello' is what I try to do with every ‘a calm presence' posting and also the conscient podcast - balado conscient. Saying hello in Coman's way. I don't feel doomist, defeatist or nihilistic in saying that.I don't feel like I'm being overly negative, proselytizing, virtue signalling or being self-righteous, though I have certainly done that in the past, and probably will again.I produced an episode about this:  e111 traps - what are the traps in your life?:Observer: I see a trap called proselytizing which happens when people try to teach and convince others that a particular issue of interest should be the most important thing for everyone. Me: Wait a second, I do that all the time as a climate activist and with my art and ecology podcast and… Observer :(interrupting) of course you do and well you should - no worries - but, the danger is that your work could be perceived as an effort to assert ‘moral high ground' and while this trap may be driven by a genuine passion for an issue, and you certainly are passionate about your work, it has the potential to impose onto others in a way that does not respect their own un/learning journey, and often actually has the opposite effect, pushing people away rather than inviting them in. Me: Ya, Ya, I see. Let me think about that.Observer: Sure and when this trap occurs, it can be useful to ask, for example, why do I need to teach or convince or inspire others about my learning experience? Where is this perceived need stemming from?  And if you really feel you need to bring something to the attention of others, maybe you can ask yourself: What is the most pedagogically responsible and effective thing to do so that your message can land?But this is different. It feels good to accept reality. Not good, good because it's actually awful and very painful, as we feel the disappearance of life unfold around us but for it's better to accept reality than to live in denial. It's better to undergo a lens shift and therefore see and feel things as they really are. It's better to be ready to die at any moment knowing that the truth of that moment was our final breath. Now none of this is new. Buddhism and similar spiritual practices have been teaching us this forever. So what's next?I try keep this excerpt from Robert Janes' Museums and Societal Collapse : The Museum as Lifeboat in mind:Hopeless need not mean helpless. On the contrary, hopelessness is the springboard to helpfulness – supportive, effective, and useful.'In other words, how to be supportive, effective and useful while living on a plane that is gliding towards an inevitable crash.My energy is not focused on fixing that gliding plane in mid-flight - tempting as that might be - but rather to focus on those who survive the crash so that they might have a fresh start. And for those who follow the conscient podcast season 6 will beginning sometime in 2025 on ‘art and culture in times of crisis and collapse':Claude: Welcome to conscient podcast, Bob. Bob: Well, thank you very much. It's a pleasure to be here. Claude: Now this is the beginning of season six, so I'm quite excited. And it's also early days. Today is Monday, September 16th, 2024, and we're at your farm (on Denman Island) and we've just been walking around with your son. It's actually not your farm, but your son's farm or both of you. Bob: It's a partnership. . Claude: So I'm not absolutely clear what season six is going to be in the end - t's early days- but I do know that I want to talk about art and culture in times of crisis and collapse and I see your book in front of me here called Museums and Societal Collapse : The museum as Lifeboat…I'm also working on an Artist Survival Kit.I sometimes think it should be called ‘Artist Thriving Kit' but I'm not there yet. Thanks for listening.  *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

I'd like to use art more as a tool to get people thinking, get people involved, especially young people, and hopefully, help them process the emotions of climate change and move towards a space of action and hope. At least for me, as a young person, art felt like the way to have my voice be heard, and I hope to help other people experience that as well.I first heard about Sophie Weider from an email she sent me on August 14th, 2024. With Sophie's permission, here is an excerpt: My name is Sophie and I am a recent graduate from the Sustainability, Science, and Society Interfaculty Program at McGill University as well as an artist working to foster climate hope and inspire action through my work. I recently discovered the conscient podcast and have been absolutely hooked on it. It has been the most heartwarming, uplifting, and inspiring experience for me. Your empathy and care shows in the thoughtful questions you ask in your interviews. Thank you for creating this wonderful resource for us all to learn from and enjoy!  I have been working in the intersection of the climate and arts spaces for some time and found it to be incredibly validating to hear the stories of so many amazing people doing similar work in your podcast episodes. Now that's very flattering and I appreciate the feedback. Sophie and I had coffee in Ottawa a few days later. We talked about the role of art in facilitating inclusive processes for envisioning a more just and sustainable future and Sophie mentioned some of the projects that she is involved with, including Zine for Hope a creative platform for youth to voice their perspectives on climate change and their hopes for a better future. And what is that better future? I ask myself everyday. It's sometimes hard to imagine but Sophie believe in arts as a connector and I agree with her that : Something that I really think is valuable about art is that it doesn't hold one objective reality to be true, and instead it allows for multiple subjective perspectives to coexist. Because while it's valuable to have science that tells us the answers, it's sometimes hard to know that this is the answer and not this one, especially when it comes to more subjective experiences, like, how should we relate to our living environment? There are various different perspectives from western science to indigenous knowledge that we can learn from and I think that art can help us see all those things together at once and figure out our own perspectives based on that.I invited Sophie to have a conversation with me as part of a series of with people in their 20's, including e154 - the art of history and gaming with my son historian Riel Schryer (also my son), e200 maggie chang - the power of art with environmentalist, poet, writer, and artist maggie chang and the final episode of season 5, with earth systems scientist Clara Schryer (also my daughter). These four young people, and their peers, inspire and motivate me. Sophie is also an artist who wrote and illustrated two children's books, ‘The Girl Who Saved a Tree' (2018) and ‘Who?' (2020) that explores environmental change and activism to inspire young people to become change-makers in their communities. Sophie and I talked about who is an artist and what is art, which reminded me of my conversation with another Ottawa artist Barbara Cuerden in e167 barbara cuerden - tending the garden of art:The garden doesn't have to be something that's instrumental. It can be just a place where you sit, where you're thinking of growing something, you know, where the sun shines and where photosynthesis takes place and everything is sort of manifested through the sunlight and the water. It's a fantastic thing on its own without actually having to produce a lot of stuff.Here's an excerpt of what Sophie has to say about gardening as art : Isn't everyone an artist? Don't we all imagine and create in some way or another? You know, even, like, I like to think about gardening as an art. This summer, through my work, I worked with a non for profit called EnviroCentre, and we did a lot of gardening, a lot of planting and weeding of green spaces around the city. And I really think it's an art. You know, it involves creatively deciding where the plants are going to go, and it involves, you know, working with your hands to make something beautiful. And it involves a lot of thought and reflection. And I think that's what art is all about.I was honoured that Sophie reached out to chat about our shared passion for art and ecology and was not surprised to hear that she was a top 25 environmentalists under 25 in 2021 of Starfish Canada, an organization that supports youth environmental change makers through storytelling and community.Sophie recommends the following podcasts and music:Heart Gallery podcast by Rebeka Ryvola de Kremersolacene podcastLocal Valley album by Jose Gonzalez *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

All artists have to be aware of climate because otherwise it's not art (and that's going to piss some people off - Claude Schryer). I think it will. Climate infuses all our responses to everything, to relationships, to our culture, to our history. You can't ignore the climate that it's happening in, and that's why it has to be somehow in the art that you are involved with.Leslie Reid, an Ottawa based artist and educator, has been influenced by her family's military background transitioning from political science to art. Her work explores sensory and emotional responses to environments, shaped significantly by a pivotal experience at a decommissioned lighthouse in Newfoundland. It's a really good story. This led her to themes of isolation and family tragedy, often incorporating historical and contemporary imagery to document changes in the northern environment.During our conversation I read to her an excerpt from her artist statement that helped me understand her art practice:The works, in painting and also print, photography and video, explore the physical and perceptual sensations of our experience of a site and the signs of lives lived there, working with liminal states of light and space. Through the ambiguities and uncertainties experienced in this visual field, I seek a thought-provoking and resonant emotional response to the act of seeing, and ultimately to being. We also discussed navigating cultural sensitivities. Leslie shared her reservations about working in the North and the importance of respecting Indigenous narratives. She also recounted her interactions with Inuit voices and the challenge of presenting their stories authentically without appropriation.Leslie also had some advice for aspiring artists - given that she is a long time teacher of art at the University of Ottawa - to focus on their personal responses to culture rather than conforming to trends, highlighting the importance of internal reflection and the role of climate in shaping their artistic journey.Overall, Reid stresses the importance of sensory experiences in motivating climate action and values feedback on her work. For example : Because it's my senses that have taken me to the work, to the place, to those ghosts, and not wanting to commune with them, not wanting to bring them to the present, necessarily, just to let that lived presence be where it is. It is in our own sensations and until we have sensations within ourselves about climate and what it means, we can't do anything about it. We have to have something that triggers an internal desire to do better, to rescue, even on a very small scale…After we concluded our conversation Leslie mentioned ‘that all artists must acknowledge climate change in their work' which I recorded as a coda and have used as the opening quote of this episode. I agree and hope it creates a debate about how climate context shapes all of our responses and relationships - climate in the largest sense of climate - therefore making it an essential element of meaningful art.Leslie's recommended readings include: US Arctic Research Commission Daily Newsletter (free subscription)The Independent Barents Observer (free subscription)Our Ice is Vanishing (Sikuvut Nunguliqtuq) by Shelley WrightBurning Ice by Cape Farewell -  Art and Climate ChangeThe Right to be Cold by Sheila Watt-CloutierThe Future of Ice by Gretel Ehrlich     *Sections of the episode (generated by AI and reviewed by Claude Schryer)IntroductionIn this opening chapter, Claude welcomes Leslie Reid to the podcast, setting the stage for an engaging conversation about her artistic journey and connection to the Ottawa community.Leslie's Artistic JourneyLeslie shares her background, detailing her transition from political science to art, and how her experiences in England shaped her artistic vision and connection to the landscapes that inspire her work.The Influence of LandscapeOn her return to Canada she rediscovered Calumet Island, home of her maternal grandmother and site of years of summer long family camping on the shores of the Ottawa RIver while her father flew with photo squadrons in the North. This rediscovery led to her first large light and space works. Exploring the emotional depth of her art, Leslie discusses how these personal memories and landscapes intertwine, leading her to create works filled with historical and emotional resonance.Environmental Themes in ArtLeslie reflects on the gradual infusion of environmental concerns into her artwork, driven by personal experiences and a growing awareness of climate change and its implications.Reconnecting with the NorthLeslie recounts her journey to retrace her father's flights in the Arctic, using art to document the environmental changes she observed and the stories tied to those landscapes.Art as a Medium for AwarenessIn this chapter, Leslie discusses the role of art in raising awareness about climate change, emphasizing its contemplative nature and ability to evoke emotional responses rather than immediate action.Experiences with Indigenous CommunitiesLeslie shares her transformative experiences with Indigenous communities in the Arctic, highlighting the importance of storytelling and connection to the land in understanding climate issues.Voices of the ArcticIn this reflective chapter, Leslie discusses her efforts to capture contemporary Inuit voices and experiences, emphasizing their resilience and adaptation in the face of climate change.The Challenge of HopeLeslie discusses the daunting reality of climate change and the limitations of art in conveying urgency. She reflects on the difficulty of adapting to a growing global population and the underlying desires that drive consumption and environmental impact.Cultural Resilience in the Face of ChangeExploring the adaptability of Indigenous communities, Leslie shares insights on how the Inuit culture responds to climate challenges. She emphasizes the importance of their lived experiences and the stories that need to be shared to highlight their resilience.Art as a Medium of ConnectionLeslie articulates how art serves as a bridge to connect with the past and the ethereal, allowing individuals to engage with climate issues on a sensory level. She believes that genuine artistic expression can evoke internal desires to act on climate change.The Importance of Northern PerspectivesThe conversation shifts to the significance of understanding the Arctic and its cultures, as Leslie reflects on her experiences in the North. She advocates for greater awareness and dialogue about the impact of climate change on these communities and their ways of life.Navigating Cultural SensitivityLeslie shares her reservations about working in the North and the importance of respecting Indigenous narratives. She recounts her interactions with Inuit voices and the need to present their stories authentically without appropriation.Advice for Aspiring ArtistsOffering wisdom from her years of teaching, Leslie encourages young artists to focus on their personal responses to culture rather than conforming to trends. She highlights the importance of internal reflection and the role of climate in shaping their artistic journey.Finding Community in ArtLeslie discusses the challenges young artists face in feeling isolated and the necessity of finding community. She emphasizes the importance of connection and collaboration in fostering creativity and addressing pressing issues like climate change.Engaging with Current LiteratureLeslie shares her reading habits, focusing on Arctic research and political commentary, and highlights the relevance of historical literature in understanding contemporary issues. She reflects on how these readings inform her artistic perspective and awareness of climate.The Role of Artists in Climate AwarenessIn a poignant closing reflection, Leslie asserts that all artists must acknowledge climate change in their work. She argues that the climate context shapes our responses and relationships, making it an essential element of meaningful art. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

We're going through a crash, the sixth extinction, climate collapse, geopolitical collapse, economic collapse, all types of overlapping, interlaced cycles of destruction. And like on planes, what you can do, at best, is to get ready for a glide as opposed to a hard landing, because that means some will survive, and those that survive aren't necessarily the lucky ones. So while we're on the plane, instead of putting on our noise canceling earphones, pretending that we're not in a sardine can, we could try turning to each other and saying hello. So many things can happen between the moment when we know the plane is going to crash, that there's no getting away from that and the crash itself. So, my invitation is to the listeners : what are you doing before the crash, in this time? What are you doing with your life? How are you going to actually weave connection? Because it's still possible to operate without hope. It's absolutely imperative. (as told to Coman by Vanessa Andreotti in 2019)‘In this episode, we delve into the life and work of Coman Poon, whose journey from colonial Hong Kong to contemporary Canada shapes his unique approach to art and community engagement. His story includes embracing change, fostering connections, and advocating for social and environmental justice.‘Sounds pretty good, right? This paragraph was actually written by artificial intelligence software Whisper Transcribe. It's a good tool but it makes Coman's work sound a bit … dry.Let me try reading a bit of Coman's bio written, I assume,  by a human.Intersecting with his varied inter-arts collaborations, Coman Poon is a bilingual inclusion and intercultural advocate, community and organizational developer, decolonial and indigenous ally of Hong Kong & Toronto upbringing. With Erica Mott, he co-founded re[public] in/decency (Chicago/Toronto), an arts-activist initiative and creative think tank that explored the transnational intersections between live art, social justice activism and arts-informed pedagogy. Since 2013, Coman has been collaborating with his spouse, architect and installationist Brian Smith, under the moniker of [ field ], a life/art collaboration which explores the interstitiality within ritual and performance. Becoming Ten Thousand Things is his collaboration with dancer Naishi Wang centred in contemplative Taoist performativity. With Diana Lopez Soto, Coman co-founded Land Embodiment Lab (LEL), which holds space for the intersection of agroecology, land stewardship and arts practices through research into/of labour. As artist and consultant, Coman chose to be no longer active on social media and has intentionally deleted his website.That's more like it but still a bit removed from what I experienced when I spoke with Coman : I want to be of service, and I am of service in a number of different ways. And it's not always as an artist, it's not always through making and sharing something I've made. Sometimes it is around reweaving social connection in preparation for political battle. And I contribute in the particular way I do because I know the skills that I have.So, as you can hear, Coman likes to apply his skills and knowledge in various contexts. For example, in a reevaluation of our relationship with nature and in fostering connections to navigate impending global crises. The earth has something to teach. If we pay attention. The land and waters and also the more-than-human have something to offer. It's my job to listen, it's my job to notice, it's my job to steward, to tend, and to the best of my ability, to offer something that is going to be an act of reciprocity.Coman also invites us to explore how art can be a powerful catalyst for change and a way to build resilient communities, which will likely be very important for those who survive that gliding plane crash he told us at the beginning of this episode. I think the arts teaches me particularly because as a creator and also as an expressive arts therapist and coach, that the pathway to moving the dial has to always happen at the speed of trust. So it's relational. It's from moment to moment. It's rooted in presence.A heads up that this is a longer than usual conversation in three parts : the first was recorded in my living room while Coman was recovering from a cold, the second was a soundwalk in Rupert, Québec and the third was in front of my house in Ottawa. They are presented in this order. *Sections of the podcast (generated by Whisper Transcribe AI and reviewed by Claude Schryer)Welcome In this opening segment, the host introduces Coman Poon and the importance of discussing art's role in social change and ecological crises.Coman's Journey: From Hong Kong to CanadaComan shares his background, detailing his early life in British colonial Hong Kong and his immigration to Canada, which shaped his identity and artistic perspective.Art's Impact on Social ChangeComan reflects on his multifaceted identity as an artist and activist, emphasizing the significance of art in addressing social issues and the need for artists to engage deeply with their communities.Nurturing Transformation in Arts OrganizationsComan recounts his involvement with Can-Asian Dance, detailing the challenges faced and the strategies implemented to revitalize the organization and support emerging artists.Community and Collaboration: The Arcadia ExperienceComan describes his life in the Arcadia artist cooperative, discussing community dynamics and the impact of COVID-19 on the artistic landscape.Reigniting Community Through ArtComan shares the success of the Arcadian Art Gallery story exchange, highlighting how the initiative fostered connections and storytelling among community members.Hyperlocal Art InitiativesThe discussion turns to the importance of hyperlocal art projects, exploring how these initiatives can strengthen community ties and address local issues.Bathurst Quay: A Community in TransitionThis section explores the challenges faced by Bathurst Quay during the summer months, emphasizing the importance of creating community spaces to reclaim a sense of belonging amidst change.Anticipating Change: The Future of Bathurst QuayAs federal aviation laws evolve, concerns about the potential expansion of the island airport arise, prompting local artists and activists to foster community connections and prepare for upcoming challenges.The Role of Art in Social ChangeThis segment examines the complex relationship between art and social change, questioning how artists can contribute to community issues while maintaining the essence of their craft.Innovative Projects: Art Meets Environmental AwarenessThe section presents collaborations between local artists and community members to create projects focused on environmental awareness, aiming to inspire collective action among residents.Art as a Reflection of NatureIn this section, the discussion shifts to an exhibition that explores the interconnectedness of humans and nature through art, challenging conventional views on environmental issues.Reconnecting with Our SensesThe conversation delves into how art can help us reconnect with latent sensibilities beyond our five traditional senses, illuminating our experiences in urban living.The Pathway of Trust in ArtThis section discusses the importance of trust in the artistic process, particularly in community hospice and expressive arts therapy, emphasizing relational dynamics for meaningful engagement.Land Embodiment Lab: A New InitiativeThe introduction of the Land Embodiment Lab highlights a project aimed at bridging agroecology, community development, and art practice, reflecting on transformative experiences with the land.Rethinking Consumption and AgencyThis section explores the concepts of underconsumption and consumer agency, discussing how individual choices can influence systemic changes and the importance of informed consumption.Indigenous Stewardship vs. Western ConservationThe discussion contrasts indigenous land stewardship practices with Western conservation methods, advocating for a more integrated approach to environmental management.Listening to the Land: The Role of HumansClaude and Coman reflect on the importance of deep listening to the land and understanding human impact on ecosystems, advocating for thoughtful interventions in nature.Art in Times of CrisisThis section addresses the role of art during crises, examining how artistic expression can provide solace and solidarity amidst chaos while highlighting the challenges artists face.Lessons from the Pandemic: Rethinking Artistic ValueThe speakers reflect on the pandemic's impact on the arts, emphasizing the importance of supporting artists as essential contributors to society, particularly during crises.Preparing for the Crash: A Call to ConnectionThe final chapter presents a metaphorical reflection on the impending crises facing humanity, encouraging listeners to cultivate connections and community in the face of uncertainty. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

I believe that we are all connected by these invisible threads, the shared sinew amongst all living things, that includes humans, plants, animals, what have you, and that what art is, is the lighting up, making those invisible threads visible. … It doesn't really explain in that analogy what art is, but it certainly speaks to the way it functions and why it should matter to society : why arts should matter.In this episode, Robin Sokoloski (she/her) discusses her recent experiences and current work in the arts research sector with a focus on how the arts community can have meaningful impact on  climate change and on community-engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.Robin has been working in the arts and culture sector for over twenty years. I remember her coming to us while I was working at Canada Council with this crazy idea for Mass Culture and 20 years later it is wonderful organization where she is Director of Programming and Research of Mass Culture, where Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research.My last conversation with Robin Sokoloski was e61 from research to action in 2021. This time we focused on the end of the world as we know it and the role of art came up, including how to use tools such as the Living Climate-Impact Framework for the Arts project, (see e195 emma bugg - art, scholarship and environment for details) and how to better mobilise the arts sector around climate change. Robin, who is a co-founder of SCALE and a leading voice in the Canadian arts service organisation climate action movement and I like her ideas: We're so good at bringing people together and having conversations, as an arts community, on a very surface level about very serious, complex issues. But we need the tools beyond just facilitation and different convening models. We actually need measuring sticks or whatever is at our disposal that we can feel confident in to be able to have those deeper level conversations. And that's what this framework does. I'm noticing as I'm bringing the art service organizations together around these conversations around climate, it's been very focused on climate mitigation. Fine, fair enough. I think that's a very important and valuable thing to be aware of. But now, whether we like it or not, we're at a point where we need to start thinking about climate adaptation. And this is a new frontier for me. I know it's also a very new space for the funders. And so what I think we need to be able to do, and what I feel very proud of what we're starting to achieve, is bringing both the funders together with different actors within the arts community to apply tools like Emma's framework to have these deep conversations about how we can move towards action. What does this look like for us now? What changes do we need to make?Robin also believes in community-engaged arts and the in ‘walking her talk' by integrating participatory processes in everything she does: Community engaged arts is really a set of principles that I have completely been able to live by throughout my career. So fortunately, specifically within mass culture, I align community engaged arts very closely to a methodology within academia called participatory action research. And what's so relevant and how I feel that community engaged arts can have a real significant impact on art and climate is because of these principles which always rate relationships above anything else. After our conversation, I wrote to a friend that ‘Robin is one of the holders of key knowledge for the future of the arts in this country' and I think she's just getting started. *Sections of the podcast (generated by AI and reviewed by Claude Schryer)Welcome BackIn this introductory chapter, Claude welcomes Robin back to the podcast after three years, setting the stage for an engaging conversation about art, climate change, and community arts.Introducing Robin SokoloskiRobin shares her background, including her roots in Brantford, Ontario, and her role as the director of Mass Culture, emphasizing the importance of understanding the art sector's impact on society and the environment.The Climate Crisis and Art's RoleThe discussion shifts to the current climate crisis, with Robin reflecting on her work related to environmental issues and how the arts community can contribute to meaningful change.Living Climate Framework for the ArtsRobin explains the Living Climate Framework for the arts, a tool designed to help the arts community navigate complex conversations about climate action and its intersection with art.Barriers to Engagement in the ArtsThe conversation delves into the barriers faced by arts organizations in addressing climate change, highlighting the need for deeper discussions and tools to facilitate meaningful engagement.Community Engaged ArtsRobin discusses the principles of community engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.The Future of Arts in a Changing WorldThe discussion turns to the future of community arts in the face of societal changes, exploring how arts can foster solidarity and cooperation in local communities.Arts as Meaning MakersRobin reflects on the role of the arts in making meaning of the world, especially in a time when trust in information is crucial, and how artists can narrate diverse truths.Recommended Reads and ResourcesRobin shares her current reading list, including insights from research on civic impact in the arts and the importance of experience design in bringing people together. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024