conscient podcast

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

I really think art is one of the most important things to help tackle issues and create social change. There's that quote from Maya Angelou that goes something like ‘people will forget what you say or do, but they'll never forget how you make them feel'. The power of art is to evoke feelings that stick with people and that's often what inspires people as well.Maggie Chang is a poet, writer, and artist whose environmental journey started in first grade when she learned about deforestation of the Amazon in school. Since then, Maggie has led campus secondhand clothing sales for sustainable fashion, organized a UN Sustainable Development Goal training, and helped establish EcoSchools Canada's Youth Advisory Council, leading her to be named one of the first WWF Canada Living Planet Leaders and a Top 25 Under 25 Environmentalist in Canada. With a Bachelor of Environmental Studies, Maggie served on the Natural Resources Canada Youth Council and practiced international solidarity with fairtrade, organic coffee communities with Café Femenino, Peru. Currently she works on building an intersectional environmental movement through art and activism and as co-chair of the City of Toronto Climate Advisory Group. I first met Maggie at the Trajectories for a Just Economy event organized by Foundation for Leadership, Imagination and Place (FLIP) where she was presenting her an exhibit of portraits of her peer BIPOC environmentalists, building on the work she did at the University of Waterloo on her undergraduate thesis, where her focus was on better racial inclusivity in the environmental field. I was impressed by her vitality and by that series of striking photographs of fellow IBPOC environmentalists and so wanted to know more about her views on art and science and life as a Gen Z eco-art activist:In terms of what this generation is feeling around environmental stuff, I heard from a sustainability intersectional environmentalism influencer who kind of coined the term, ‘green girl Leah' on Instagram, she said that studies have have shown that like millennials feel sort of a climate pessimism, but Gen Z feels climate doomism so that's definitely a really big challenge.Our conversation took place in a media studio of the Toronto Public Library, which Maggie kindly set up for us. It was good to be in a shared publicly accessible media studio while we spoke about the role of art and its relationship with environmental studies and other cross-sections. We also spoke about managing eco-grief: In the last maybe year or two, I had some very interesting reflections and experiences where I realized that I had a lot of grief within myself around that rupture of connection to land due to migration. When we think about it, everybody has a rupture in connection to land. So for me, it was because of migration, but for indigenous folks, it was because of the genocidal things that the Canadian government did.I was uplifted and energized by our conversation.Maggie is very hard working and a gifted environmentalist and artist. The world needs more art and science bridge builders like Maggie. I liked the way she weaves networks and considers them as a form of biodiversity. This type of resilience and vision is critical to our collective future, which is in the hands of Maggie and her peers:It's just like biodiversity. When you have a more biodiverse ecosystem, you have more redundancy that's built into it and so even when certain aspects of it are not as strong, you have these networks that can still fill into those spaces and it's just like with our community, when we strengthen our community and we create more connections between us, even when certain parts of the community maybe have a bad season or they have to slow down for a little bit, we can still create wonderful things because we have enough connections to fill in those gaps. Just like biodiversity, right?With thanks to the Toronto Public Library for use of the studio and to Maggie for her time. Maggies recommends the following publications and accounts:Green Dreamer (podcast) Green Girl Leah (Instagram)On Canada (Instagram)Art House TO (Instagram)Climate Justice TO (Instagram) *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

This is a bonus episode from my 'a calm presence' substack: lens shift featuring an excerpt from e164 jimmy ung - proximity proportionate responsibility.The original text is below. The audio version was recorded on my iPhone in Vancouver on September 9, 2024 (4 minutes, 36 seconds). I also invite you to read the comments about this posting including one by Don Hill about the use of 'either/or dilemmas' in this kind of writing, which is a fair point (thanks Don). My response included that I sometimes 'do not leave enough room for the listener or reader to take their own space' (I'm working on that) but that in this case, I wanted to produce a 'polemic and provocation' given the severity of our situation. Thanks for reading and-or listening. *lens shiftfrom endless growth to societal collapseOk, are you still with me after that subtitle? :-)If so, when you get a chance, please try this exercise:Think of something you are currently doing - anything - and then shift your perspective on that activity from an ‘endless growth' lens to a ‘societal collapse' lens.Everything changes, right?Well, maybe not right away…Here's an example: You're driving a car and you're ‘endless growth' mode. You might feel encouraged, seemingly without consequence, to want a bigger or faster vehicle, whereas with a societal collapse lens, hum, you would make rethink owning a private vehicle altogether and focus your energies on other things such as on our dying planet.Same car, two very different lenses.Jimmy Ung's in e164 jimmy ung - proximity proportionate responsibility of the conscient podcast said something that I think is worth remembering at this point:  ·      ‘If we were to do an inventory of where all the things we own were made, that would give us a very interesting map of where our responsibility, our attention and our donations ought to go because our pressures on the global systems can be revealed. That's a much more reasonable way to interact with different crises than to simply read about it on the news and interact with the whole of it without the context of our footprint.'Right, context.So, having done the exercise, what does one do? : car sharing, keep our old phones as long as possible, donate strategically to charity, learn to unlearn ? There are many things that we are doing and can continue to do more of…But, the critical part is to apply this idea of ‘lens shift' in every aspect of our lives and see where it takes us.Personally, it has brought relief, relief in the spirit of the Deep Adaptation Forum's ‘embodying and enabling loving responses to our predicament'.Relief, but not in a doomist or defeatist kind of way, but relief in the sense of releasing pressure.Releasing pressure that helps me deal with things as they really are and direct my energy based on what I feel about that reality not what I imagine through the fairy tale of modernity. *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 role of the artist in the climate crisis is not simply to communicate scientific information in a sort of dressed up kind of way, but really to engage the imagination to do that thing that only art can do, which is getting at these almost imperceptible shifts in identity, in purpose and meaning, and the way that we as humans think about our relationship with the natural world and our place in it. It's ineffable, that kind of shift. If that's not the role of art, I don't know what is.  Judi Pearl has been a passionate environmentalist since her early teens here in Ottawa, unceded Algonquin-Anishinaabe lands. In addition to her long-standing role with the English Theatre Department at the National Arts Centre, Judi formerly served on the boards of The Only Animal theatre company and the Professional Association of Canadian Theatres also known as PACT.Judi is also a co-founder, along with myself, Anjali Appadurai, Robin Sokoloski, David Maggs, Kendra Fanconi and Anthony Garoufalis-Auger of SCALE (Sectoral Climate Arts Leadership for the Emergency), a non-profit network of artists, cultural practitioners, and arts organisations committed to addressing the climate emergency. This organization was founded in 2021, where Judi was also the Operations Lead until 2023. You can learn about SCALE by listening to its current leader of SCALE, Annette Hegel, in e176 art as a tactic.At the NAC, Judi has produced large-scale projects such as Grand Acts of Theatre, Stages of Transformation, the NAC Hip Hop Theatre Festival, the annual ceremony for the Siminovitch Prize (2016-2020) as well as Family Day (2011-2015), among many others. She was also the recipient of the CEO's Award of Excellence in 2020. Well deserved, I'm sure. My first conversation with Judi  (e59 pearl – positive tipping points) took place during a walk in the park here in Ottawa where we talked about theatre, the climate emergency, collaboration, arts leadership, the intersection of arts and sustainability and elusive positive tipping points. I invite you to listen back to that episode:SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.Fast forward 3 years later and Judi has a new title at NAC English Theatre ‘Associate Producer, Artistic Programming and Environmental Projects', which points to her long standing leadership role on environmental issues at the NAC and in the arts sector in general. Judi's work these days has an increased focus on artistic programming such as the Irresistible Neighbourhoods, a multi-year play development project centered on themes of climate and sustainability, which nurtures both emerging and established playwrights to imagine alternative visions for the neighbourhoods they call home and I invite you to go all the way back to the second episode of this season, e155, where you can hear Sanita Fejzić talk about her Irresistible Neighbourhoods radio play Machines and Moss. When I first Sanita's play I was blown away. I loved it. Irresistible NeighbourhoodsIt was good to reconnect with Judi, the theatre producer and climate activist. I've always appreciated Judi's insights on art and climate emergency policy as well as her moral clarity, for example : What we hear is extremism on both sides, even though those extremist views are often, I think, a minority, and yet those are the voices we hear the most that get the most attention and then because of the way social media works or the media in general works, that extremism tends to beget more extremism, hence polarization just gets worse and worse. I really hope that the arts and artists can be a force to counter that trend.Judi also observes that the arts are well placed to address these wounds :I think it's vitally important that artists hone, cultivate and maintain an ability to dialogue and listen and reach people who think differently.And I think we should be grateful to Judi and her peers for working so hard to help set up SCALE and similar organizations that place the arts at the centre of the complex challenges that we face and thereby increasing their relevance. Judi's recommended readings are : Not the End of the World : How We Can Be the First Generation to Build a Sustainable Planet by Hannah RitchieFix the News by Angus HerveyNote: This document was referred to during this conversation : Walking Gently on the Land (National Arts Centre Environmental Sustainability Action Plan 2023-2026)*Sections of the episode (generated by AI and reviewed by Claude Schryer)Reconnecting with Judi PearlJudi Pearl returns to the conscient podcast, reminiscing about past conversations and her journey in the arts. The discussion sets the stage for exploring her current role at the National Arts Centre and her commitment to environmental issues.Judi's Journey in the ArtsJudi shares her background as a theatre artist, highlighting her evolution from stage manager to associate producer at the National Arts Centre. She emphasizes her deep connection to Ottawa and her work in a large institution.The NAC's Environmental CommitmentThe conversation shifts to the National Arts Centre's environmental policies, including their new strategic plan and sustainability action plan. Judi discusses the importance of setting targets for waste, energy, and artistic programming.Creative Green Tools and Climate AwarenessJudi and Claude elaborate on the Creative Green Tools in Canada and their relevance to measuring the environmental impact of the arts. Judi highlights the importance of raising awareness and establishing baselines for carbon footprints within institutions.Irresistible Neighbourhoods: A New Artistic InitiativeThe focus shifts to Judi's artistic work at the NAC, particularly the ‘Irresistible Neighbourhoods' project. She explains how this initiative aims to explore neighbourhoods through a climate lens, involving emerging playwrights in the creative process.The Role of Climate DramaturgyJudi discusses the innovative concept of climate dramaturgy, introduced by Vicki Stroich, and its significance in shaping narratives around environmental issues. This approach encourages playwrights to imagine futures for their neighbourhoods beyond dystopian themes.Integrating Music and TheatreAs the conversation continues, Judi shares insights on the integration of music and theatre in the second volume of ‘Irresistible Neighbourhoods.' She highlights the collaborative process between composers and playwrights to create a unified artistic vision.Art's Potential for Cultural ShiftJudi reflects on the power of art to influence societal attitudes and values, drawing parallels with historical movements. She argues that cultural shifts are essential for driving political and economic change, particularly in the context of climate action.Facing the Future: The Role of ArtsAs we confront the uncertainties of the future, the conversation shifts to how the arts can play a pivotal role in addressing societal challenges. The discussion highlights the potential for the arts to foster resilience and adaptation in communities facing resource scarcity and climate change.Bridging Divides: The Power of DialogueThe dialogue emphasizes the importance of engaging with differing perspectives in an increasingly polarized world. Artists are encouraged to cultivate the ability to listen and connect with those who hold contrasting views, fostering a more inclusive discourse.Navigating Modernity: A Call for OpennessThe conversation delves into the complexities of modernity and the need for new visions as societal structures evolve. The speakers advocate for open dialogue and collaboration to address pressing issues, highlighting the potential of community-engaged arts.Finding Hope Amidst ChallengesAs the discussion turns to the media's portrayal of current events, the speakers reflect on the necessity of sharing positive stories that inspire action and change. They recommend resources that highlight impactful initiatives and encourage a more balanced view of the world's progress.Joy in the Everyday: Celebrating Small WinsJudi shares personal moments of joy and gratitude, emphasizing the importance of recognizing positive aspects in life amidst challenges. They reflect on the significance of community and the arts in fostering connection and hope. *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

If we're going to see change happen, it's going to be because people change and that doesn't occur when you preach to them or you evangelize or anything else. It comes because people, in whatever way is appropriate for them, as individuals, begin to reevaluate the way they live, the way their friends live, and make different choices and say to the government, more has to be done. Because what we're losing and what the next generation, our children and grandchildren will lose is immeasurable and we have to act now. Later is too late.  So Climate Legacy essentially is trying to identify what are the ways in which you have that conversation with people.In this episode, former CEO, climate activist and social innovator Tim Brodhead takes us on a reflective journey through his extensive experience in philanthropy and international development. He shares his evolving perspectives, from initially believing in the capacity of developed countries to aid ‘undeveloped' nations, to recognizing the often exploitative dynamics at play between wealthy and poorer countries. This shift has led him to focus on the importance of educating Canadians about the unsustainability of their lifestyles and the need for mutual enlightenment over traditional aid approaches.When I arrived at Tim home in Metcalfe Ontario, south of Ottawa, I was greeted by a warm, gentle smile and the sweet sound of an antique grandmother clock, whose ticking and bells became a leitmotif throughout our conversation(Sound of clock)Tim Brodhead is as accomplished as he is humble. He was president and chief executive officer of the J.W. McConnell Family Foundation from 1995 to 2011. From 2013 to 2014, he served as interim president and chief executive officer of the Pierre Elliott Trudeau Foundation.Prior to joining McConnell, Tim spent 25 years working in international development, mainly in West Africa, South Sudan, India, and Bangladesh. He was the founding executive director of ACORD, based in London, U.K., and in 1975, he co-founded the Canadian development agency Inter Pares which is based here in Ottawa just down the street from my home. Before our conversation Tim sent me an email with some initial responses to my question about the ‘end of the world as we know it and how to create conditions for new worlds to emerge?'.He started with a historical perspective : Over stretch of a millennium a relatively small community in N-E Europe embarked on some pretty big social experiments: enclosing common lands and the emergence of private ownership as the prime creator of wealth; a splitting of spiritual and material worlds (“Cogito ergo sum”), the conception of private property backed up by State power as the source of personal security, the patriarchal and hierarchical nature of authority, the faith in science and technology as the main drivers of ‘progress', etc. The experiment unfolded brilliantly for several centuries and material well-being grew by leaps and bounds - along with wars of dispossession, despoiling of the natural environment, yawning inequality in all the markers of human well-being, etc.He goes on to note some of the failings of modernity : But then it emerges that the experiments are failing - the costs outweigh the benefits, the fruits are too unequally divided, the ecosystem is pushed beyond its capacity to assure the essentials of life. The civilization that embodies these experiments begins to undergo a catastrophic failure. This has happened before; civilizations rise and fall. The problem this time is that the process of colonization has produced a global mono-culture. The values, beliefs and institutions that emerged in NE Europe have spread all over the globe; they are called ‘modernity' and ‘progress' and those who don't yet have them aspire to acquire them as fast as possible. The alternative beliefs and understandings - the famous ‘other ways of seeing, knowing and being' have been stamped out or suppressed. Yes, islands of resistance remain, mostly in Indigenous communities, but they have the status of folklore.Tim concludes his pre-interview email with this insight about one of the sources of our problems : The world-as-we-know-it may be ending but it has some pretty fierce defenders - all those whose wealth and privilege are at risk, plus those who cannot conceive of alternatives, and those who firmly believe that technology still has the power to solve our problems. The media, knowledge and education systems, cultural industries, commercial and advertising are all controlled by those with wealth and power and they all reinforce the fundamental message: This is the way the world works; if you can't see that, YOU are the problem! I agree. So what do you suggest we do, Tim? We need to rethink and reform and invest in new approaches and we're by and large unwilling to do it. So the need for social innovation is as strong now as it has ever been, but the facile use of language, like everyone is a changemaker, just ignores the fact that this is really hard work.Ok Tim. Let's get to work. it's really a question of time at this point, isn'it?(Clock continues until one bell is rung) But wait, what about art? Is it our saving grace or a voice of consolation? A warning, listeners, near the end of the recording you'll hear a long silence as we listen together for the 11am ring of the grandmother clock. Enjoy. It's July 16th 2024, 10.17 am and we're in Tim Brodhead's dining room. Tic toc tic toc… Tim recommended,  in terms of reading Mary Oliver's suggestion in Instructions for Living a Life : pay attention, be astonished, tell about it. *Chapters of the podcast (generated by AI, reviewed by Claude Schryer)Welcome The conversation begins with a warm welcome as the host introduces Tim Brodhead, setting the stage for a discussion on art and societal themes. The intriguing ticking clock adds an element of anticipation to the dialogue.Reflections on DevelopmentTim shares his background in philanthropy and international development, reflecting on the naive perceptions of helping ‘developing' countries. He discusses the shift from a mindset of helping others to recognizing the need for enlightenment within our own cultures.The Price of ProgressThe conversation delves into the consequences of Western lifestyles on identity and community, highlighting the trade-offs of modernity. Tim emphasizes the loss of solidarity and the cultural erasure experienced by many societies.Indigenous Wisdom and ReconciliationTim discusses the importance of learning from Indigenous cultures and the values they offer in terms of sustainability and respect for the environment. He raises concerns about the appropriation of these values and the challenges of true reconciliation.A Critical Perspective on ModernityThe conversation shifts to a critique of modernity, revealing how historical narratives have often overlooked the successes of non-Western societies. Tim argues that the dominant worldview has led to a monoculture, erasing valuable alternatives.The Epidemic of LonelinessTim addresses the modern issues of loneliness and spiritual vacuums, suggesting that these problems are a result of the societal choices made over decades. The discussion highlights the need for a deeper understanding of our interconnectedness.Art's Role in SocietyThe host shifts focus to Tim's relationship with art, exploring how it influences his life and work. Tim expresses his affinity for visual arts and literature, while acknowledging the complexities of art's role within Western culture.The Climate Legacy ProjectTim introduces the Climate Legacy Project, aimed at mobilizing older generations to take responsibility for environmental issues. He emphasizes the importance of behavioral change and systemic shifts to address climate challenges.Conversations for ChangeThe discussion centers on the importance of personal conversations about climate change, especially among older generations. Tim highlights the need for intergenerational dialogue to inspire action and change.Indigenous Worldviews and ModernityTim contrasts Indigenous perspectives on decision-making with the fast-paced nature of modern culture. He argues for a balance between progress and a deeper understanding of the long-term impacts of our choices.Empowering Older GenerationsThe conversation explores the unique role of older women in environmental activism and the importance of their voices in the climate movement. Tim discusses how older generations can leverage their assets and experiences to foster change.The Power of Financial ChoicesTim emphasizes the responsibility of older generations to question how their financial assets are being used. He advocates for a shift in investment practices to support sustainable and socially responsible initiatives.The Power of Art in Social ChangeIn this section, the discussion revolves around the limitations of rational arguments in driving behavioral change regarding biodiversity and the need for art and creativity to engage people on a deeper level, beyond mere reason.Navigating Social InnovationThe conversation delves into the concept of social innovation, its origins, and the paradox of trying new approaches within a system that often resists change. Tim critiques the overuse of buzzwords like ‘changemaker' and highlights the challenges of implementing systemic change.Rethinking Social SystemsThis section explores the persistent issues within social systems, such as the penal and healthcare systems, that fail to produce desired outcomes. Tim calls for a reevaluation of approaches and an openness to innovative solutions.The Complexity of Modern LivingThe discussion shifts to the complexities of modern life and the need for simplification, as highlighted by various voices advocating for a slower, more mindful existence. The speaker reflects on the balance between appreciating modern advancements and recognizing their costs.Time and ReflectionAs the clock chimes, the conversation takes a metaphorical turn, comparing the clock's winding mechanism to the cycles of life and the inevitability of death. This introspective moment leads to a discussion about the significance of time and how it shapes our experiences.The Art of Reading and ListeningThe chapter focuses on the speaker's passion for reading and the impact of literature on their worldview. They discuss the challenges of managing an overwhelming amount of information and the importance of finding meaningful stories that resonate.Curating Knowledge in a Digital AgeIn the final section, the conversation reflects on the balance between consuming media and engaging with the world around us. The speaker highlights the value of sharing knowledge and stories, emphasizing the importance of meaningful connections in both reading and 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

That's the thing about the future's work and foresight work is you need a very broad range of thinkers. You need people from different perspectives who speak different languages and who recognize different worldviews. I think that's always why artists will be important in that process, because they are not necessarily coming from sort of mainstream culture. They may be immersed, raised in mainstream culture, but they're often trying to say, hey, there are other ways of seeing the world, and there are other ways of responding to the world that we're in right now.I first met Zan Chandler in 1999 when we were both starting work at the Canada Council for the Arts running arts programs. I've kept in touch with Zan over the years and have followed her career as an arts educator and expert in foresight. I've always been fascinated with various forms of futuring so I was happy when Zan clarified, for example, the difference between forecasting and foresight. We also talked about foresight into the future of the arts and how the arts can help us anticipate better futures. Zan's journey in the arts and foresight fields began with her background in linguistics, shifting to arts through photography and film, leading to work at the Department of Canadian Heritage on arts and film policy and now at Policy Horizons Canada. During our conversation Zan notes that artists are good at sensing societal shifts and addressing various forms of injustices.  Our conversation explored the potential of art and artists in foresight work, such as storytelling and emotional connections. Zan suggests that the inclusion of artists in foresight work can help challenge our assumptions and introduce new and valuable perspectives.We also talked about the impact of COVID: While I might have been a little doom and gloom about what happened during COVID and how devastating some of the impacts were on the arts community, I think one thing that came through strongly for me was how the innate need to create together, regardless of what the context was, remained. And we have so many examples of the creative sector coming together to raise spirits and to create in ways, in new ways.My takeaway, if not my prognosis, is that we need to be prepared for multiple outcomes while remaining open and actively working on new possibilities. Zan reminds us that:That's the idea around foresight. If you imagine that it's possible, you've at least started to think about : what do I have to do if this happens and how do I recognize that it might be beginning to happen.If you are interested in exploring ways of being and perceiving that likely different to what you were exposed to in school and at work, Zan recommends the following books as a good start:Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants by Robin Wall KimmererSand Talk: How Indigenous Thinking Can Save the World by Tyson YunkaportaThe work of Gabor Mate and Bessel van der Kolk*Sections (generated by AI and reviewed by Claude Schryer)Introduction to the PodcastThe podcast kicks off with a warm welcome to Zan, highlighting her long-standing connection and the intent to explore the intersection of arts and foresight.Zan's Journey into Arts and ForesightZan shares their unique background, detailing their unexpected journey from linguistics to the arts and eventually into the foresight field, shaped by their experiences in Canada and abroad.Understanding Foresight vs. ForecastingThe conversation delves into the distinctions between forecasting and foresight, emphasizing the importance of recognizing multiple possible futures rather than predicting a singular outcome.The Arts as a Form of ForesightZan discusses the role of the arts in anticipating future social and technological changes, citing Marshall McLuhan's insights on how art acts as an early warning system for societal shifts.Balancing Hope and RealityThe discussion shifts to the challenges posed by climate change and societal trends, exploring how to maintain a positive outlook amidst overwhelming negative information.The Role of Technology and SpiritualityZan reflects on the intersection of technology and spirituality in addressing future challenges, considering how a broader interpretation of technology can influence our survival.Ancestral Knowledge and Connection to the PlanetThe conversation highlights the importance of ancestral knowledge and the need to reconnect with our roots and the planet, emphasizing how this connection can inform foresight practices.The Interconnectedness of History and FutureZan and Claude discuss how understanding history is crucial for anticipating future changes, noting that many current issues are rooted in long-standing historical processes.Empowering Artists Through ForesightIn this chapter, the discussion revolves around how everyday artists can leverage foresight methodologies to enhance their creative practices and navigate post-COVID challenges. The importance of understanding cultural and historical contexts in foresight is emphasized as a means for artists to feel more engaged in their work.Artists as Natural Foresight PractitionersThe conversation highlights how artists inherently possess skills relevant to foresight, such as making connections and responding to societal changes. The speakers advocate for artists to recognize their unique contributions and consider integrating foresight methodologies into their practices.The Role of Assumptions in ForesightThis chapter delves into the significance of questioning assumptions within foresight work, particularly in policy contexts related to the arts. The speakers discuss how assumptions about touring and audience engagement were challenged during the pandemic, prompting a reevaluation of the art sector's future.Adapting to Change: Lessons from COVID-19Reflecting on the impact of COVID-19, the speakers discuss how the pandemic revealed vulnerabilities in the arts sector's assumptions about gathering and touring. They explore the resilience of artists and the potential for innovative adaptations in response to ongoing global challenges.The Arts in Times of CrisisThe discussion shifts towards the vital role of the arts during crises, emphasizing how storytelling and creativity can foster community resilience. The speakers look forward to exploring historical and future perspectives on the arts' contributions in challenging times.Creativity Amidst ConstraintsThis chapter celebrates the arts' ability to thrive under constraints, showcasing examples of global collaborations that emerged during the pandemic. The speakers highlight the enduring importance of artistic expression as a means of connection and commentary on societal issues.Foresight Beyond Human PerspectivesThe conversation emphasizes the need for foresight practices to consider more than just human interests, advocating for a broader perspective that includes the planet and other species. The speakers reflect on the historical roots of foresight and the potential for cultural foresighting to shape a more inclusive future.Recommended ReadsIn the final chapter, Zan shares her recent reading recommendations. *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 a lot of people right now are feeling terror or feeling deep grief - worry about climate - and might mention it in a joking way over dinner, like ‘oh, well, we'll see if we're all around in 20 years' and there's so much truth to that, to the pain people are feeling in the worry. And so in the end, I think and hope that it's helpful to share my personal emotional experience of this, even though it's very vulnerable to do so.As promised during our first conversation on June 10th, 2024, in e187 alice irene whittaker - caring for the planet I love, I've now read Homing: A Quest to Care for Myself and the Earth book that came out on Tuesday, September 3, 2024. Here is my review of the book. Please keep in mind that this is my first try at being a literary critic. Luckily, it was easy, because I loved the book and highly recommend it to everyone. I loved the flow of the book, like gently canoeing down a river with occasional sudden rapids but with some portaging. And I notice that you often refer to rivers in the book. We'll come back to that. At times the mix of practical and poetic did not work for me but then I'm not your average reader either, because my life story is actually much like yours, except that that I was a perfectionist and overachieving musician instead of a dancer - and I didn't break my arm, not yet anyway. I think we were brought up equally enamoured with nature and worried sick about the implication of modernity and our complicity in it, though we would not have used that language back then…So on the practical side I enjoyed learning more, for example, about eco-responsible local living : the buy nothing movement, the unbuilding movement, the permaculture movement and so on. I also loved hearing about that magical 37th degree isotherm and other stories of life on earth that warms the spirit. Here are some my highlights: You talk about ‘Fashion as an ecosystem of justice, climate, soil, labour, gender, creativity, expression and culture, made up of people each with their own offerings and niche, intricate in its diversity and interconnections.' in the context of sustainable fashion You remind us that ‘it's time for a whole-of-self-transformation, one that is messy and imperfect and wholehearted', which does not sound perfectionist but rather grounded in realityI love your thinking around economic issues, for example, you wrote that ‘For the circular economy, or any alternative model to be meaningful, it has to recognize Indigenous worldviews and pay reparations to the people who have been exploited, traumatized, and marginalized in the centuries-long project of the linear, patriarchal, colonial and capitalist economy.'And this last one, more on the poetic side, made me nostalgic for winter:Snow is water holding its breath, a calm pause after a deep inhale, waiting for that great exhale of spring when, instead of air, water rushes forth with relief.Beautiful, engaging writing. And of course your Homing book made me think about my own domestic life and my own idea of home.An excerpt from episode 185 of this podcast with indigenous artist Sandra Laronde came to mind: I really believe that we carry the spirit of the land wherever we go. In the Western canon, they say that once you leave home, you can never return, but in the Indigenous canon, home never leaves you. I can see affinities between Sandra's statement about home never leaves you and the purpose of your book which is about : … care, motherhood, healing, faltering, and searching for ways to live during breakdown and about finding home, when our planetary home is eroding, and questioning how - and whether - to have hope.What then is hope? What is home? What is life? What is love? You ask a lot of questions.One of things that caught my attention in Homing was the idea of ‘breakdown' (some might call it ecological and societal collapse) but systemic breaking down in one way or another, which is a necessary step in nature's regeneration process but is also necessary for us to live through as we exit the modern world and btw the word through is very important in your book. We'll come back to that.So, I would say that Homing is a hoot - a funny and moving book - but it's also a sobering book that is connected to reality.What your book shows us, Alice Irene, is how to batten down the hatches and to get ready for a storm that is already here, as you've experienced this week with the floodings in Chelsea, Québec and the disappearance of your gardens and some of your beloved natural spaces but it's also about unblocking creative energies and working through that dynamic. Working through… I like the way you put it on page 171:Believing in myself as beneficial rather than harmful provided a deep and unfamiliar freedom. Overall, I would say that Homing is a valuable addition to ecological and climate crisis literature. It's so deeply personal that we can literally feel your pains and joys but it's also a universal story that can appeal to anyone, anywhere. And I think that it's a literary tour de force and I want to thank you, and your family, for sharing your story and I hope you write a sequel, when you're ready. I'm really curious to know what happens next. *Chapters (generated by AI and corrected by Claude Schryer)Reconnecting and ReflectingAlice Irene and Claude reconnect after their previous conversation, setting the stage for a deep dive into Alice Irene's new book. They discuss the significance of the book's launch and the events surrounding it.A Journey Through the BookClaude shares her heartfelt review of Alice Irene's book, describing its flow and it's mix of practical and poetic elements and how Alice Irene reflects on the themes of nature, personal experiences, and the book's impact on her own understanding of home.Exploring the Concept of HomeThe conversation shifts to the idea of home, Alice Irene discussed the emotional and philosophical implications of what home means in a changing world.The Necessity of BreakdownAlice Irene introduces the concept of breakdown as a necessary step in nature's regeneration process. This theme resonates throughout the book, prompting a discussion on how it relates to personal and societal challenges.Personal Stories and VulnerabilityAlice Irene reflects on the personal nature of her writing, discussing how her experiences shaped the book with an emphasis on the importance of sharing vulnerabilities and the healing power of storytelling.Navigating PerfectionismThe conversation delves into the struggles of perfectionism and its impact on environmentalism. Alice Irene shares her candid experiences, highlighting the complexities of living sustainably in an imperfect world.Guilt and AccountabilityAlice Irene discusses the feelings of guilt and shame that often accompany environmental choices. She advocates for a more compassionate view of our actions and the importance of community support.The Journey Through MotherhoodAlice Irene draws parallels between childbirth and the journey of environmental stewardship, emphasizing the concept of ‘through' as a theme in her life and writing. The discussion highlights the unique perspective of mothers in the environmental movement.Finding Home in ErosionThe conversation returns to the theme of home, particularly in the context of environmental degradation. Alice Irene shares her recent experiences with flooding, prompting a deeper exploration of what home means when it is literally eroding.Grief and RegenerationAlice reflects on the emotional toll of losing parts of her home due to climate change. She discusses the grieving process and the potential for regeneration, both personally and ecologically.Embracing Eco GriefIn this chapter, the conversation delves into the concept of eco grief and its importance in shaping how we live moving forwardf with an emphasis on the need for emotional intelligence and community support during times of loss.Community ConnectionsThe discussion highlights the power of community during crises, illustrating how neighbors come together to support one another in challenging times. Personal anecdotes reveal the deep bonds formed through shared experiences of vulnerability and mutual aid.Art as a Healing ToolExploring the role of art during difficult periods, Claude and Alice Irene reflect on how creative expression can help individuals process grief and loss. They contemplate the importance of rituals to honor what has been lost and foster community healing.The Dance of LifeThe conversation shifts to the intersection of art and personal experience, They touch on the complexities of life, where joy and sorrow coexist, and how this duality can inform the creative practices.Celebrating Literary AchievementsAs the conversation wraps up, Claude and Alice Irene discuss the significance of book launches and the collaborative nature of writing.The Power of PodcastingClaude and Alice Irene exchange about the world of podcasting, discussing how it serves as a platform for sharing meaningful conversations and insights. They highlight the interconnectedness of their respective podcasts. *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

It's really important to have some sort of horizon to grasp onto and work towards and for me that is thinking about what possible worlds might exist and how can I spend my time contributing to making those worlds possible. Of course that is a huge question and it changes a lot day to day. I have been thinking a lot lately about how art and scholarship around the environment can teach and inform one another in terms of practice and action.I know Emma Bugg from two art and environment research activities in Canada : Sustainability and the Arts (SATA), a SSHRC funded project led by Dr. Tarah Wright, professor at the Department of Earth & Environmental Sciences, at Dalhousie University that identifies Canadian and global scholars, artists and practitioners working in sustainability, including myself as one of their advisors. The other project is the Living Climate-Impact Framework for the Arts project, a qualitative arts framework, designed as part of the Research in Residence: Arts Civic Impact Initiative by Mass Culture, led by Robin Sokoloski, produced in collaboration with CreativePEI, that provides indicators to measure arts impact in environmental sustainability and fosters transformation towards climate action and adaptation by using forward-thinking to create a useful arts impact assessment framework.Some interesting research here on how the arts can make a difference and the role of the arts in the ecological crisis.  In other words, Emma Bugg, who is currently an interdisciplinary PhD student at the Faculty of Graduate Studies at Dalhousie University in Halifax, Nova Scotia is an arts is a climate research nerd or rather an arts and climate hero. Hard working and with an endless curiosity.  Before her studies at Dalhousie, worked at the Ottawa based non-profit Evidence for Democracy as the Communications and Campaigns Manager.Our conversation explored the dilemma of the environmental crisis as a cultural crisis, and how if we want a sustainable future - and we do want and need that - or any kind of future for that matter, we need to culturally transform our entire society.Scholars like Emma are doing their part and increasingly contributing to the emerging field of sustainability and the arts; however, this growing body of scholarship and knowledge, has not yet effectively tackled the specific role of arts organizations and their potentialities for impact and this is one of Emma's passions. I got caught up myself in Emma's enthusiasm for data, research and impact measurement during our conversation, when committed, quite impulsively, to apply the Living Climate-Impact Framework for the Arts on this podcast as a test case which I will share when I'm done on my ‘a calm presence' Substack. Kudos to Emma and Robin and their colleagues for this tool. I invite others to try the framework. It's a lot of fun to go through the Who, How, What format.Emma recommends the following reading materials:Emergent Strategy, Shaping Change, Changing Worlds by adrienne maree brownLillian's Place by Alexis Bulman (cedar shed in Stratford PEI)Note: also of interest to this episode is this paper by Emma Bugg, Tarah Wright and Melanie Zurba: Creativity in climate adaptation: Conceptualizing the role of arts organizations and https://cgscholar.com/bookstore/works/understanding-impact-in-sustainability-and-the-arts *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 majority of individuals who work in this sector are deeply concerned about climate change and deeply motivated and often doing a lot about it in their personal lives but as a sector, we don't really have a vision of what our relationship is to it.  So the kinds of responses range from a kind of silence on it and trying not to look at it directly in the eye to a superficial level of conversation, saying things like touring requires flying : flying bad, therefore, we should stop touring. (Owais Lightwala)When we're living in moments of deep confusion and cultural fragmentation, to be able to offer something that has a simplicity to it or something that allows an audience to just breathe together, I think is the greatest gift that artists can offer audiences. And then when the world becomes less fractured, less fragmented, then the work needs to become more complex because the audience will start demanding, like, help me understand what we need to do differently or how we can live more cohesively or whatever but in this moment, in this country, and certainly I'd say in this city, Calgary, where I'm sitting right now, to be able to offer experiences where people can breathe and feel held and feel respected, even admired for their human experiences, seems to me the primary role of the performing arts (SGS)When I first read the header for the Manifesto for Now project I was immediately drawn in because it said: We are concerned. We should be. It's a crisis. Here are some ideas for how we got here. And where we go next.I'm concerned too. The Manifesto also questions:In this moment of multiple seismic shifts: ecological, technological and social, maybe the performing arts can serve as facilitators for the transformation of humanity.  How? One could argue that all the arts need to undertake this seismic shift and transformation and how is a good question. So I contacted the manifesto's co-authors Owais Lightwala and Sarah Garton Stanley (also known as SGS) and we chatted on July 11th, 2024 about the origins of this rather radical project and its impact so far. Owais is Assistant Professor in the Creative School at Toronto Metropolitan University, he's a producer and entrepreneur in the arts and culture worlds who likes to think about big ideas, solve interesting problems, and build better ways of doing things. Among other things he is the founding Director of Chrysalis at the Creative School, a new multidisciplinary performance hub at TMU.SGS self-defines as someone who is into Culture, what it means, how we do it and why we need it. SGS is currently VP of Programming at Arts Commons in Calgary, Alberta, a member of the National Advisory Committee National Creation Fund (NAC), a Board Member Theatre Alberta,  a co-steward at Birchdale and among many things in the past SGS was Creator and lead The Cycle(s) in collaboration with Chantal BIlodeau, about theatre and climate change at the NAC in 2019, which I had the pleasure of working on while I was at Canada Council. You'll hear in our conversation about why the original manifesto was created in April 2023 on the Canvas platform and that they have published 6 of 10 essays so far.The essays are provocative and at times funny. For example, in the first essay, Art is for audiences first, artists second they observe that :People are worried about the climate, groceries, housing, loved ones getting sick, their future… they are NOT asking for more art… They ARE asking for relief. For fresh air. For peace and quiet. For connection. For love. For direction. We need less of what we ARE offering and more of what we are NOT. What if the arts gave people what they need right now? What would change?I love this quote and the opening quotes of this episode that reflect this kind of courageous questioning of the role of art and what kind of art do people need at this time. Their second essay ‘We are not as important as we think we are (or The Shoe Shiners Dilemma), is equally as sharp:We need to make a much better case for what we do. Because we ARE more important than people think we are. Counter-intuitively, we think producing less will create more opportunities for a wider diversity of people to engage with what artists do. Less becomes more. We are all creative, yes, but we need to work together to make a case for our collective brilliance by betting big on individual brilliance.Oh no. Not that trope again about the singularity of the ‘brilliant suffering artist' again, blah blah blah! I disagree or at least I don't understand. So you'll hear that we did not agree on all points but that's part of the fun of a manifesto isn't it, to make us think more deeply, break through some barriers, question some of our rhetoric and assumptions and to take a stand. Who are we as a community and where are we going and, well … who cares? So I was pleased to see that the last of the 10 essays, not yet written, is called  ‘Start here. Your turn', which I think is an invitation for the arts and cultural community to engage with Manifesto for Now and to respond, as openly and as fearlessly as our two colleagues have done so far. Owais recommends: Children of Ruin, a 2019 science fiction novel by British author Adrian Tchaikovsky.SGS recommends :Plurality, the future of collaborative technology and democracyPunditries such as Ezra Klein*Chapters (generated by AI, corrected by Claude Schryer)Introduction to the ManifestoThe host introduces the episode, hinting at the manifesto's significance and the exciting discussion ahead. Meet the GuestsOwais and SGS introduce themselves, sharing their backgrounds in the arts and their current roles. Their diverse experiences set the stage for a rich conversation about the manifesto and its implications.The Manifesto's OriginsThe guests delve into the origins of the manifesto, discussing the questions that sparked their collaboration. They reflect on their shared inquiry into the purpose and impact of the arts in society.The Role of Arts in SocietyThe conversation shifts to the role of the arts in addressing societal issues, particularly in the context of climate change and cultural fragmentation. The guests emphasize the need for artists to engage with audiences meaningfully.Challenging AssumptionsThe discussion takes a critical turn as the guests question the effectiveness of the arts in fostering societal dialogue. They explore the complexities of audience engagement and the challenges of measuring impact.Future Directions of the ManifestoThe guests outline their hopes for the manifesto's impact on the arts community, emphasizing the importance of ongoing dialogue and response. They invite listeners to engage with their questions and contribute to the evolving conversation.Art and the Paradigm ShiftThe guests discuss their personal struggles with imposter syndrome and the need for a paradigm shift in thinking, moving beyond superficial actions to deeper systemic changes. They emphasize the importance of giving people permission to engage with profound ideas rather than just tactical solutions.The Arts Community and Climate ChangeThe conversation shifts to the arts community's relationship with climate change, highlighting a disconnect between individual concern and collective action. The guests reflect on the need for a more profound sectoral vision regarding climate issues, rather than superficial responses.Navigating the Climate Crisis in the ArtsThe discussion delves into the impact of COVID-19 on the arts sector's engagement with climate change, revealing how the shift to online platforms has not necessarily reduced carbon emissions. The guests explore the challenges artists face in accessing research and how this affects their storytelling.Rebuilding Trust in a Fractured SocietyThe guests address the declining trust in society and the potential role of the arts in rebuilding connections among individuals. They discuss the importance of collective human activities in fostering trust, especially in the aftermath of COVID-19.Cross-Sectoral Dialogue and CollaborationAs the conversation wraps up, the guests highlight the significance of cross-sectoral dialogue in tackling climate issues and rebuilding trust. They express a desire for ongoing discussions and collaborations that can lead to meaningful impacts.Recommendations for Engaging Reads and ListeningThe episode concludes with the guests sharing their current reading and listening recommendations, reflecting on how these works influence their thoughts and creative processes. They emphasize the importance of diverse perspectives in shaping their understanding of intelligence and society.Invitation for Dialogue and CritiqueIn the final moments, the guests invite listeners to engage with their ideas, encouraging feedback and critique to sharpen their thinking. They express gratitude for the opportunity to discuss their work and the importance of community engagement in their creative endeavors. *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 primal cultures, there's a tendency to interweave everything with everything else, including art. People are very creative and expressive in everyday life, through ceremony and ritual, dance and art and carving and weaving and various aspects of life that are just considered quite normal for primal peoples. Part of primal cultures is a strong engagement with and resonance with eccentricity and uniqueness so people do things, even hunting, is an art form that people do in different ways.Yin Paradies is a Wakaya anarchist radical scholar spreading decolonial love from, and as part of, unceded Wurundjeri land. Yin is also a climate and ecological activist committed to understanding and interrupting the devastating impacts of modern societies who seeks meaningful mutuality of becoming and embodied kinship with all life through transformed ways of knowing, being, and doing that are grounded in wisdom, humility, respect, and generosity.I first heard Yin Paradies speak at the QuillWood Academy on April 23, 2024 where he gave a paper called ‘How did humans live before modern societies?', which you can view on Yin's YouTube channel. During our conversation I asked Yin what he thought might be most useful for artists and cultural workers to know about ‘how humans lived before modern societies'?His responses took my breath away and literally slowed me down as our conversation unfolded, I was mesmerized, as if the silences were a third guest in the Zoom recording space. I felt like I was embodying Yin's thoughts in real time.In a nutshell, Yin's research contrasts primal societies, which were egalitarian and kinship-based, with modern societies that emerged 10,000 to 12,000 years ago, bringing mostly patriarchy and hierarchy.His thesis that modernity, despite its technological advancements, is linked to trauma and self-destructive behaviors whereas primal cultures, which view time cyclically and integrate art into daily life, enhance community ties and creativity. I agree.I also asked Yin about deep listening:Deep listening is more about having that humility that we have everything to learn or something to learn from any aspect of the cosmos that we are in relationship with or entangled with. That sense of slowing down is about cultivating a different way of being aware. Near the end of our exchange we spoke about the role of art in times of crisis and how art has the potential to awaken new perspectives and foster community engagement, which is the theme of my next season of this podcast, starting in 2025, so I am thankful for his insights: I think art can very much lead the way in terms of giving us those capacities to compost our own shit and to reimagine ourselves and our world. And importantly, probably most importantly, to re-enchant and reconsecrate our world because to be enchanted by the world is to grow in kinship and care and reverence and reciprocity with the world. Yin invites us to reimagine ourselves and reconsecrate our world through kinship, reciprocity and care. You can also see this conversation on the conscient podcast YouTube channel : e193 yin paradies - interweaving everything with everything else.Yin recommended reading is Darren Allen's  works on primal and modern cultures. *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

Definitely we need a cultural transformation, and no one's better positioned to contribute to that than the arts and culture. I think part of the task that we have ahead, as artists and culture makers, is to really question how we got here in the first place, what brought us here and and what are the stories we are being told.Holà. I decided  to begin my conversation with the brilliant Mexican-Canadian cultural worker and climate communicator Julia Matamoros in Spanish so that she could introduce herself in her first language : ‘Bienvenida Julia al podcast consciente. Mi español no es muy bueno pero quiero empezar nuestra conversación en este idioma. Antes de pasar al inglés, ¿por qué no empiezas con una introducción en español y luego un breve resumen de tus antecedentes en inglés y luego hablaremos sobre el arte y la crisis ecológica? ¿VALE?It worked. Gracias Julia. I first met Julia in 2022 while I was chair of the board of SCALE and she was the communications lead. I was impressed by her strategies and insights on how to further engage artists in the climate emergency for example : I think it's very difficult to build new worlds if we first don't understand what's wrong with the values we abide to right now and that on the one hand, and the second is to start imagining new worlds. That is very hard for a lot of us, when you only know one way of existing and relating to other forms of life. It's very difficult to think there could be other ways. I think arts and culture are perfectly positioned to lead the way for that. Art naturally is a space where we can break the rules, create new ones, question, and resignify. I think we need to resignify a lot and art needs to lead the way there, for sure.As you can hear, Julia integrates her diverse background in arts, culture, social work, and community development with a focus on diversity, equity, inclusion, and complex and urgent issues like the climate emergency. Julia believes these areas are interconnected and essential for societal transformation and she talks about her work with a passion and a type of serenity that is contagious, in a good way. Our conversation explores a range of environmental challenges such as water scarcity in her native Mexico and highlights innovative climate solutions like rainwater harvesting, the permaculture movement, Mexico's recent ban on GMO corn, and 'Energising Artivism', a new project that Julia is involved in that elevates the role of arts in social and environmental activism.Julia also underscores the need for building networks to increase resilience in addressing climate issues, noting that many initiatives lack adequate community-building infrastructure and she explains this gap and how to address it throughout our exchange. Among other issues, Julia observes a disconnect between climate change understanding and action in the arts and culture sector, particularly among cultural leadership, and she does not hold her punches in her observations of the status quo:The arts and culture sector cares. People care. There's a lot of things happening. Where I see the gap is not necessarily in artists, cultural professionals or even organizations. I see it at the leadership level. This has been very shocking to me. Why is that? I think one of the reasons could be perhaps that Canada has started experiencing the impacts of climate change more drastically in recent years. Whereas other parts of the world have been experiencing that for a while. So what has been going on for the last few years, fires, floods, will change the perception around it as a real emergency. There's a reluctance to speak about it as a priority, to talk about it as an emergency, and to devote resources to it.This section of our conversation brought me back to episode 183 about cultural leadership where we heard how the arts sector is exploring many of the root causes of the ecological crisis however, ironically, the arts sector is not yet in climate emergency mode.This is a complex dilemma but I like the way Julia suggests ways for us to move forward. I want to thank  Julia for her cultural leadership and vision for the role of the arts. Julia wrote this note to me after our conversation which I think summarizes her concerns and aspirations: Art is always in the business of culture and of cultural transformation. My wish would be for this transformation to become intentional, grounded in understanding of what no longer works, and in our shared yearning for new possibilities. I think it's already happening but not as a common project.I agree. Let's make it a common project, everyone, together. Hagamos que sea un proyecto común, todos juntos. Julia recommends the following publication Spring Creek PodcastSensing Earth : compilation of essays, interviews, poetry, manifestos, choreographic prompts, speculative fiction and case studies at the intersection of art and environmental activism, culture and nature.Projects mentioned in the episode: SCALE-LeSAUT23 Climate ThingsArtivism Inaugural Global Conference Sept 5-8Other links from MexicoThree channel video by interdisciplinary artist Tania Candiani :  I recently saw her work at MUAC. These images give you a better sense of how the piece was presented.Base bio architectura: there is a lot of experimentation happening in ecological architecture - different materials, techniques but with spectacular design at the heart of it all. I find base bio-architectura particularly beautiful.*Chapters (AI generated)IntroductionJulia Matamoros introduces herself, sharing her journey from Mexico to Canada and her extensive background in arts, culture, and community development. She reflects on how she has integrated her passions for social work and the arts throughout her career.The Intersection of Art and ClimateJulia discusses the natural transition from focusing on diversity, equity, and inclusion to addressing climate issues, emphasizing their interconnectedness. She shares her belief that the arts play a crucial role in making connections between these causes.Art as a NecessityJulia elaborates on her lifelong relationship with art, describing it as a necessity that has always been integral to her life. She highlights her diverse interests in various forms of artistic expression, from literature to film and beyond.Perspectives on the ‘End of the World (as we know it)The conversation shifts to the theme of the end of the world as we know it with Julia sharing her perspective shaped by her experiences in Mexico. She discusses how the concept varies globally and the creative responses emerging in communities facing crises. Note: Julia noted afterwards that ‘I think William Gibson's famous quote summarizes what I'm trying to say “The future is already here – it's just not evenly distributed.'Engaging with Climate through ArtJulia shares her belief that the arts must engage with pressing societal issues, including climate change and inequality. She discusses her work with various projects aimed at fostering collaboration and participation within the arts sector.Energizing ArtivismJulia introduces the concept of ‘Energising Artivism,' a new project focused on uplifting the role of arts in addressing environmental and social challenges. She highlights the upcoming Artivism Conference in South Africa as a platform for collaboration.Building Networks for ResilienceThe importance of building networks within the arts community is emphasized as a means to foster resilience and collaboration. Julia discusses the need for a centralized infrastructure to connect artists and cultural organizations effectively.Challenges Facing the Arts SectorJulia and Claude discuss the various challenges artists face, including housing issues and the impact of the COVID-19 pandemic and how these challenges can be reframed as opportunities for deeper engagement for the arts with societal issues.Cultural Transformation through ArtJulia argues for the necessity of a cultural transformation to address the climate emergency, asserting that artists are uniquely positioned to lead this change, emphasizing the importance of questioning existing narratives and imagining new possibilities.Art and Community in MexicoShifting focus to Mexico, Julia shares insights into how the arts community is integrating ecological concerns into their work and vice versa. She highlights various initiatives that blend art with permaculture and sustainable practices.Reviving Indigenous CraftsmanshipJulia discusses the resurgence of indigenous craftsmanship in Mexico, emphasizing the importance of ethical collaboration and recognition of cultural heritage. She describes how this movement is intertwined with sustainability and community building.The Role of Arts in CrisisThe conversation returns to the role of the arts in addressing crises, with Julia reflecting on how artists can contribute meaningfully to societal challenges. She emphasizes the need for connection and collaboration among artists and communities.The Power of Self-OrganizationIn this section, the importance of self-organizing within communities is emphasized, highlighting how local connections can lead to meaningful exchanges and on how art can facilitate these connections and foster new relationships among individuals.Navigating Climate ConversationsThe conversation shifts to the challenges of discussing climate change within the arts community, where feelings of denial and disempowerment often prevail and the need for more open dialogue about the climate emergency and how artists can lead these conversations through their work.Bridging the Gap in LeadershipHere, the focus is on the disconnect between the grassroots level and leadership within the arts sector regarding climate action including the necessity for arts organizations to take on more responsibility and foster collaboration to address climate issues effectively.Creating Unity and FrameworksThis section emphasizes the need for a unified approach within the arts sector to tackle climate change, suggesting that shared frameworks can guide collective efforts. The discussion highlights the importance of collaboration and agreement on priorities to maximize impact.Hope and Healing through the ArtsThe conversation reflects upon the role of the arts in fostering hope and healing amidst the climate crisis, emphasizing the need to reconnect with the joy of living. They discuss how the arts can bridge pain and possibility, encouraging a collective movement towards positive change.Permaculture Principles and Cultural TransformationIn this section, the conversation delves into permaculture as a framework for cultural transformation, highlighting its relevance beyond agriculture including how adopting permaculture principles can guide communities toward sustainable living and resilience.Cultivating a Caring CultureThe concluding section emphasizes the importance of reciprocity, caring, and community in navigating the challenges posed by 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

We have folks who would never define themselves as artists, but are nonetheless creative and have ideas and are imaginative. How can we get them to feel that they can do arts and express their creativity? With community engaged arts anyone can participate or contribute in any way. I think that strength and social bond makes the community strong and also it helps during times of crises that you know that there's a community there with you.Luc Lalande is an educator, mentor, innovation practitioner and civic entrepreneur with extensive experience in academic-industry-government sectors. He specializes in the design of programs that build innovation capacity for communities in both rural and urban regions.He has served as a volunteer and advisor on numerous not-for-profit boards engaged in fields as diverse as addiction recovery for youth, regional economic development, women empowerment, arts /culture and education. He is also an active advocate for the growth of the maker movement, makerspaces and maker education locally and globally.Luc Lalande is currently Innovator-in-Residence at the Rideau-Rockcliffe Community Resource Centre and the Carlington Community Health Centre in Ottawa. I first met Luc Lalande at an ‘Ideas, Welcome' session about social infrastructure and third places at the Rideau Community Hub, in Ottawa, a 1950's era high school that has been converted into an extremely diverse and dynamic community hub.I was impressed by Luc's spirit and his  savoir-faire. With my doomist hat on, I wanted to talk to him about how the Rideau Community Hub came about and how it might be a useful model for people to coexist and cooperate as the climate crisis worsens. But I also wanted to talk about community-engaged arts and his vision of the role of the arts.. In our french language conversation, balado conscient é162 luc lalande - curiosité, créativité et imagination, Luc noted that:Innovation and art have an interesting relationship. What comes before innovation and before ideas is curiosity, creativity and imagination. This is where I see the importance of art: inspiration for ideas.Luc's passion and vision for this kind of third space is palpable, for example: A space like this can happen anywhere. Any community can look at their assets, whether it's a decommissioned school or a decommissioned church and through imagination, adaptation and reuse, rather than build something new that uses up a lot of material and energy. Many of these assets can be reimagined and repurposed for civic purposes which any community can do. And he thinks the arts (especially community-engaged arts) should play a central role in these spaces. Luc and I began our conversation in the massive auditorium at the Rideau Hub after which we then went for a bilingual soundwalk into the facility to listen to the space and hear its stories.And one of these stories involves a surprise appearance by Shirley Whitford, one of the participants in a play conceptualized and scripted by local seniors. The play entitled ‘A Circle of Care' was performed in the school's former drama room. You never know who you'll meet in the hallways of a community hub.  *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 Canada and many other parts of the world, we've relied on policymakers and scientists to be the ones communicating around climate, and they failed because they've only appealed to people's heads and haven't appealed to their hearts and souls. I think the big conversation coming out of COP 28 - and that you but I'm sure people at SCALE and others, we've known this for a long time, but it's kind of being recognized now - is that we need culture at the table. We need art and artists. We need to be connecting to all parts of people and not just showing numbers because that hasn't worked, and it's not working. And so I actually feel hopeful that art and culture being at the table will help with that whole overhaul and systems level transformation.Note: I'm using Whisper Transcribe, an artificial intelligence podcasting tool, for the first time with this episode. It helped me generate quotes, create chapters (see below), generate transcriptions (see Transcripts section), produce social media postings (notice the new tone and hashtags) and write up the episode notes (notice more fluid language), however I'm a little skeptical about AI's ability to get it all right (verification required) but it's pretty good and saves me time and delivers a better product. However I will continue to write and record my very human introduction at the top of each episode like this… Sometimes you just have to be in the right place at the right time. I had just completed my conversation with Tanya Kalmanovitch (see e189 tanya kalmanovitch - mobilizing the power of the arts) at No. 9 gardens near Kingston, Ontario (see e68  for more on no. 9 gardens) when I sat down at a picnic table with a group of arts and climate activists at a meeting of the Centre for Sustainable Practices the Art (CSPA) and right in front of me was Kim Fry. The same Kim Fry who co-founded and runs Music Declares Emergency Canada and is a hero of mine. I know Kim by reputation, but we had not yet met in person, so, on the spot, I asked Kim to record a conscient conversation with me about her life's work in music and environmental awareness. Kim now lives by the Atlantic ocean which is in Kjipuktuk, Mi'kma'ki territory, also known as Halifax, Nova Scotia. Before her recent move Eastward, she lived in Tkaronto for 27 years where she was an elementary school teacher, union activist, climate justice activist, environmental campaigner, storyteller and music manager. With the family move to K'jipuktuk, Kim decided to return to the world of environmental activism and music where she organized, among other things, the first ever Canadian Music Climate Summit. You'll hear that Kim talk about the power of music in the climate emergency :We need systems change, and so we need the whole way that the music industry operates to really rethink itself and sometimes some people might say that's greenwashing, because we're still talking about these big, huge multinational corporations when it comes to the music industry but I think there are folks who navigate that space and do it incredibly well. You'll also hear about Kim's efforts to highlight the importance of creating safe spaces for emotional engagement through music and community such as the sustainability committee at the Juno Awards, which is dedicated to reducing the industry's environmental footprint by promoting eco-friendly practices like public transit and plant-based catering.A particularly inspiring anecdote for me was about Kim's daughter Brighid Fry known under her artist name Housewife former Moscow Apartment) Bridghid ensured that a climate clause was included in her record deal. This type of action exemplifies the shift from incremental changes to systemic reform, advocating for the integration of culture and art into climate conversations and the shift from appealing from one's heads to one's hearts and souls.Oh, and when she has free time, Kim is working on a novel about the climate emergency. I look forward to that and I think you'll enjoy our unscheduled but long overdue conversation. Kim recommended the following publications and events:Birchbark House series by Louise ErdrichHadestown by Anais Mitchell : a musical about climate changeNeil Young's Love Earth tourNote: I have inserted 5 seconds of silence here and there during our conversation as interludes.*Episode Chapters (AI generated)IntroductionIn this section, Kim Fry introduces herself and shares her background as a climate activist, highlighting her journey from organizing student walkouts in the early '90s to her current work in music and climate activism.The Role of Music in Climate ActivismKim discusses the significant role that music and the arts play in climate activism, emphasizing how they can unite people and inspire political change through emotional connection.Launching Music Declares EmergencyThe conversation shifts to the founding of the Canadian chapter of Music Declares Emergency, detailing the collaborative efforts that led to its creation and the impact of the climate strikes in 2019.Challenges for Musicians in the Climate CrisisKim addresses the reluctance of musicians to engage in climate discussions due to the carbon-intensive nature of touring, and the need for systemic change within the music industry.Navigating Grief and Hope Through MusicThis chapter explores how music can help individuals process grief and despair related to the climate crisis, while also fostering a sense of hope and community.The Power of Collective SingingKim shares her personal experiences with singing and its transformative power, highlighting how collective music-making can ground individuals and strengthen community bonds.Engaging the Next GenerationThe discussion turns to the political engagement of Gen Z and the need for hopeful narratives that inspire action rather than despair, emphasizing the importance of storytelling in climate discourse.Creating Space for Connection and GratitudeKim emphasizes the importance of cultivating gratitude and deep connections to nature as foundational elements for addressing climate challenges and fostering resilience.Innovative Initiatives at the JunosThe conversation highlights the successful sustainability initiatives implemented at the Junos, showcasing how the music industry can take concrete steps towards climate action.The Need for Systemic ChangeKim discusses the necessity of systemic change in addressing the climate crisis, advocating for a collaborative approach that integrates art and culture into climate solutions.Youth Empowerment and Climate ActionThe chapter concludes with a reflection on the empowerment of youth in climate activism, showcasing how the next generation is driving important conversations around sustainability and systemic 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

What happens is that you have arts and environment initiatives popping up all over the place, but everyone's pitted against one another in competing for the same grants, right? So it makes it extraordinarily difficult to organize, to strategize, and to act with a collective insight about where it is that we need to go and how we can really mobilize the power of the arts.This episode is a lot of fun. When I arrived at No 9 Gardens near Kingston, Tanya Kalmanovitch and her dog Finn were ready to go for a soundwalk on a sunny June 26th 2024 at 7.15am. My previous conscient conversation with Tanya was recorded remotely in June of 2011 (see e53 kalmanovitch – nurturing imagination) where we talked about music, ethnomusicology, arts education, the climate emergency, arts policy and how artistic practice can nurture imagination.Our second conversation, equally as engaged and dynamic (but this time in person, and outdoors), picked up on some of these themes with a focus on the impact of Tar Sands Songbook, a documentary theatre play that tells the stories of people whose lives have been shaped by living in close proximity to oil development and its effects. I had the pleasure of seeing Tanya perform the Tar Sands Songbook at Carleton University (with thanks to Ellen Waterman) in Ottawa and wanted to ask Tanya how it went, and in particular, what it's like to tour a show about climate change through art, in Alberta. Tanya wears many hats: she is a violist, an ethnomusicologist, and author known for her breadth of inquiry and restless sense of adventure, including an interest in improvisation, social entrepreneurship, and social action, such as being the mission circle lead of the Sectoral Climate Arts Leadership for the Emergency organization or SCALE which by now, regular listener will know : a network of artists, cultural practitioners, and arts organisations committed to addressing the climate emergency and environmental injustice.As we walked in the wet fields of No9 gardens I love how Tanya doesn't hold her punches: ‘The end of the world as we know it' is also a biased perspective, when you say that phrase, right? I'm pretty sure that the earth will keep going and it'll just sort of shake us off like some fleas; the dog scratches the fleas off and it will regenerate.The field where we walked was mushy so you'll hear of that rich dampness in the recording and our boots and running around of Finn the dog. You'll also hear, near the end of our conversations children's entertainer Mr. Rogers, where Tanya sings : It's you I like, not the things you wear, not the way you wear your hair. It's you I like. The way you are right now. The things down deep inside you. It's not the ear inside you. It's not your toys, they're just beside you…I like you just the way you are, Tanya. Thanks for the full circle walk. We had a lot of fun and so did Finnigan.Note: I inserted 5 second silences throughout the recording to give some space to the soundwalk.  *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