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3 episodes with artthe
2 episodes with artthe
2 episodes with artthe
2 episodes with artthe
2 episodes with artthe
Graham is joined by the fiercely creative and wonderfully candid Eva Kearney, the voice and force behind the genre-defying project Aqua Tofana — a band name with a darkly fascinating historical twist and a serious bite behind its beauty.Broadcasting from her hometown in Northern Ireland (while under the weather but still full of wit), Eva opens up about the vibrant music scene in Lurgan, her genre-fluid sound, and how community, chaos, and catharsis all play a part in her musical journey.
The summer limited editions are out early this year! Join us for the scoop on two releases from Blackwing, some very watery Field Notes, and finally — you can buy our newest Erasable merch!For this episode, we recorded video, available to Patreon subscribers! If you're a patron, head over to see our faces and visual examples of many of the things we discuss. And if you're not a patron, join us at any level and you can see this and other supplemental content at any time!Show notes and linksErasable PatreonErasable Eraser Friend pinErasable logo corduroy hatOrbitalAndor Season 2Doctor Who Series 14Levenger True Writer in Sapphire MosaicDiamine Sapphire BlueField Notes Summer ToteField Notes Is a River Alive?Is a River Alive? By Robert MacFarlaneNew Field Notes box artThe artist and his pencil sharpener collectionBlackwing Labs 05.13.26 pencilsBlackwing Labs 05.13.26 notebookBlackwing Volume 140Andy Johnny/Pencil RevolutionYour HostsJohnny GamberPencil RevolutionAndy Welfleandy.wtfTim Wasem
Two aesthetics. One algorithm. Gen Z is living through a cultural split screen—where prairie-core modesty and borderline NSFW outfits are trending side by side. In this episode, we dig into why the same generation is romanticizing religious dress codes and wearing less than a bikini to dinner.We unpack the rise of modesty as rebellion, the spectacle of emotional overshare, and what it all means for brands trying to pick a lane, or survive in the contradiction.Takeaways:Modesty is trending, aspirational, and algorithmic Emotional nudity is the new performance artThe brands that win don't play it safe—they commit to a POV
On this episode of the Faces of the Future Podcast, we sit down with Philadelphia filmmaker Victoria Wilcox for an honest conversation about the state of the film industry and her journey navigating it as a Black woman. From the challenges of representation to the importance of empathy in storytelling, Victoria shares her unique perspective as a creative voice pushing for change in media.We explore:What it really means to be a Black woman in the film industryThe power of authentic storytellingThe role of empathy in creating impactful artThe current and future state of film & mediaAnd much more...Whether you're a filmmaker, creative, or simply passionate about representation in media, this episode is packed with insight and inspiration.
Last year I went to an exhibition at the Städel museum in Frankfurt that was entitled Holbein and the Renaissance in the North. That is the elder Holbein, the father of the Holbein who came to England. This exhibition has now ended, but there is still a great summary available on the Städel website.Though obviously not present at the exhibition, one key focus was the Fugger chapel in the church of St. Anne in Augsburg, one of the earliest and most significant Renaissance building north of the Alps. I wanted to kick off this episode with this chapel and then move on to Holbein, Burgkmair etc. But as I dug deeper and deeper into the late 15th and early 16th century art in Southern Germany, the more connections and links emerged that I hope you will find as fascinating as I did.Links to artworks:Fugger chapel: Die Fuggerkapelle | St. Anna AugsburgRiemenschneider Heilig Blut Altar: The Altar of the Holy Blood | ReliquarianThe Hare: Young Hare, 1502 - Albrecht Durer - WikiArt.orgSchongauer St. Anthony: Martin Schongauer | Saint Anthony Tormented by Demons | The Metropolitan Museum of ArtRhinocerus: Albrecht Dürer | The Rhinoceros | The Metropolitan Museum of ArtRitter, Tod und Teufel and other works: Albrecht Dürer (1471–1528) - The Metropolitan Museum of ArtThe music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season. So far I...
Ep 74: Navigating Grief through Sculpture: Bobbi Meier's Story“Grief doesn't have to be gray. It can be neon, it can be soft, it can be joyful.”- Bobbi MeierSummary of the episodeIn this episode of noseyAF, we explore navigating grief through sculpture with Chicago-based artist Bobbi Meier. Bobbi's journey as an artist is intimately shaped by personal loss and the emotional complexities of caregiving, grief, and the COVID-19 pandemic. Through her tactile, vibrant sculptures—which she calls “squishy, colorful towers”—Bobbi channels emotion, joy, and memory. These works, part of a series titled Sentinels for Innocence, reflect how grief and play can coexist in powerful ways.We discuss how Bobbi's sculptural practice creates space for healing, community, and catharsis, and how her art invites both personal introspection and public dialogue. From the transformation of grief into vibrant form to the role of humor in tragedy, this conversation reveals the power of creative expression to shape identity and connect us to one another.Topics discussed:How personal loss and caregiving shaped Bobbi Meier's artThe role of play and innocence in sculptureArt as a response to grief and social-political upheavalBalancing humor and tragedy in creative practiceProfessionalism, hobby culture, and rediscovering joy in artmakingChapters:• 00:07 - Kicking Off Season Six• 06:20 - Exploring the Impact of the Pandemic on Artistic Expression• 18:21 - The Emotional Journey of Art: From Creation to Reflection• 22:42 - Art and Memory: Conversations on Impactful Pieces• 30:00 - The Power of Art and Personal Loss• 39:31 - Defining Professionalism in Art• 44:10 - The Art of Hobbies: Discovering New Passions• 48:23 - Reflections on Fear and ArtAbout Bobbi:Bobbi Meier is a Chicago-based multimedia artist whose provocative, fiber-based sculptures confront the tension between what's seen and what's suppressed. Blurring the lines between public and private, her abstract forms tap into themes of repressed sexuality, proper manners, and emotional excess. With an MFA and MAAE from the School of the Art Institute of Chicago, Bobbi's work has been featured nationally and was recognized with a prestigious Kohler Arts/Industry residency in 2019.Resources mentioned in this episodeA Tale of Today: Materialities at Driehaus MuseumJohnMichael Kohler Arts CenterEpiphany Center for the ArtsConnect with Bobbi MeierInstagram: @bobbimeierartWebsite: bobbimeierart.comConnect & Stay UpdatedVisit my website (Art, Projects & More)Follow on Instagram (@stephaniegraham)Join my Studio NewsletterListen to more episodesSupport & FeedbackShare noseyAF with...
I sat down with Heather, founder of Echo Dance Collective, for a deeply honest conversation on dance, burnout, and coming home to yourself.We talked about how dance becomes more than movement—it becomes medicine. A way to remember who we are, connect with younger parts of ourselves, and move through what words can't always touch.Heather shares what it really takes to build a creative life that's sustainable, soulful, and community-led. We touched on the highs and lows of expression, what happens when burnout hits.We explored:Why connecting with your younger self can shift everythingWhat it means to feel safe in your body and your artThe birth and vision of Echo Dance Collective—and what's coming nextThis episode is for anyone who's ever used creativity to survive, to connect, or to come alive again. It's gentle, reflective, and full of heart.Mentioned in this episode:Heather's InstagramEcho Dance Collective✨ Thank you for listening. If this episode speaks to you, share it with someone who needs a little more softness and self-expression in their life.*Due to technical issues, the episode with Samantha Bove will be posted next week instead of this week.
we sit down with the incredible Sue Brown—known in the horror world as Ursula Dabrowsky and in the art scene as Zanne Brown.
Today, we are joined by Kevin Evers.Kevin Evers is a senior editor at Harvard Business Review. Passionate about shaping groundbreaking research and amplifying pioneering ideas, he has edited bestselling and award-winning books on high performance, creativity, innovation, digital disruption, marketing, and strategy. He has also written popular articles on brain science, Hollywood blockbusters, the art of persuasion, and the unpredictability of success. His newest book, ‘There's Nothing Like This: The Strategic Genius of Taylor Swift'. In this episode, we explore how Taylor Swift's career represents a masterclass in business strategy and leadership. Kevin reveals how Swift's approach to her career mirrors proven business concepts including blue ocean strategy, the job-to-be-done theory, and anti-fragility. Key topics include:How Swift identified and cultivated an overlooked market segment in country music, similar to Marvel's strategy with college students in the 1960sThe strategic approach Swift took to transitioning from country to pop music while maintaining her core audienceHow Swift transforms controversies into opportunities by controlling her narrative and turning challenges into artThe concept of "productive paranoia" that helps Swift anticipate industry changes and evolve ahead of trends-Website and live online programs: http://ims-online.comBlog: https://blog.ims-online.com/Podcast: https://ims-online.com/podcasts/LinkedIn: https://www.linkedin.com/in/charlesgood/Twitter: https://twitter.com/charlesgood99Chapters: (01:30) Introduction (02:40) Tip: Why Swift Succeeded Where Other Young Artists Failed (05:10) Technique: Understanding and Connecting with Target Audiences (06:00) Tool: The Marvel Comics Comparison: Tapping Overlooked Markets (08:00) Technique: Strategic Transition from Country to Pop Music (11:30) Tool: Turning Controversy into Strategic Advantage (15:00) Technique: The Job-to-be-Done Theory in Swift's Career (19:20) Tool: Productive Paranoia: Staying Ahead of Industry Changes (22:10) Tip: Leadership Lessons from Swift's Reinvention Process (25:50) Conclusion
SHOW THEMESCatherine and James cancel everyoneSHOW NOTESCatherine's terrible yearJames is undone by performance artThe continuing drama of Orlando Museum of ArtDe Groft is dead (?)An 1840 selfie to 1960s advertising: Eight images that tell the story of America"American Photography" at the Rijksmuseum, Amsterdam"This is not a commercial, this is my homeland" (1998) by Hulleah TsinhnahjinnieTurn your notifications offHow is Jasmine Crockett 44!?DUMP MetaOk, well now where just go full politicalOn Tyranny by Timothy Snyder"Do not obey in advance"DUMP Amazon and the Washington PostDump it all, it's not easy, but do it anywayThe list of No-No words"Language is everything"Catherine's terrible five years
***Complete our short survey by Tuesday, April 8, 2025 to be entered for a chance to win Standlee free product coupons and some fun Standlee swag – https://www.surveymonkey.com/r/btb2025podcast_______________________________On this episode, co-host Katy Starr and guest Sarah Dean, the incredible artist behind Sarah Dean Arts, discuss her journey as an equine artist, including:How her real-life experience with horses brings authenticity to her artThe struggles she's faced with marketing her art on social media and how she's built a thriving followingHow one unfinished painting changed EVERYTHING about her futureFrom crayons in childhood to oil paintings in her studio today, Sarah's passion for horses and art has remained the same. The challenges she's faced along the way have only made her more determined, proving that resilience is just as important as talent.Have a topic idea or feedback to share? We want to connect with you! Email podcast@standlee.com_______________________________*Views and opinions expressed by guests are their own and do not necessarily reflect the view of Standlee Premium Products, LLC.*_______________________________Connect with Sarah on social platforms and her website – Instagram - @sarahdeanartsFacebook - @sarahdeanartsTikTok - @sarah-dean-artYouTube - @sarahdeanartsWebsitePurchase her (and her horse Cheesecake's!) favorite Standlee product here Love the podcast? Leave a rating and review on Apple – https://podcasts.apple.com/.../beyond-the-barn/id1541221306Leave a rating on Spotify – https://open.spotify.com/show/3dmftQmwLKDQNueUcCJBZaHave a topic idea or feedback to share? We want to connect with you! Email podcast@standlee.comShare our podcast and learn more about our co-hosts at our Beyond the Barn podcast pageSUBSCRIBE to the Beyond the Barn podcast email to be an exclusive insider!Find us on Apple, Spotify or Google Podcasts and SUBSCRIBE, so you never miss an episode._______________________________Check out the Standlee Barn Bulletin BlogFind more nutritional resources from Dr. Stephen Duren and Dr. Tania Cubitt at https://www.standleeforage.com/nutrition/ Connect with Standlee on Facebook, Instagram, YouTube and TikTok
In this episode, I sit down with Brianna Lance, a multi-faceted modern day Renaissance woman. Brianna, a self-taught artist based in New York City, has worn many hats over the years - from music to fashion to now a full-time artist living in the East Village. Her paintings, rich in fantastical detail and spontaneous form, serve as portals to dimensions that words often fail to describe. In this episode, we sit down with Brianna as she shares her story, which is one of transformation, perseverance, and trust in the divine timing. “I think if you have that intention, it's sort of like you can never really actually fail, no matter what the outcome is, because your intentions are pure.” - Brianna LanceTOPICS COVEREDHow Brianna transitioned from fashion to fine artThe spiritual dimensions that inform Brianna's creative processThe power of intention in creative work and personal growthBrianna's love for the TarotNavigating life's changes with grace and opennessGuest Info:Brianna's WebsiteBrianna's CollectionBrianna's InstagramGet in Touch:Benshen.co WebsiteBenshen MembershipBenshen.co InstagramRate, review, and subscribe on Apple Podcasts, Spotify, Google Podcasts, or on your favorite podcast platform.
Today, we're meeting Dana Barqawi, a multidisciplinary artist and urban planner based in Amman, Jordan. Dana's stunning multimedia work challenges colonial narratives and explores Indigenous identities and aspects of womanhood and community.Growing up with women who painted, sewed, designed, and made art, Dana has a long-standing fascination with detail. She works from a workshop studio in Jabal al Weibdeh - one of my favorite neighborhoods in Amman – fusing elements of painting, photography, and applied materials like gold leaves and beads in her politically and socially engaged artwork. Reminder: this May, you can join my 10-day group trip to Jordan where we'll meet artists like Dana and see their art. Get more details here.What you'll learn in this episode:Dana's path from architecture and urban planning to socially engaged artThe main element in Dana's artThe stories behind Dana's latest exhibit, (Re)Narrate: A Visual Commentary on Colonial Narratives in the Levant & AfricaHow the Black Panther movement in the US is connected to the Palestinian liberation struggleFeatured on the show:Follow Dana on Instagram: @dana_barqawiLearn more about Dana's work on her websiteCheck out the (Re)Narrate exhibit Shop Dana's art postersGet more information at: Going Places website Join our Going Places newsletter to get updates on new episodes and Yulia's travel storytelling work. Subscribe at goingplacesmedia.com/newsletter!For more BTS of this podcast follow @goingplacesmedia on Instagram and check out our videos on YouTube!Please head over to Apple Podcasts and SUBSCRIBE to the show. If you enjoy this conversation, please share it with others on social and don't forget to tag us @goingplacesmedia!And show us some love, if you have a minute, by rating Going Places or leaving us a review wherever you listen. You'll be helping us to bend the arc of algorithms towards our community — thank you!Going Places with Yulia Denisyuk is a show that sparks a better understanding of people and places near and far by fostering a space for real conversations to occur. Each week, we sit down with travelers, journalists, creators, and people living and working in destinations around the world. Hosted by Yulia Denisyuk, an award-winning travel journalist, photographer, and writer who's worked with National Geographic, The New York Times, BBC Travel, and more. Learn more about our show at goingplacesmedia.com.
What role does appearance play in shaping perceptions at work, especially in customer-facing roles? That's what you're going to learn from this episode from my guest, Alexandra Sagaydak, Chief Customer Officer at PeopleForce. We talk about the importance of appearance in the workplace, especially in customer-facing roles, and how it can influence perceptions and interactions. Alexandra also shares her experiences of moving from Ukraine to Romania, her extroverted personality, and her passion for makeup and art. We also talk about the unique challenges and rewards of working in a startup environment. Alexandra provides valuable insights about the world of startups, including the opportunities for career growth, the importance of adaptability, and the potential for burnout.In this episode:Alexandra's background and move to RomaniaExtroversion and social experiencesAlexandra's passion for makeup and artThe impact of appearance in the workplaceAlexandra's career journey in customer successWorking in startupsAdvantages and challenges of startup lifeWhether you're considering a career in customer success, curious about the startup culture, or simply interested in makeup tips, don't miss this episode full of useful information and inspiration.Follow Alexandra!__________________________________________________About Women in Customer Success Podcast: Women in Customer Success Podcast is the first women-only podcast for Customer Success professionals, where remarkable ladies of Customer Success connect, inspire and champion each other. Follow:Women in Customer Success Website - womenincs.co/podcast LinkedIn - linkedin.com/company/womenincs Instagram: https://www.instagram.com/womenincs.co/ Host Marija Skobe-Pilley Website - https://www.marijaskobepilley.com/ LinkedIn - https://www.linkedin.com/in/mspilley/ Get a FREE '9 Habits of Successful CSMs' guide https://www.marijaskobepilley.com/9-habits-freebie NEW - Women in Customer Success Courses: Thriving as a First-Time People Leader - https://womenincs.co/thriving-as-a-first-time-people-leader The Revenue CSM - https://www.marijaskobepilley.com/the-revenue-csm
Daniel McInerny is associate professor and chair of the philosophy department at Christendom College in Front Royal, Virginia. He is also a novelist and dramatist. As a scholar, Daniel is foremost interested in reactivating an Aristotelian understanding of mimetic art, long out of favor among philosophers. His latest book is Beauty and Imitation: A Philosophical Reflection on the Arts. At Christendom College Daniel teaches courses on the Philosophy of Art & Beauty, the Philosophy of Technology, the Philosophy of Culture, and Poetic Experience & Truth. In March 2023 Chrism Press published his novel, The Good Death of Kate Montclair. Daniel is also the author of a play, The Actor, which will premiere in November 2024. Daniel also writes the Substack newsletter, The Comic Muse, where he shares stories and sketches from his studio.In this second part of our conversation, we talk about:The importance of choice over chance in compelling narrativesThe moral dimension of storytellingThe relationship between subjective and objective beauty in artThe significance of context in art appreciationTo learn more about Daniel and his work:Newsletter: https://danielmcinerny.substack.com/Beauty and Imitation: https://a.co/d/cNquN03The Good Death of Kate Montclair: https://a.co/d/0KKy0PSPodcast: https://danielmcinerny.substack.com/podcast This episode is sponsored by:John Templeton Foundation (https://www.templeton.org/)Templeton Religion Trust (https://templetonreligiontrust.org/)Support the show
In this episode Andie gives you a little catch up on life and talks about the importance of presence in shifting how you see your life, how you value yourself, and how you create the most rich, deep and exciting life possible for YOU.If you are looking for a cozy mindset shift and a way to change your perspective on what's coming next, this bite sized episode is PERFECT for you!What we cover:Little life updateThe importance of presenceSeeing your life as artThe mindset shift to help you find clarityAnd more...Join the FREE Shedding Your Layers MasterclassFREE & LOW COST RESOURCES FOR YOU: Get the free journal here email list here! Check out my website here! Follow on Instagram @andiecolleen and TikTok @andie.colleen for more mini-trainings, tips, and advice. SUPPORT THE SHOW:Please subscribe, rate, and review over on Apple Podcasts and Spotify to help support Mindset Magic! Follow along on Instagram and TikTok for updates, giveaways, and more inspo!
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
Anthony Meindl is an award winning writer/director, best selling author, and founder of international Anthony Meindl's Actor Workshop. He's worked with 2-time Golden Globe Nominee Shailene Woodley, BAFTA Nominee Daryl McCormack, Grammy Winner Camilla Cabello, Bridgerton's Phoebe Dynevor and Simone Ashley, Pop Star Suki Waterhouse and hundreds of others, and is known as the Tony Robbins of Acting Coaches. He has also written 5 best-selling books on creativity and silencing your inner critic, including the groundbreaking, At Left Brain Turn Right, and his newest book UNSTUCK. And is currently in post-production on his second feature film (about the climate crisis), after selling his first film to Hulu. In this episode, we talk about:Protest as a form of artThe feeling path and how to feel your feelings as an artistThe risk of sharing your artSocial media & artistsThe relationship between artist & audienceHow to keep making things and keep the hope aliveConnect with Anthony:https://www.anthonymeindl.com/@anthonymeindl
SUMMIT OF GREATNESS IS UNDER 2 WEEKS AWAY! Have you gotten your tickets yet? Get them before they sell out at lewishowes.com/ticketsGet ready for an inspiring and heartfelt conversation with the multi-talented Marlon Wayans! In this episode, we dive deep into Marlon's journey as a comedian, actor, and producer, exploring how he's evolved both personally and professionally over his 30-year career. Marlon opens up about his spiritual growth, the impact of losing his parents, and his mission to bring healing through laughter. From his ambitious goals in stand-up to his thoughts on success and failure, Marlon's insights will leave you motivated to embrace your own path to greatness. Don't miss this powerful episode that combines humor, wisdom, and raw emotion!In this episode you will learnHow Marlon is incorporating spiritual growth and healing into his comedy specialsThe importance of continual learning and growth in pursuing your goalsWhy Marlon believes in doing a new stand-up special every year, contrary to industry normsHow losing his parents has shaped Marlon's perspective on life and his artThe value of building the right team and treating yourself as a businessMarlon's approach to overcoming fear and embracing new challengesThe power of trusting in your journey and viewing greatness as a ongoing processFor more information go to www.lewishowes.com/1662For more Greatness text PODCAST to +1 (614) 350-3960More SOG episodes we think you'll love:Eckhart Tolle – https://link.chtbl.com/1463-podRhonda Byrne – https://link.chtbl.com/1525-podJohn Maxwell – https://link.chtbl.com/1501-pod
Episode 48 - From Burnout to Filmmaking with Tara Massey In this episode of the Faith and Family Filmmakers Podcast, hosts Geoffrey Whitt and Jaclyn Whitt interview Tara Massey, who, alongside her husband Jason, founded Dove Light Studios. The discussion covers Tara's journey from running a photography business to establishing a film studio and producing their first full feature film, 'Do Not Grow Weary', featuring Dean Cain. Tara shares experiences about working with JC Films, challenges faced, and how their faith has guided their creative endeavors. She also introduces her podcast, 'Movie Worthy Stories,' which aims to showcase true stories and potential film adaptations. Additionally, Tara discusses her background in acting, ultra-running, and the personal impact of creativity and storytelling on her life.Welcome and IntroductionThe Birth of Dove Light StudiosTransition to Video ProductionThe Turning Point: Burnout and RevivalCreating 'Do Not Grow Weary'Current Projects at Dove Light StudiosThe Movie Worthy Stories PodcastThe Power of TestimonyFinding Purpose: Tara's Acting JourneyFamily InvolvementFavorite GenreThe Impact of ArtThe impact of Mark Hall and Casting CrownsDo not Grow Weary: Movie DetailsTara Masey is a mom of 2, a loving wife, and a child of God. She's also an actress and a producer. She and her husband founded Dovelight studios, She worked with Dean Cain on her most recent project, which she and her husband produced with their film club.Dove Light Studios: https://www.dovelightphotography.com/Tara on facebook: https://www.facebook.com/search/top?q=taraelizabethmasseyTara on Instagram: https://www.instagram.com/taraelizabethmassey/Featured Ad: Mark Stewart Iverson's "For Prophet": https://forprophetfilm.com/The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every Monday, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. Please help by becoming a supporting member or leaving One-Time Donation.Get Email Notifications Enter the Faith & Family Screenwriting Awards festival Faith and Family Screenwriting Academy: https://www.faffassociation.com/Script Notes and Coaching: https://www.faffassociation.com/script-servicesCopyright 2024 Ivan Ann Productions
In an age of endless distractions and obligations, it's easy to lose sight of the importance of self-care and mindfulness, especially for parents juggling the demands of raising children while pursuing their passions. But what if we could find a way to integrate mindfulness into our creative pursuits and parenting journey, leading to greater well-being and deeper connections?This week, I'm delighted to welcome Maria Gehrke, a watercolor artist and IT professional who beautifully embodies the intersection of art, mindfulness, and parenting. Maria shares her inspiring journey of rediscovering her creativity after becoming a mother and how she has woven mindfulness practices into both her art and her parenting.In this episode, we delve into Maria's integration of mindfulness into her creative process, discussing how personalized art can serve as a therapeutic tool for both the creator and the client. We also explore how mindfulness has transformed her parenting journey, fostering deeper connections and greater presence in everyday moments.Join us as we uncover the transformative power of mindfulness in art and parenting, and discover how it can lead to greater emotional resilience, creativity, and joy in all aspects of our lives.Topics CoveredHow mindfulness influences Maria's watercolor artThe significance of nature in Maria's creative inspirationPersonal and client experiences with "Your Portal to Your Refuge"Mindfulness practices that enhance creative expressionMaria's transition to mindful parenting and its impact on her lifeStrategies for nurturing emotional regulation in childrenInsights from co-founding "The Becoming Mindful Podcast"The role of collaborative art in fostering mindfulness and growthCreating tranquil spaces through visualization and personalized paintingsThe intersection of creativity, mindfulness, and personal developmentTranscriptYou can find the transcript on the episode's web page by clicking here.Maria's Bio & ResourcesMaria Gehrke, a multifaceted watercolor artist and IT professional, bridges the gap between technology and art with a focus on nature and mindfulness. Since moving from Germany to Wisconsin in 2007, she has found inspiration in nature and her personal mindfulness journey, leading to the creation of her unique art series like "Windows to Nature" and "Mini Portals To Tranquility." These culminated in her 2023 project, "Your Portal To Your Refuge," a collaborative art experience designed to manifest tranquil spaces for her clients. Find out more about this mindful art experience here: Your Portal To Your Refuge Alongside her artistic endeavors, Maria co-founded the Becoming Mindful Podcast in 2021, aiming to explore and share her mindfulness journey with a broader audience and encourage others on this path. Tune in here: Becoming Mindful PodcastBalancing a busy life with a small child, a husband, and two dogs, her work embodies her commitment to mindfulness, creativity, and compassion.Zen Habits ResourcesZen HabitsThe Fearless Living AcademyFearless MasteryCoaching with LeoConnect with Leo
A GOP school board member tried to ban a student's art for being 'offensive' to ChristiansThe Advocate Mag, By Ryan Adamczeski, on May 9, 2024https://www.advocate.com/news/virginia-augusta-school-board-gay-artThe panel delved into the story of Abby Driscoll, a queer student at Fort Defiance High School in Virginia, whose artwork sparked significant controversy. Driscoll's piece depicted praying hands holding a red rosary, surrounded by a rainbow-colored Bible with the caption, "God loves you but not enough to save you." This provocative artwork was an expression of her experience navigating her identity in a predominantly Christian environment.The artwork drew the ire of Tim Simmons, a conservative school board member, who found it offensive to his faith. Simmons went to great lengths to have the artwork censored, even calling for an emergency school board meeting. Despite being mocked by constituents and lacking support from his peers on the school board, Simmons continued his efforts, highlighting a persistent tension between personal beliefs and public education.The episode also touched on broader themes of artistic freedom and the role of art in challenging societal norms. Eli, one of the panelists, argued that the true offense lies in the discrimination faced by LGBTQ+ individuals, not in the artwork itself. He emphasized the importance of confronting uncomfortable truths to foster personal and societal growth.Jimmy pointed out that Simmons' lack of support from other school board members and his subsequent appeal to social media were indicative of a broader issue. He criticized Simmons for prioritizing personal offense over the educational needs and emotional well-being of students. Jimmy further discussed the inherent value of art in provoking thought and encouraging dialogue, suggesting that the controversy itself underscores the power and importance of Driscoll's work.Cynthia elaborated on the implications of censorship in schools, noting a troubling trend where parental and ideological pressures increasingly dictate educational content. She highlighted the importance of maintaining a clear separation between church and state in public education, ensuring that curricula are shaped by educational rather than religious or personal beliefs.The panel unanimously agreed that the function of art, especially in an educational context, is to provoke thought, inspire conversation, and reflect diverse experiences. They applauded Abby Driscoll for her courage in expressing her truth through art, despite the backlash. The discussion underscored the vital role of artistic expression in addressing and challenging societal injustices, particularly for marginalized communities.In summary, Abby Driscoll's artwork and the subsequent controversy with Tim Simmons serve as a poignant reminder of the ongoing struggle for LGBTQ+ acceptance and the critical importance of protecting artistic freedom in educational environments. The Non-Prophets panel highlighted how art can serve as a powerful catalyst for social change, fostering essential conversations about identity, faith, and human rights.The Non-Prophets, Episode 23.22.1 featuring Kelley Laughlin, Eli Slack, Jimmy Jr. and Cynthia McDonaldBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-non-prophets--3254964/support.
I mispoke about the upload Schedule. The next two will be X-Men to get the shows properly switched around. See you all next week for more Anime. Aformentioned social media: X/Twitter: Audio_dee Tumblr: audiodee The tumblr artThe production art Hosted on Acast. See acast.com/privacy for more information.
Grab your popcorn, kickback and gear up for a fireside chat on today's episode! Jonny Quatro is a longtime friend and has recently jumped onto the scene composing, co-producing and performing his first album! We get real and talk about the role of storytelling in music, perfectionism, mental health, authenticity, responses to unsolicited advice and so much more. Check out his songs on Spotify and follow him on IG @jonnyquatromusic...Enjoy! TakeawaysThe importance of storytelling in music, movies, and artThe challenges of being an artist in the music industryThe balance between authenticity and perfectionism in creative endeavorsThe impact of mental health struggles on creativityThe role of specific and relatable lyrics in connecting with an audience Music is not just about the sound, but also about the time, space, and cultural references that shape it.Talent is not the biggest hurdle in the music industry; distribution and becoming known on a large scale are the real challenges.Rock stars of the past were often admired for their music and their persona, but today's artists face higher expectations of moral behavior.Creating music is a personal journey that allows for self-expression and the opportunity to leave a lasting legacy.Success in music should be measured by the joy of creating and connecting with an audience, rather than by external markers of fame or popularity.Follow me on Instagram @ johnskomski for daily intrapreneurial motivation and learn more about Investing Inward at https://jskomski.com/Music:Hindsight (Instrumental) by Fivefold (used with written permission)By Your Side by Caslow, Bertie Scott & Patfromlastyear (used with written permission)Keywords: music, movies, superheroes, storytelling, art, mental health, authenticity, perfectionism, music, songwriting, branding, storytelling, talent distribution, cultural references, rock stars, authenticity, personal growth, goals
On today's 178th episode of The Thriller Zone, David Temple and Scott Carson, author of Lost Man's Lane, discusses his writing process and the importance of voice in storytelling. He shares his experience working with a private investigator and how it influenced his latest novel. Carson also talks about the power of face-to-face interviews and the impact of feedback on the writing process. Scott offers advice to aspiring writers, emphasizing the importance of reading widely and keeping goals close to the vest. The conversation concludes with a discussion on the magic of voice and the thrill of having respected authors read and praise your work.TakeawaysUsing a pen name can help differentiate between different genres and target specific readerships.Supernatural stories can be challenging to write well and appeal to skeptics, but the satisfaction of success is greater.Readers often have preferences for certain genres and may be more open to different types of stories within those genres.As a writer, it's important to challenge yourself and try new things to continue growing and producing your best work.Building a connection with readers is crucial, and they will follow you across genres if they enjoy your writing style and storytelling. The importance of having fun and taking risks in life and artThe power of voice in writing and the uniqueness each writer bringsThe value of reading widely to improve writing skillsThe benefits of keeping writing goals private and avoiding early feedbackSound Bites"If people like your prose, be whatever flavor it is, they're going to follow you wherever you go.""The supernatural stories are by far the more difficult ones for me. But the satisfaction of sticking the landing is maybe a little bit greater.""I don't think you're ever going to get your best work by staying in the familiar. It's going out there and getting a little bit dangerous.""We only get one crack at this life. So why don't we just have fun with it?""The thing that makes your heart beat a little faster, whatever your emotional cues and triggers are, those are going to still be there no matter how different the story world might be.""Write the first draft with the door shut.”"Voice is the magic, the thing that makes it work.""Read widely because it's all grist for the mill.""Keep your goals close to the vest for as long as possible."Chapters00:00 Introduction and Face-to-Face Interviews05:15 The Impact of Face-to-Face Interviews09:33 Advice for Aspiring Writers14:45 The Magic of Having Respected Authors Read Your Work The Thriller Zone with David Temple is sponsored in part by Blackstone Publishing.
This Podcast discusses a conversation with Angel, a Tacoma Area tattoo artist, about her journey into the tattoo industry, the skills required, the therapeutic aspect of her work, the need for more diversity and representation in the field, and her community work with the Hundredth Monkey art organization, with future steps including sharing resources on trauma-informed practices, promoting body art in professional spaces, and continuing the conversation about making art more accessible and inclusive. Check out and support Lil' Angel's Ink Artisty: https://m.facebook.com/lilangelink/?locale=hi_INSupport the 100th Monkey Tacoma Art Event: https://www.facebook.com/Tacoma100thMonkey/ https://www.facebook.com/events/6804563089672218/?ref=newsfeedGender Diversity & Gatekeeping in Art IndustriesJosephine explores gender diversity within artistic communities while discussing gatekeeping practices that have historically affected women in various industries. Angel shares insights into challenges faced by women in male-dominated spaces like heavy metal music culture and traditional views within certain segments of the tattoo industry. Both hosts emphasize creating more inclusive environments by supporting diverse artists while addressing issues related to cultural appropriation. Evolution of the Tattoo IndustryThe interview discusses the evolution and growth of the tattoo industry, highlighting the increasing diversity and inclusivity within the community. Angel shares her experience as a female tattoo artist and emphasizes the importance of an open-minded approach to different artistic styles and artists. The conversation touches on historical aspects, acknowledging that tattooing has been a significant art form across various cultures for centuries. Trauma-Informed Tattooing and Personal Storytelling through TattoosAngel's experiences working with clients who have had traumatic medical experiences or seek to cover scars with meaningful tattoos. Josephine's exploration of how tattoos can serve as a form of storytelling, reclaiming personal narratives, especially for marginalized communities. The role of trauma-informed care within occupational therapy paralleled with trauma-informed tattoo practices. Collaboration in Art WorkshopsThere was a focus on trauma-informed community art workshops as a means to make different art forms accessible to people with disabilities while fostering collaboration between occupational therapists and tattoo artists. Occupational Therapy and ArtThe conversation delved into the historical connection between occupational therapy and the arts, exploring how creating art can be naturally therapeutic for individuals and communities. Evolved Living Network Instragram @EvolvedLivingNetworkFree Occupational Science 101 Guidebookhttps://swiy.co/OS101GuidePodcastOS Empowered OT Facebook Grouphttps://www.facebook.com/groups/1569824073462362/Link to Full Podcast Disclaimer https://docs.google.com/document/d/13DI0RVawzWrsY-Gmj7qOLk5A6tH-V9150xETzAdd6MQ/edit
How does one continue to make art while depressed? Artist Kal Anderson (he/they) has created a large body of work through the ups and downs.Topics include:Questioning the value of artThe process of creating many things you don't likeAsking for helpPerspective on your work and practiceWhether depression is artistically "useful" (spoiler alert: mostly, no)Deciding What to Buy (For Your Business): free chat Apr 4 2:30pm EST Connect with Kal: kalanderson.com for fine art, leather, creative coachingInstagram @kalandersonartResources:Like Your Brain community spaceTranscript DocEmail Newsletter Hosted on Acast. See acast.com/privacy for more information.
In this week's episode of What Happens In Between, I sit down with Ola Akinmowo, the Founder, Curator, and Creator of The Free Black Women's Library: a Black feminist literary hub and community care space that features a collection of over 5000 books written by Black women. Ola helps us understand how to explore the different routes of expression, creation, and art as a ritual of self-actualization. How do we explore our own identities in a society that is anti-Black and anti-woman? Join us on today's episode as we explore what it means to be a Community Curator and a Self-defined Black Woman — who is choosing to thrive.Topics Covered:Questions around speculative fiction, collage work, and performance artThe concept of third spaces and commodification to assign valuePros and cons of social media: a meal for consumption Community as a connection to a common goal and how to learn from each otherThree questions for our Seedling RoundOla's perception of what it means to “be free”How Black women have to be a contradiction to exist fully Guest Info:Ola is an interdisciplinary artist and the curator, founder, and creator of The Free Black Women's Library, a Black feminist literary hub and community care space that features a collection of 5000 books written by Black women. This particular work is fueled by the tenets of Black Feminism, Community Care, and the transformative power of reading and creating to liberate, affirm, and heal.Connect with Ola Akinmowo on Instagram, Facebook, and The Free Black Women's Library Website. Support The Free Black Women's Library here. Follow Us:InstagramWebsiteFull DescriptionWe can use speculative thinking as a type of dreaming as an expansive way to dream big. As the curator, founder, and creator of The Free Black Women's Library, Ola is interested in the infinite possibilities in which we can see the world. She uses the library as a co-creation process between humans and the physical space they occupy. How does community care transform the world when there is a seat at the table for everyone? The Free Black Women's Library is considered a third space, but in Ola's words, it's “a space where black women can come and learn to read. To feel safe and feel free, within an anti-black, misogynist, misogynoir, patriarchal capitalist society.” Commodification is how we assign value — labeling and categorizing things help people better understand the mission. But how does language serve as another layer to what already exists, instead of a contradiction? Ola reminds us to explore the different routes of expression, creation, and art as a ritual of self-actualization. Freedom is accessible, but there's no finality to it. Join us on today's episode as we explore what it means to be a Community Curator and a Self-defined Black Woman — who is choosing to thrive. Hosted on Acast. See acast.com/privacy for more information.
Wayne Brezinka is an award-winning artist based in Nashville, Tennessee. Wayne's signature style of art incorporates detailed mixed media and assemblage techniques applied to discarded and repurposed materials. He has been a contributing artist to numerous publications, including The Washington Post, The New York Times, POLITICO Europe, and others.In this episode, we talk about: Challenging societal expectations of pursuing a career in artHow creating art facilitates a deeper connection to one's selfHow Wayne flourished in the world of art FreelancingThe power of sharing your expertise with othersBringing to life the world of Mister Rogers through Wayne's exhibitHosting workshops to allow people to unlock their most artistic selvesOn channeling your inner fears and letting them guide your artThe powerful community aspect of creating artTo learn more about Wayne's work, you can find him at: https://www.waynebrezinka.com/ Support the show
Glam & Grow - Fashion, Beauty, and Lifestyle Brand Interviews
Violette_FR, born out of Violette's meteoric rise in the beauty industry, gained recognition after being featured by Vogue France. With an impressive career working with renowned brands like Dior, La Mer, Estee Lauder, and Guerlain, Violette decided to venture into her own creative space. In 2016, she launched her YouTube channel, fostering a vibrant community of beauty enthusiasts. 2021 marked the debut of VIOLETTE_FR, her multi-category vegan beauty brand. Inspired by those seeking a natural yet creative aesthetic, the brand focuses on individuality, efficacy, efficiency, luxury, and accessibility. Violette prioritizes clean, highly pigmented formulas and environmentally conscious packaging, earning the brand popularity among celebrities such as Rosie HW, Drew Barrymore, Joan Smalls, Jen Atkin, Jessica Alba, Karlie Kloss, and more.In this episode, Violette also discusses:How she did it her way in beauty with no real training and a background in fashion and artThe importance of celebrating individuality and differences, rather than fixating on trends.Moving to the US and building the brand in a “French car with American gas”Creating truly innovative products like the new invisible bandage gel What's next for ViolleteWe hope you enjoy this episode and gain valuable insights into Violette's journey and the growth of VIOLETTE_FR. Don't forget to subscribe to the Glam & Grow podcast for more in depth conversations with the most incredible brands, founders, and more.Be sure to check out VIOLETTE_FR at www.violettefr.com and on Instagram at @violette_frThis episode is sponsored by Shopify.Shopify POS is your command center for your retail store. From accepting payments to managing inventory, Shopify has EVERYTHING you need to sell in-person. Sign up for a one-dollar-per-month trial period at www.shopify.com/glamThis episode is brought to you by WavebreakLeading direct-to-consumer brands hire Wavebreak to turn email marketing into a top revenue driver.Most eCommerce brands don't email right... and it costs them. At Wavebreak, our eCommerce email marketing agency helps qualified brands recapture 7+ figures of lost revenue each year.From abandoned cart emails to Black Friday campaigns, our best-in-class team manage the entire process: strategy, design, copywriting, coding, and testing. All aimed at driving growth, profit, brand recognition, and most importantly, ROI.Curious if Wavebreak is right for you? Reach out at Wavebreak.co
In this podcast episode, Mark Brennan-Ing, PhD, and Nina I. Martinez discuss mental health challenges in people living with HIV and much-needed strategies to overcome these challenges to optimize engagement in HIV care, including:The increased rates of mental health disorders and substance use among people living with HIVHow mental health disorders contribute to challenges with adherence to HIV treatment and engagement in careHow social isolation and stigma can affect outcomes despite access to HIV care and ARTThe importance of mental health screenings as part of HIV careIntegrating mental health services into HIV care as a strategy to overcome mental health challenges being a barrier to carePresenter:Mark Brennan-Ing, PhDDirector of Research and EvaluationBrookdale Center for Healthy AgingHunter CollegeThe City University of New YorkNew York, New YorkNina I. MartinezPublic Health ConsultantLink to full program: https://bit.ly/3TqVnl1
Hello hello! Today I've got for you another between-season bonus episode. This time we're breaking format to talk about i know the end, a module I published earlier this year about going back home after a long time away and all the horrors that entails. Because if you can't occasionally publish something self-indulgent in your podcast feed, what's even the point of having one?My cohost for this is my friend Nico MacDougall, the current organizer of The Awards, who edited i know the end and had almost as much to say about it as I did.For maximum understanding of this episode, you can pick up a free copy of the module here and follow along (or skim it in advance).Further reading:The original i know the end cover artThe “oops all PBTA moves” version of i know the endThree of my short filmsMy previous written designer commentaries on Space Train Space Heist and CouriersJohn Harper talking with Andrew Gillis about the origins of Blades in the DarkThe official designer commentary podcasts for Spire and HeartAaron Lim's An Altogether Different River, which comes with a designer commentary versionCamera Lucida by Roland Barthes, a photography theory book that we talked about during recording but which I later cut because I remembered most of the details about it incorrectlyWhat Is Risograph Printing, another topic cut from the final recording because I got basically everything about it wrong while recording (the background texture of the module is a risograph printed texture)Before Sunrise by Richard LinklaterQuestionable Content by Jeph JacquesSocials:Nico's carrd page, which includes links to their socials, editing rates, and The Awards.Sam on Bluesky, Twitter, dice.camp, and itch.The Dice Exploder logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Sam: Hello and welcome to Dice Exploder. Normally each week we take a tabletop RPG mechanic, bait our lines with it, and cast them out to see, to see what we can catch. But you hear that different intro music? That means this episode I'm doing something much more self indulgent, a designer commentary on a module I released earlier this year called I Know the End.And just a heads up here at the top, to get the most out of this, you probably want to have at least read through the module in question before, or as, you're listening. I threw a bunch of free copies up on itch for exactly this purpose, so feel free to go run and grab one. I'll wait.Anyway, I love designer commentaries. You can find a few of my old written ones, as well as links to a few of my favorites from other people, in the show notes. But I wanted to try releasing one as a podcast, because one, that sounds fun, and two, what's the point of having a podcast feed if you can't be ridiculously self indulgent in it on occasion?And I picked I Know The End to talk about because it is... weird. I don't know. It's weird. I describe it on itch as a short scenario about returning home and all the horrors that entails. But you'll hear us take issue with, I don't know, maybe every word in that sentence over the course of this commentary. It was a strange experience to make this thing, and I figured that might be interesting to hear about.It was also the first time I ever worked with an editor Nico MacDougall my friend and the organizer behind The Awards since 2023. Nico was excellent to work with and you can find their rates and such in the show notes and they are with me today to talk through this thing in excruciating detail as you probably noticed from the runtime we had a lot to say. Definitely contracted two guys on a podcast disease. Anyway, I hope you enjoy this. But regardless, I'd love to hear what you think of it. Should I do more? Never again? Want to organize the Dice Exploder Game Jam we mused about doing at the end of this? Hit me up! I'd love to hear from you. And now, here is myself, I guess, and Nico MacDougall, with a full designer's commentary on I Know The End.Nico: Well, Sam, thanks for being here on your podcast to discuss your... adventure.Sam: You're welcome.Nico: Yes.Sam: for having me.Nico: Very first question is adventure: is that really, like, the right term for this?Sam: Are we really starting here? Like, I, I don't know. I, I feel like I got, I really went into this thing with true intentions to write a proper module, you know? Like I was thinking about OSR style play for like the first time in my life, and like, we were both coming out of the awards 2022 judging, and a lot of the submissions for 2022 the Awards were modules. I thought that was great but it really was sort of like opening the floodgates of this style of play that I knew basically nothing about. And, at the same time that we were reading through all 200 submissions for the awards, I was also reading Marcia B's list of 100 OSR blog posts of some influence.And so I was really drinking from the fire hose of this style of play, and also, I wasn't playing any of it. Like, I was experimenting with Trophy Gold a little bit, which is this story game that is designed to try to play OSR modules and dungeons as, like, a story game kind of experience. And I was kind of figuring out how it works and like how I wanted to run it and how to make it go And Joe DeSimone, who was running the awards at the time was just encouraging everyone to make weirder shit and like, that was his ethos and those were the people that he got to submit to the awards. Like, it was just the weirdest stuff that I had ever read in the RPG space and... That's probably a lie. There's some weird stuff out there.It was just like so much weird stuff. It was like stuff on the bleeding edge of a whole side of the hobby that I didn't participate in in the first place. My intro to this part of the hobby was the bleeding edge of it. And I was like, alright, I, I just wanna make something there, I wanna try playing around there and see what happens.And Joe tweeted out the tweet was like, Now we're all making modules based on songs that make us cry. And I was listening to the Phoebe Bridgers album Punisher on loop at the time to inspire a screenplay I was working on. And the last track is called I Know the End, and just ends with this, primal scream.And it was, it was a hard fall for me, at the time. And the primal scream felt really cathartic. And I was spending a lot of time in the, small town where I grew up. And, this horror monster idea of a town that is, itself, an entity and like is a whole monster, and like, what does that mean exactly? I don't know, but intuitively, I like, understand it, and we're just gonna kind of drive... towards my intuitive understanding of what this thing is supposed to be. I just decided to do that and see what happened. And did that give us an adventure in the end? I don't know. Did that give us a 32 page long bestiary entry in the form of a module? Like, that sounds closer to right to me, but also, taxonomies are a lie and foolish anyways.I don't know, I made a weird thing, here it is. Nico: Yeah. So I was scrolling back in our, in our conversation to where you first shared this with me, and I... I would like to share with the audience the text that accompanied it. It was the Google Doc, and then it said, This might be completely unplayable, it might actually be a short story, or, like, a movie, but I'm gonna publish it anyway, and, you know... If that isn't exactly it, like...Sam: Yeah I like that stuff. I don't know, another thing I've been thinking about a lot this fall is writing by stream of consciousness. Like, I realized that I don't have a lot of confidence in any of my work that I feel like I created quickly. Like, the RPG thing I'm most well known for, I think, is Doskvol Breathes, which I just pumped out in an afternoon. It was just a thought that I had on a whim about how you might play blades in the dark maybe. And I finished it and then I released it and people were like, this is amazing. And I still get complimented on it all the time. I'm still really proud of it, but it, I don't have any confidence in it because it came so quickly.And, like, I know that this is something I need to, like, talk about in therapy, you know, about, like, It's not real art unless I worked on it for six months straight, like, really worked my ass off. But this process, I sort of looked back over my career as a screenwriter, as a short filmmaker, as a game designer, and started realizing just how many of my favorite things that I've made came from exactly that process of the whole idea kind of coming together all at once in like one sitting. And even if it then took like a bunch of months of like refining like it's wild to me How much of my favorite work was created by following my intuition, and then just leaving it be afterwards.Nico: Yeah, I actually did want to ask about the similarity between your, like, process for TTRPG design versus screenwriting, cause... While I have read, you know, edited this, but also, like, read your your game design work and know relatively well your thoughts on, like, you know, just game design sort of theory and stuff in general, I have never read any, like, screenwriting stuff that you've done. Although, lord knows I hope to see it someday. Sam: Well, listen, if anyone listening to this wants to read my screenplays, I'm on Discord. You can find me and I'll happily share them all. My old short films are largely available on the internet, too. You know, maybe I'll link a couple in the show notes.Nico: oh yeah,Sam: But I I think of my process for screenwriting as really, really structural.Like, I, I'm a person who really came out of needing a plot and needing to know what happens in a story, and to really especially need to know the ending of a story so I know kind of what I'm going towards as I'm writing the thing. I outline like really extensively before I write feature or a pilot, like there's so much planning you have to do, I think it is really, really hard to write any kind of screenplay and not have to revise it over and over and over again, or at least like plan really carefully ahead of time and like really think about all the details, revise a lot, run it by a lot of people for feedback over and over. But especially for me that, that having an ending, like a target in mind when I'm writing is so important. I just don't know how to do it without that.Except occasionally when I get some sort of idea like this one where I have a feeling of vibe and I just start writing that thing and then eventually it's done. And I, I've never had that happen for a feature film screenplay or like a TV pilot kind of screenplay.But I have had a couple of short films come together that way where I don't know what the thing is, I just know what I am writing right now, and then it's done, and then I go make it. And I I don't know why that happens sometimes. Nico: Yeah, I mean I would imagine length plays a factor in it, right? Like a short film, or, I mean, gosh, how many pages did I know the end, end, end up being? Sam: 36. Nico: But I find that really fascinating that, too, that you say that when you're screenwriting, you have to have it really structural, really outlined, an end specifically in mind, when, to me, that almost feels like, well, not the outlining part, but having an end in mind feels almost antithetical to even the idea of, like, game design, or, I guess, TTRPG design, right?Even the most sort of relatively pre structured, Eat the Reich, Yazeeba's Bed and Breakfast, like, Lady Blackbird games, where the characters are pretty well defined before any human player starts interacting with them, you can never know how it's going to end. And it's kind of almost against the idea of the game or the, the sort of art form as a whole to really know that.Even games that are play to lose, like, there are many games now where it's like, you will die at the end. And it's like, okay, but like, that's not really the actual end. Like, sure, it's technically the end, but it's like, we have no idea what's gonna be the moment right before that, or the moment before that. As opposed to screenwriting Sam: yeah, it's a, it's a really different medium. I still think my need to have a target in mind is something that is really true about my game design process too.Like the other game that I'm well known for, well known for being relative here, but is Space Train Space Heist, where I was like, I have a very clear goal, I want to run a Blades in the Dark as a one shot at Games on Demand in a two hour slot. And Blades in the Dark is not a game that is built to do that well, so I want to make a game that is built to do that well, but like, captures everything about the one shot Blades in the Dark experience that I think is good and fun .And that may not be a sort of thematic statement kind of ending, like that's what I'm kind of looking for when I'm writing a screenplay, but that is a clear goal for a design of a game.Nico: Yeah. even In the context of I know the end, and to start talking a little bit about my role in this as well, as, as the editor, I think the point of view, the vibe, the, like, desired sort of aesthetic end point Was very clear from the start, from the jump. And I think that in many ways sort of substitutes for knowing the end of the story in your screenwriting process.So that really helped when I was editing it by focusing on like, okay, here's the pitch. How can I help sort of whittle it down or enhance it or change stuff in order to help realize that goal.And sometimes it kind of surprises me even, like, how much my games shift and change as they reach that goal. Like, sometimes you can, like, look back at old versions of it, and you're like, wow, so little of this is still present. But, like, you can see the throughline, very sort of Ship of Theseus, right? Like, you're like, wow, everything has been replaced, and yet, it's, like, still the thing that I wanted to end up at.Sam: Yeah, another thing that is, I think, more true of my screenwriting process than my game design process is how very common that in the middle of the process I will have to step back and take stock of what was I trying to do again? Like, what was my original goal? I've gotten all these notes from a lot of different people and, like, I've done a lot of work and I've found stuff that I like.And what was I trying to do? Like, I have, all this material on the table now, I have, like, clay on the wheel, and, like, I just gotta step back and take a break and refocus on, like, what are we trying to do. I Think it's really important to be able to do that in any creative process.To Tie together a couple of threads that we've talked about here, talked at the beginning of this about how much this felt like a stream of consciousness project for me, that I really just like, dumped this out and then like, let it rip.But also, I mean, this was my first time working with an editor, and I think you did a lot of work on this to make it way better, like really polish it up and make those edges the kind of pointy that they wanted to be, that this game really called for. And that makes this, in some ways, both a really unstructured process for me, and then a really structured process, and... I don't know what to make of that. I think there's something cool about having both of those components involved in a process. Nico: Yeah, it is. I I very much agree that like, yeah, most of my sort of design stuff have, has proceeded very much the same way of just kind of like sporadically working on it, changing stuff, like revamping it, whatever. And it's like, it's sort of, yeah, in a constant state of fluxx up until the moment where I'm like, okay, I guess it's done now.What I was gonna say, I was gonna jump back just a point or two which is you mentioned Clayton Notestein's Explorer's Design Jam. And I was curious, like, what was your experience, like, using that design template? Sam: Yeah I really enjoyed it, I really had a good time with it. I had already gotten really comfortable with InDesign just teaching myself during lockdown. Like, that's what I did for 2020, was I, like, laid out a bunch of games myself and they all looked like shit, but they all taught me how to use InDesign as a program.And I think templates are really, really valuable. Like it's so much easier to reconfigure the guts of another template than it is to create something from scratch.And I like Clayton's template. I think it's nice and clean. I think you can see in all the publications that have come out using Clayton's template, how recognizable it is. How little most people stray from the bones of it, and on the one hand, I think it's amazing that you can just use the template and go really quickly and like, get something out.And also I just want to push on it a little bit more. I want something, like the template is designed to be a template. It is not a suit tailored to whatever your particular project is. But also, I think if I had tried to lay this out without a template, it would look substantially worse, and there are a few notable breaks here and there that I, you know, I enjoyed experimenting with. I like the use of the comments column for little artwork. I think that was a nice little innovation that I added.And, you know, I didn't write this originally to have that sort of commentary column as a part of it. Like, all of the text was just in the main body of it. And I like the way it turned out to have that sort of, like, director's commentary thing hanging out in the wings. lot of people have talked about how much they like that in Clayton's template. so I, I don't know, like I, think that on the one hand a template really opens up a lot of possibilities for a lot of people and really opened up a lot of possibilities for me, and on the other hand I do still look at it and I see the template And I'm like, I hope this doesn't look too much like every other person whoNico: Right, right. I mean, that is definitely the difficulty of providing those kinds of tools, because like, it makes it very easy to make things especially if you're sort of just getting started, or if you don't have a lot of confidence or familiarity with it inDesign or anything like that. But ultimately, I feel like Clayton himself would say that the Explorer's Design Template is not intended to be, like, the final template, right? It's intended to be, like, a tool that you can use to varying effects, right?Yeah, I was thinking about it when I was going through this earlier, and I was like, Oh, yeah, like, you only use the comments, column a few times, and then I literally only realized maybe five minutes before you said it, I was like, oh, wait, all the little artwork is also in that little column thing, like you just said, and I was like, oh, that's like, that's actually a really cool way to use the template, because that space is already provided if you include that column, but just because you have the column that's, you know, quote unquote, intended for commentary, doesn't mean you have to use it for commentary, doesn't mean you have to put text in there.Sam: Yeah, you definitely like learn a lot of stuff about the guts of the thing as you start playing with it.Nico: Yeah. is probably getting on the level of, like, pretty pointless, sort of what ifs, but I'm curious... If Clayton hadn't done the Explorer's Design Template Jam, or if you had, for whatever reason, like, not been inspired to use that as the impetus to, like, make this and get it edited and laid out and published or whatever, like, Do you think you still would have tried to use that template, or would you have just tried to lay it out yourself, like you've done in the past?Sam: Honestly, I think without the jam this wouldn't exist. I have like a long to do list of things at any given time, like creative projects I wanna on, youNico: Oh, yeah,Sam: know? And the thing that brought this to the top of that to do list was just wanting to have something to submit into that jam. You know, I wanted to work with you as an editor. I Always want to clear something off the to do list. I always want to have some kind of creative project. And, I wanted to submit something to that jam, but I think if you took any one of those away, I might not have put the thing out at all. Nico: Yeah, that's really interesting. But I guess that's also, again, kind of what a good template or layout or just tool in general can help is actually get these things made. Sam: That's what a good jam can do, too, right? I mean, there's a reason the Golden Cobra contest is something that I love. It's like 40 new LARPs every year and they only exist because the Golden Cobra is throwing down the gauntlet.Nico: That's very true. Well, maybe it's time to move along to more practical concerns Sam: Maybe it's time to do the actual commentary part of this episodeWe've done the waxing philosophical part, butNico: we, yeah, checked off that Dice Exploder box. Now it's time to do the actual game talk.Sam: your bingo cards Nico: Yeah, Sam: Yeah, so let's start with the cover.Nico: Yes, the cover, which I only realized it was a teeth, that it was a mouth with teeth open when you said in the outline, ah yes, it's a mouth with teeth. And I looked at it and I was like... Oh my god, it is. Like,Sam: I did my job so well. I wanted it to be subtle, but I always like looked at it and was like it's so obviously teeth, I'm never gonna get this subtle enough. But I'm I'm glad to hear that I succeeded.Nico: I truly don't know what I thought it was before, but it definitely wasn't teeth.Sam: Yeah. Well, it started as I'll share this in the show notes. It started as this image. It was like a 6x9 layout, and, the teeth were still there, and it was like, all black, and the teeth were this much wider, gaping maw, like, inhuman, unhinged jaw kind of situation. And then, in the middle of it, was a, like, live laugh love kind of Airbnb sign with I Know The End on it. It was like the mouth, like, eating the sign.And I liked that. I felt like, the problem with that was that... As much as creepy, live, laugh, love sign is kind of the like, vibe of this, I didn't really want to bring in the like, kitsch of that at all, like, I felt like that kitschiness would hang over the whole thing if I made it the cover, and I mean, this whole thing is just about my own personal emotional repression, right? And my feelings about my small town that I'm from, andabout like, my ambition, and, exactly, yeah.But I, I write a lot, and I make a lot of art about emotional repression , and I think the particular vibe of this game's repression doesn't have space for irony, or satire, or like, Do you wanna live, laugh, love? Like, I don't know how else to put it. Like, it just felt really wrong.It was like, if you put that into the space at all, it's gonna curdle the whole feeling. Nico: it's about the framing of it. I, know that Spencer Campbell of Gila RPGs has written something about this on his blog. I don't remember specifically what the context is, but he's a psychologist by training and is talking about how, like, the way that you frame something matters a lot to how people respond to it, right?So you like, if you're framing it as like, oh, you have, twelve things and I take away six from you, versus like, oh, you have nothing and then you are given six things. It's like, both scenarios, you like, end up with six but Sam: One feels like a letdown and one feels great. Yeah,Nico: yeah, and so I think in his article he was talking about in the, yeah, you know, tying that into the game design context, obviously.And I think it matches here where like, sort of runs the risk of like, priming people to expect kitsch, and I don't think that that's really present in the rest of the game. And that kind of mismatched expectations could really, like, lead to some problems when people are trying to, like, play the game.Sam: Yeah, absolutely. Yeah, I mean this cover is just kind of like, oh. Like, it doesn't it doesn't really tell you much other than just like there's something back there that's maybe vaguely menacing, and that's kind of it. That's kind of Nico: Yeah.Sam: Alright, speaking of which can we, can we talk about my favorite interaction between the two of us as we were working on this?Nico: Oh, yeah, I was not sure how to bring that up. yes, please do. Now that we're moving on to... For everyone following along at home, we are proceeding to the credits page.Sam: The comment I got from you while you were editing this was, IDK if it would look different in print, but having the text so close to the edge of the page is activating my fight or flight response. And I just replied, working as intended.Nico: It yeah, I had the feeling, I think, even when I sent that, I was like, this, this is not like an accident. Like, like, like no one makes this like no one does this by accident. But, yes, truly, I hope that you are following along at home because I believe that Sam generously gave a whole bunch of community copies of this game, or made them available. Sam: I believe it was 42, 069 I'm usually doing some number like that. This game, I might have done a different number, but that's, the other games that I've done.Nico: So, but the text on this, for credits page specifically, it's truly, like, at the edge of the page. Like, it looks like it could be cut off. It's like, in print, it would be like, cut off by the process of actually like, making it. In fact, feels like if you try to send it to a printer, they could almost send it back and be like, you've gotta give us some space there. Like, you simply can't do that. There needs to be a gutter, or bleed, or whatever the term is. Like, Sam: I love it. maybe one day I will print this. Honestly, like if I become a super famous game designer or something, like, this is one of the ones that I Nico: screen, slash screenwriter.Sam: yeah, yeah. This is one of the ones I'd like to go back and hold in my hand, but I also I don't know, I just love it. I, I love designing for digital as, like, a primary thing, because I just feel like most people who play the thing are gonna play it out of digital.And I don't know if that's, like, the primary audience for a lot of modules. Like, I think there are a ton of people out there who just, like, buy the zine and hold the zine in their hand and probably never get around to playing it. But I, I love the digital. I've always loved the digital. I don't know, I just like making for it.Nico: Well I mean I was even thinking about it in the context of like, you know, how you talked about how you changed the aspect ratio, I was like thinking about that and I was like, I mean, it's not like that would be impossible to print, but like, most standard commercial printers operate in like, one of the more standard like, page sizes. Even the risograph you said is what it's called, right?Sam: The, the RISO. Yeah, I don't know if it's Rizzo or RISO, but I'm gonna sayNico: The RISO background also makes the, again, just from like a fully practical point of view, it's like you're adding color to the whole thing,Like there are many potential barriers to this as like a physical product that would, that are simply not there when you're designing for digital, so like, it is nice to have that sort of freedom, like, when you're thinking about how to lay this out or, or put stuff on here, it's like, you're freed from a lot of those practical considerations.Sam: There's a few other details I want to talk about on this page just kind of like references I'm making that are not obvious.So the first is that the header font and title font of I Know The End is a font that I ripped from Lilancholy, which is this amazing book by Snow, which is ostensibly a game, but but also a reflection on childhood and personal relationship to emotions and trauma.And I love the look of the font, but I also intentionally wanted to reference that game while I was making something that felt really personal in a similar vein. And another another reference here is that the color of the whole game, like this red, is pulled from the cover art for the Phoebe Bridgers album Punisher that I know the end is off of. I, I just found the, like, most saturated red pixel that I could on the album and was like, that's the color! I love hiding little references in every little detail that I can. Nico: Yeah, it's so interesting because I did not know any of that, you know, prior to this conversation or seeing that stuff on the outline. What did you sort of hope to achieve with those references, right? Because I can't imagine that you're plan was like, for someone to look at it and be like, oh my god, that's the Lilancholy font, and that's the Phoebe Bridgers album Sam: that's one pixel from that album cover.Yeah.What am I trying to achieve? I don't know, like there's, so the Paul Thomas Anderson movie Phantom Thread Is an amazing movie, and it's about Daniel Day Lewis being incredibly serious, scary Daniel Day Lewis, making dresses, being a tailor, and an element of the movie is that he hides his initials inside the dresses, like, when he's making them, he, like, sews his initials in.And that's a real thing that, that people did, and maybe it's just for him. It's also kind of an arrogant thing to do, you know, that all these, like, women are gonna be walking around wearing these dresses with, like, his initials kind of, like, carved, it's like this power thing. But my favorite part of it is that Phantom Thread is PT, also known as Paul Thomas Anderson.Nico: Ha Sam: And, like, like, I, I just feel like when you're doing that kind of thing, it's just, what an act, it's just so beautiful and arrogant and satisfying. Like I think doing that kind of little reference and joke for myself brings me into the mindset of what I am trying to convey with the game.Like, if I'm thinking in the detail of the font selection, what do I want to reference? What do I want to bring to this game? Then, I'm gonna be I'm gonna be thinking about that in every other choice I'm making for the game, too. And even if half of those choices end up being just for me, I will have been in the headspace to make the other half that are for everyone else, too.Nico: Mm hmm. Yeah. Yeah. like, You could almost even call these, like, Easter eggs, right?But it also made me think about, I had to look this up actually as you were talking, because I was like, about that, the CalArts classroom number that like all of the animators that studied there fit into like Pixar movies and stuff, like, A113, A113. And I think that's also sort of a good example of it in some ways, because it's like now, with the advent of the internet, and you know, and a certain way of engaging with media, like, everyone knows what that, what that means now, or they could if they just looked it up, or they just see some BuzzFeed, you know, article that's like, you know, 50 easter eggs that you missed in the latest Pixar movie.But yeah, it's like, it's very interesting because it kind of asks who is the movie for? What's the intended or imagined audience for all of these things? And it sort of shows that, like, you can have multiple audiences or multiple levels of engagement with the same audience, like, at the same time. Maybe, I would say, it's very unlikely that any random person would just like, look at the cover of I Know The End and be like, oh, that's the Lilancholy font, but,Sam: I have had someone say that to me, though. Yeah.Nico: but, so, what I was just gonna say is like, but I don't think it's hard to imagine that like, the type of person who would, who would buy, who would be interested in I Know The End or Lilancholy, I think there's a pretty decent chance that they would be interested in the other if they're interested in one of them, right?And so it is interesting as well, where it's like, I am often surprised by like the ability of people to sort of interpret or decipher things that far outweighs my sort of expectations of their ability to do so.If only just because I have the arrogance to be like, well no one could ever have a mind like mine. Like, no one could ever think in the specific bizarre way that I do. Then it's like actually a surprising number of people think in a very similar way. Sam: Another thing I think about with making these really, really tiny references, easter eggs, it's the, not making a decision is making a decision, right? CentrismNico: Oh,Sam: Like, if you have literally anything that you have not made a choice about with intention, that is a missed opportunity, I think.And... I have so much respect for people who will just pump something out, like, write a page of a game and, like, upload as a DocX to itch. Like, Aaron King is a genius, and I know a lot of games that are put out that way, and I love that stuff. But for me, like, the kind of art creation process that I enjoy and like doing is so based on finding meaning in every crevice, finding a way to express yourself in every detail. just love doing it.Nico: you are the English teacher that the, the curtains are blue meme is referencing, in fact.Sam: Yes.Nico: The curtains are blue in I Know The End because,Sam: Well, and I know the end they are red, but Nico: yes.Imagine that being the new version of the meme: the curtains in this are red because there's a Phoebe Bridgers album that has a single pixel that is that color.Sam: Yeah, I don't know. It's true, though.Nico: Exactly. it is in fact true. But so would, in some ways, any other interpretation of...Sam: Yeah.Nico: of the red color, right? It's like you picked it because of the association with the album cover. Someone else could be like, Oh, it means this otherthing. And like that interpretation is correct. Sam: Yeah, I mean, I also picked it because of its association with blood, you know, like I, I wanted to kind of evoke that feeling too, so.Shall we do the table of contents? HehNico: Yeah, absolutely. I mean, I think the most interesting thing to talk about, and I want to know when this entered the sort of the design process, is the blacked out Table of Contents entry which corresponds to an almost entirely blacked out, or in this case, redded out,Sam: Yeah, Nico: messily redacted,part of, the book,Sam: Yeah, I think this was always there, I think I started writing a list of locations very early on, and on that list of locations was, like, I work in Google Docs to begin with for most of my stuff, and it was a bullet pointed numbered list, and the last list item was struck through, and it was your mom's house.And I just thought that was a funny little joke. It's like really dark? Another, just like a little detail, I have such a great relationship with my parents. Like really just a better relationship with my parents than anyone I know. And, so much of my art ends up with these like, really bad, fucked up relationships with parents, and I don't know what that's about.But, there's, there's something about, there's a piece of your hometown that is like so traumatic that you can't bring yourself to look at it. There's a piece of yourself, or your childhood, or like, where you came up, there's something from your origin story that you can't bear to face is a lot of what this is about. And even as the climax of this thing is I think in a lot of ways turning to face everything that you left behind.I mean the whole module is about that but I think fact that even when you are doing that, there's one piece of it that you can't bear to look at is really tragic and a mood to me. You know, it really felt right. Nico: it's sort of like, yeah, I'm finally gonna stand my ground and face my fear, or whatever, except for that thing. That thing, that part over there, for whatever reason, because I'm actually just very afraid of it. It really, as always, is sort of like the exceptions to the rule make the rule, or emphasize the rule. You're kind of carving out the negative space around it. And it makes it clearer in so. so Well, Yeah, so like, then the first thing of the game text itself, so to speak, is like the front and back of a postcard. And where's the picture from? It looks kind of old timey in a sort of non specific way.Sam: It's from Wikimedia Commons, I believe. I was looking for pictures of old postcards, and I wanted a small town, and, this is what I found.The postcard image is actually like a hell of a photo bash too. The stamp on it is from a real postcard I received from my cousin. The handwriting was me on just like a piece of paper that I scanned, and then the postcard is another like open source postcard image.Nico: Yeah. I am, once again, sort of showing, showing a lot of my bias here. I am often kind of against a lot of little, like, accessories, or sort of, like, physical things that are often part of crowdfunding, like, stretch goals, you know, like, it's, I don't know. I don't think it's, like, ontologically evil or anything like that, it's just, I understand, it's part of the reality of crowdfunding, and, like, attracting attention, and yada yada yada, I just personally don't love that reality. Which, of course, is easy to criticize when you're not part of a project is trying to do that, but that aside, I think it would actually genuinely be very cool to have, like, this postcard as, like, a physical object like, if the game were to be printed.Sam: You gonna make me like, handwrite every one of the postcards too? Cause that isNico: I did not say that. Oh, is that really? Well, but then, then you have it already, you can just print it off, like, or you make that the, like, I don't know, the hundred dollar stretch goal, you know, they back it at that level and then the postcard just appears inside their mailbox. Like,Sam: That wa that is creepy. I will tell you that,Nico: You say that as though it's happened to you before. You're like, well, let meSam: well, I'm not, I, I revealing nothing. How autobiographical is this? Nico: Yeah. so I guess, yeah, so getting, So this is the introduction page, the background, the introduction, giving the context to what this module, extended bestiary, what have you, what it is. My question here from a sort of meta perspective is like, how much are you trying to sort of give away at the start of this? How do you pitch this to , like to someone you know?Sam: that's a great question. I'm pretty proud of the execution here. I think I do a good job of, like, leaving some juicy hints here as to what might be going on without giving anything away. Like, the fact that I advertise this as maybe closer to a bestiary entry than a module, like, uh, what? Like, like you, you have an idea of what that means, but also like, where's the monster, what is the thing that I'm looking like, that is kind of planted in your mind in a way that I think is intriguing and sets expectations without giving the whole thing away.And, also, this is just me, like, trying to figure out how to describe this thing in real time as I'm writing. It really came from intuition. Nico: yeah. I know that, you know you're on, very much on record talking about how, you know, like, taxonomy is fake and, you know, et cetera, et cetera. Sam: As much as I love it.Nico: right, right, exactly, I mean, I feel the same way, but I, I am curious as to like if you were trying to sell someone on the idea of even just playing this game, like, how effective do you think it is of like communicating whatever this is, you know, like, is it effective to say it's kind of this, or it's not this, or maybe it's this, like, Sam: I think this is going to be really good at reaching the kind of person who will love this, and really bad at selling this to like a mass audience, you know? But luckily, I'm not trying to sell this to a mass audience. I'm like trying to make Joe Dissimone proud, you know? Like I'm trying to make like something as weird as fucking possible.and I think there's a kind of person who really appreciates that and this struggle to define what this is using existing terminology, I think is going to really appeal to the people who like this.Nico: yeah, I agree, I think it signposts well hey, you, there, like, look at this thing. Isn't that interesting. And if they're like, If they're like, no, that's confusing and I don't know what to do with it, and they go somewhere else, in some ways, it could be argued that that is like, working as intended, right, likeSam: I kind of find it interesting in the sidebar here to watch me sort of like struggle with how you're supposed to play this game, like what rule system are you supposed to use?I do think with some distance from this, the best way to experience this is as a solo game. Like to just read the thing but pause and journal about your character's experience as you sort of walk through it. I have started playing more solo games since I wrote this in preparation for a Season 3 episode of the show, and I think this would serve that experience really well.I considered even, like, rewriting this to be more of explicitly a solo experience, but I, ultimately was really happy leaving it in its sort of nebulous, provocative, what if, is this, what is this sort of state. Nico: Yeah. I would genuinely be interested to have like, the two of us play the game, like this game, like one running it, one as the player, because I don't necessarily disagree with what you said, might be better suited as a solo game, but I really do think that there is something that can be gained about, like being in a room with, like, one other person, or, you know, being on a call with one other person, or whatever and going through this,Sam: Yeah, yeah, I can feel the intensity of that as you describe it. And it sounds harrowing and... Amazing. I do, I do have this dream of like running a Mork Borg dungeon, like over the course of like three sessions, and then like taking one of the players who survives and being like, I've got another module that I think we should play with the same character. Nico: yeah. Anyways, you go home and you think you're safe, but actually, like, Sam: I do think that this as a response to OSR play is really an interesting way to try to play the game, like to Nico: just sort of experienceSam: Yeah, to try to take the kind of character that you would have coming out of that and the experience you would have coming out of that and then like get tossed into this, like that disorientation I think would serve this really well and would do something that I found I really like to do with the OSR kind of play of like finding ways to bring in more character stuff, to just have people to reflect on their person, rather than on the logistical problem solving.Nico: Mm hmm. Which, of course, in some ways also is like, I don't want to say direct contradiction, but like, moving perpendicular to a lot of the sort of OSR principles, rightSam: But yeah, I mean, fuck em. Nico: exactly, I mean, I'm not, saying that to discourage you from doing it, I'm just saying, like, I just think it's an interesting for those to come into sort of, conflict or, or whatever in, in that specific way.Sam: I mean, that's what the bleeding edge of something is all about, right? It's like, what are our principles? What if we throw them out? What does thatNico: Right, right. What if we smash things together that, like, should sort of repel each other like magnets? Like,Sam: Yeah.Nico: Let's move on to the town?Sam: Yeah. So this is the, like, GM spoiler page.Nico: Right.Sam: I don't know that I have a lot to say about this particular page. It's, it's the town. There are, like, two suggestions in the first chunk of this book that came from you that I think are really valuable to this. Like, the first is that the town is always capitalized throughout. Which I like sort of was doing, but you really emphasized, and I think was a great decision.And, the second is that there aren't any contractions in this book except for possessives. And, that was another suggestion that came from you, to have this sort of stilted, formal, slightly off kind of language of not having contractions, that I think serves it really well and is just really cool.Nico: Yeah, I have to give credit for that, to the Questionable Content webcomic, which is a webcomic that has been running forSam: God, is it still going?Nico: oh, it very much is still going, I, it updates Monday to Friday, and I, am reading, I am seated and reading,Sam: stopped reading that like a decade ago.Nico: It is officially 20 years old. It started in 2003.but so one of the characters in that she initially never uses contractions. It is always, it is, it is never, it's. Do not, not, don't, you know, is not, not, isn't and over time, as the character sort of gets more comfortable and starts to open up about her kind of mysterious past, and they'll deal with a lot of the sort of like, serious emotional turmoil that is present in the character, she like, starts to use contractions.And so, it's a specific device that is very weirdly ingrained in my head at this point, because I remember, like, realizing that when it was called out the first time, and then I will fess up and say I have re read the webcomic from the beginning several times. I have a lot of time on my hands sometimes. And it is always kind of a delight to go back to the beginning and see this character and to really notice that device because you know where she ends up and how much more comfortable she is and so to see that difference in the beginning makes it very effective on a reread in a way that is sort of present in the maybe subconscious the first time on the way through.Thank you. And I feel like it's similar here, not quite the same because I don't know if you would ever necessarily actively realize, like, oh, there are no sort of contractions here.Sam: and the town is never gonna stop being a entity of repression.Nico: Yeah, exactly. And so it's giving this like underlying anxiety kind of like,like, you're just like, Ooh, this is Sam: Yeah. It's like, what is going on? What's wrong with the language here?Nico: Yeah. And you might not even really be able to, articulate it because it's sort of hard to articulate the absence of somethingSam: And like, that's the feeling of the whole module. yeah, It's, it's just, it's a great decision. Nico: Yeah. And then of course, capitalizing town, you know, are you even really a game designer if you're not capitalizing some random words in Sam: yeah. gotta have one at least, come on.Sam: I will say I really enjoy the fact that I give no origin story for the town. I think that's also really powerful, of leaving a hole that people can fill in if they want.The mom repression stuff is kinda like that too, the like, the blacking out sharpie. Of like, that's a hole you could fill in in play if you wanted to, but I, I'm not going to. I'm gonna intentionally leave that hole there.Nico: It also is the kind of thing, right, of like, oh gosh, Nova was saying this in the Dice Exploder Discord recently, where like, part of the reason the OSR can be so sort of rules light and stripped down is because like, it is relying a lot on the sort of cultural script of like, what is a fantasy role playing game, or even just like a fantasy story in general, you know? What your knowledge of an OSR game is.And this, in a similar way, is sort of like, you know what a hometown is. Like, you know, I don't need to tell you what the backstory of this is, because you know what it's like to be from somewhere. Cause it's also worth saying, like, this game does not give any character creation instructions, right? I mean, actually, I guess that's not entirely true, because underneath the postcard, you know, it just says, A decade or more gone since you fled the small backwater town that spawned you.And it's like, yeah, that's basically all the sort of character creation information you need, like,Sam: yeah, yeah, like wait, gonna play yourself and you're gonna be sad about this, like uh, Nico: Right, or, like, or if you're not playing yourself, you are playing a person who's sad about it, like, you know, it's like, it's kind of all you really need, Sam: you have internalized the tone of this thing, like, your character is in ways the negative space of the voice of the text. Nico: Like, a weird relationship with your small hometown, we just don't need to spend very much, time covering that broad background. It's much better spent covering the specific, like, locations and people in this town that also sort of help to convey that, feeling, that information.Sam: Temptations and terrors?Nico: Yes, probably The closest thing to a system that is in here, inasmuch as it's taken roughly verbatim from Trophy Dark Sam: yeah, I do think it is notable that when I wrote this I had not played Trophy Dark, and Trophy Dark is the one where you definitely die,Nico: Right. Right. Sam: My intention was not that you would definitely die in this. I really want escape to be a big possibility at the end and so it's interesting that I went with Trophy Dark as, like, the obvious system.Yeah, I like these lists. This is just a lot of tone setting, basically, right? I don't have a lot to say about the details here. The first terror, a children's toy, damp in a gutter, is a reference to another song that makes me cry. The Rebecca Sugar song for Adventure Time, Everything Stays.But most of the rest of this is just, vibes. Here's some vibes. I don't know, I re read these lists and I was like, yeah, they're fine, great, next page. But I don't know, is there anything that stands out to you here?Nico: I mean, I think the most important thing about these lists, these kinds of things, you could maybe even sort of broaden this to like pick lists in general, is that, they kinda need to do two things, like they need to both give you a good solid list of things to pick from, if you're like, at a loss, or if you just are like, looking through it, and you're like, this is good, I want to use this.Or, the other purpose of using it is to have it sort of identify the space that you're playing in to the point where you can come up with your own thing that like, could just be the next entry on that list, right? For me at least, the whole point of like, buying a game is like, I want something that I like, can't essentially come up with by myself, you know? Because I like to be surprised, I like to be sort of challenged, I like to be inspired, and so I think a really good game is one that you sort of like, read it, and you're like, okay, like, there's great things to use in here that I'm excited to use. I also, after having read this, am coming up with my own ideas. Like, equally long, if not longer, list of things that like, fit into this perfectlySam: Bring the vibes of your small town. Nico: Yeah, exactly, that I could also use. It's like, and so it's like, it's kind of funny that like, for me at least, the mark of a good game is like oh yeah, you both want to use everything that's contained in it, and also you immediately get way more of your own ideas than you could ever use when you're running the game.Sam: Yeah. Next?Nico: Yes. Act 1. Sam: I love this little guy, I love Wes he's just kind of a pathetic little dude, and I feel sad for him.Nico: It's so funny, too, because this particular little guy, like, doesn't look very pathetic to me. Like, he looks like he's kind of doing okay. Sam: I definitely like drew, like all the art in the book I drew, and I did it by just drawing a lot of little heads, and then assigning them to people. Like, there were a couple where they were defining details about how the people looked, that I knew I needed to draw specifically. But in general, I just drew a bunch of heads and then doled them out, and like, this is the one that ended up on Wes. And, I think that the contrast between, like, in my mind, Wes is this skinny, lanky, little kid, you know, he's like early 20s, finally making it on his own, and he has no idea what the hell's going on with the world, and he always looked up to you, and he's finally getting out of town. And then he's, he's like overcompensating with the beard for the fact that he's like balding really early, and like, you know, he's, I don't know, like, I think the contrast is just fun.Nico: I love this whole life that you have for this, this little, this little guy, like, which is, I can't stress this enough, mostly not contained in the text,Sam: Yeah. yeah. I think a good NPC is like that. I think it's really hard to transcribe the characters we get in our heads.Nico: yeah, Sam: I really like the, the pun in the Town Crier, I mean like the Town Crier feels like a horror movie trope, like the old man who's gonna be like, You got don't go up to the cabin! But it's also, like I wrote that down first and then just started describing this Wes guy and then I was like I'm gonna just like make a pun out of this.This is something I did all the time while writing this, was I had, like, a little oracle going, actually, at a certain point, like, in the same way that you would in a solo game with an oracle. Like, if I was stuck for an idea, I would just roll on the oracle table and then, like, fill in a detail that was somehow related to the oracle. Nico: Mhm. Sam: That, that didn't happen here, but the idea of, Oh, I want a little bit more description for this guy, like, what should I do? I, like, pulled the word crier, and then was like, Oh, that's really interesting, like, when would this guy have cried? Like, oh, that's a great question, let's just, like, put that to the player. I'm always, like, a thing in screenwriting that is really hard to do, and that I'm always looking for is, like, really good, pithy character descriptions.Like, a friend of mine loves the one like, this is a woman who always orders fajitas at a Mexican restaurant because she loves the attention that she gets when the fajitas come out.She hates fajitas. And that description just says Nico: That's Sam: much. It's so good, right? And that one's even a little bit long for like a screenplay, but it'd be great for like an RPG thing, right?And something about like Here's a little bit about this guy. You remember when he was crying once, like a baby? What was the deal with that? Like, it's such a, like, defines everything else about him. Like, I, I, I'm really proud that.Nico: Yeah. No, that's, that's how I felt a little bit with I ran Vampire Cruise at Big Bad Con this year. And that game has some of, like, the best random NPC generating tables that I've, like, ever seen and played with.I remember one specifically, it was, like, I was like, rolling to generate a passenger, and I think it was like, the secrets part of the table, or something like that, and what I rolled was like, regrets that she never got to see the dinosaurs, and it's like, what does that mean?Like, like, Sam: She had a traumatic experience at a science museum as a kid, or maybe she's like 10 million years old, like, I don't...Nico: or, yeah, or she's just like a weirdo who like really loves dinosaurs? It's like, it's, Like, it really gives you sort of what you need to just sort of like, spin a world out of that specific detail. Sam: It's weird because I like completely agree with you, and you know, I was tooting my own horn about like this question about Wes sobbing and also like, in every single spread of this thing, I'm taking like two full pages to talk about like one or two NPCs, which is a terrible way to do the thing that we are talking about doing. Like,Nico: That is true, that is, it must be said,Sam: it makes it feel so much more like a short story, or maybe like a solo game, right? It's like, eh, spend two pages, like, getting to know this guy. Nico: who won't come up again, spoiler alert, Sam: Yeah, it feels like the right call for this thing where like, I mean it's like the text is forcing you to sit with the memory of this guy, it's like forcing you to come in and like spend more time than you would like to like back at home with these people.And there's some like location context built into all these descriptions too, and we like learn about the bakery thing here and like old stories and stuff. And like, already it's like, do we need that shit to run this game? Like, absolutely not, like, get, get out of the way, like, but also, I don't know, it feels right?And it's one of the things that makes all this weird and, you know, unrunnable.Nico: Which is of course the goal, we don't want people to run this. Yeah, no, that's something that I've thought about in my own games as well, is, is, and just sort of like, my life, I guess, is sort of like, what makes a place that place, you know, like, what makes a town a town, what makes a city a city, like, is it the people who live there? Is it the places? Like, again, kind of back to the sort of Ship of Theseus metaphor, it's like, if everyone you know leaves, and a lot of the stores turnover, like, is that still your hometown? Like... Does your relationship to it change?And so I, in defense of, of what we're doing here, it makes a lot of sense to spend so much time thinking about the people and the places that are here because that also basically is the game, right?Like, like, this is not a dungeon crawl, right? Like, this is not a hack and slash thing, It's not a dungeon crawl, like, Sam: it's a person crawl. Nico: Yeah, exactly, you're yeah, the point of you coming home is you're trying to find Sidra, the person who sent you this postcard, asking you to come home, and yeah, you're basically doing a point crawl, trying to find this person.And then there are various conditions that need to be in place for you to actually find them = And yeah, so it's like, using more words than a sort of your standard OSR like dungeon crawl or point crawl or whatever, or hex crawl, but like, it's kind of the same way where it's like, yeah, but like, that's the game, that's the adventure, like, Sam: yeah, yeah. Another detail here I'm really proud of is the like, offhand remark about how Wes and Sidra aren't talking for what are probably romantic reasons. Because the implication, there's like a strong implication that you, player, have some sort of romantic history with Sidra, like, whether it was ever consummated or not. And I love the just sort of, like, offhand, Wes and Sidra had a thing that didn't work out, because it both... leaves open your potential romantic relationship with Sidra, but also like complicates it and like darkens it from whatever sort of nostalgic quote unquote pure like memory of it you had.And I love that it just sort of brings a little complexity into what happens when you leave for 15 years. And then like what it feels like when you like, hear, oh yeah, your ex has been like, dating someone for a couple years. What were we talking about? Like just that, like sometimes like a bolt of like, information about like, someone from your past that like, you care a lot about will just hit you and you'll be like, oh, wait, what? And we're just I'm supposed to just like, take that and move on? Like, yeah, yeah, Nico: It's also a very small town, right, where it's a sort of like, oh yeah, passing reference to this because everyone knows this already, right? Like, this is old news as well as, like, in a small town, it's like, there's a small pool of people your age that you're interested in, so, not like you're gonna get with all of them inevitably, but it's like, yeah, there's a pretty high chance that you might.Last thing I did wanna say on this, do you wanna share what Wes's name was in the first draft of this that I received?Sam: What was it? I don't rememberNico: It was Glup Shitto. It was, it was one of the first comments I left! It was one of the first comments I left! I was like, Sam, you've gotta know this can't be the final thing, right?Sam: knew it couldn't be the final name. But there was something really funny to me about like the one person who like doesn't fit into town, like this little fucking Star Wars fanboy like schmuck kid is just Glup Shitto. And he's leaving town cuz like when you got that name, it doesn't fit anymore. You gotta get the fuck out of there.No wonder the town couldn't absorb him. His name was Glup Shitto.Nico: I want to say, like, I might have, like, made my first round of comments because I was, like, yeah, feeling the same way of, like, okay, obviously this is not the finalSam: yeah, yeah, I just didn't change it and you were likebruh Nico: and then, yeah, and then you, like, made changes based on the comments that I left, and I went back to it, and I'm like, it's still Glup Shitto. Like, it simply can't be this! It's not allowed! It's, it's not legal! Like, Sam: there ought to be a law.Nico: yeah.Sam: Alright, let's do Act 2 gosh.Yeah, so I made this little map. I like the little map. This is just my hometown, incidentally. Like, there's so much in this that is just, like, pulling details directly from my hometown. That oracle that I mentioned earlier, like, Northfield, Minnesota was, like, one of the things on the oracle. And you can see that here in like, the riverwalk and this little bridge over it was very Northfield. the Rube, which we're getting to next, these two bars, the kind of cowboy themed bar thing was a thing.Nico: Again, it's a very small town of just like, no sort of reasonable business person would have these specific Sam: yeah, but they, they exist here for some reason Nico: it almost feels like the kind of thing where it's like, like they can exist in a really small town, because it's sort of like, well they're the only things here, and they can exist in like New York City Sam: yeah. Nico: everything's in New York city, and like every kind of place is there, but like anywhere in between, people would just be like, I don't understand, and then it goes out of business,Sam: Exactly. Yeah. Yeah, doctors always also a big portion of my childhood and my past always coming up in my stuff just because I spent so much time in hospitals as a kid. So the, inclusion of a doctor here is also very much something coming out of my hometown.I like the little mechanic here of, like, rolling and you, like, add one every, every time. I think that's a nice sort of way to handle trying to find Sidra. Nico: as like a classic Nico mechanic 'cause I simply haven't made and published that many things. But in my mind, my narcissistic fantasy, it is a classic me mechanic.Sam: I believe that came from you.Nico: I fucking love a table that like evolves over time.And it's not like I invented it, but like, I think my more standard thing is sort of like you have a table of like 12 things, and then you change which die you roll on it, you know, it's like, oh you can do like a d4 through d12 or whatever and that's like, I really like the ability to sort of go back to a table and, like, use it multiple times as opposed to, like, Okay, we have one table for this, we have a different table for that, you know.Sam: Additional persons. I really like this format for sort of generic NPCs, like, I'm not gonna tell you anything about this person, but I am gonna tell you what you think about them and your relationship to them.I think it's a really cool way of doing... Oh, do you just need to, like, bring someone in? You, like, met someone on the street or whatever? In a lot of other settings, you would just have, like, a random person, and it would be, like, the Vampire Cruise thing. If you give them an interesting detail in here, it'd be a cool thing.But I think, especially in, like, a small town format, the, like, here's your relationship to this person, because everyone knows everyone, and, every character that comes in, like, is gonna have to inspire some kind of feeling and past in you. I think this works really cool, reallyNico: It also feels very sort of true to life in terms of, at least, how I often GM things. Someone will be like, hey, can I, like, ask just, like, the next person I see on the street what they know about this thing? And I'm like, I mean, I fuckin I guess, like, it'll shock you to learn I don't have a name for that person, but, you know, I just have to, like, come up with, like, here's a weird voice, and like, a random thing they know, and like here's a name, Sam: This is a great way to turn that experience back on the player.Nico: exactly, yeah, there's this random person, you're like, alright, this is someone who owes you an apology, why is that?Like, Sam: yeah, Nico: I also wanna say that I feel like this was actually a relatively late addition to theSam: Yeah, it was. I always intended to write these, but it was like the last thing that I wrote.Nico: Yeah.Sam: Yeah.Nico: There was definitely some time when I sort of came back and looked at it, and all of a sudden there was this relatively large additional persons section in here, and I was like, huh, interesting.Sam: Yeah. I'm happy with how it came out. I think these are my best little guys. Nico: Oh yeah, Sam: I really like the unfinishedness of these little guys that you can project a little bit of yourself onto them while there's still some, like, major details there. This someone you seek vengeance upon looks a lot like a penis, and I don't know how I feel about that one, butNico: I was gonna say, I find that one fascinating as the ide
70% of incarcerated women are suffering from terrible trauma. In this episode of From Survivor to Thriver, we sat down with Elizabeth Mikotowicz to talk about her story of abuse and trauma that led to her incarceration. While in prison, she was mistreated and abused by many people in power. Elizabeth is now acting as a force for change to stop the abuse happening to women in prison. Elizabeth has come a long way on her healing journey, and in this episode, she shares her experiences with art as therapy, binaural beats, ASMR, meditation, and self-care in order to recover from the trauma. Five years ago, Elizabeth Mikotowicz was painting murals as a federal inmate, now she has her own art shows and has launched an environmentally friendly clothing brand called EPM which is based on her art. While in prison, she both endured and witnessed institutional abuse, corruption, systemic racism, and cruelty; so much so that sometimes she still wakes up screaming. These days she's turned it all around! She has gotten legislative bills put on the table and passed for the good of the people - not corporations and institutions. Elizabeth is letting the world know what America is doing to its incarcerated population which is the highest rate in the world. She is currently in the editing stages of her memoir and is also creating an adult coloring book based on PTSD and what she learned from her own trauma. In today's episode, we cover: The corruption in the prison systemThe impact prison has on women with PTSDThe mistreatment and trauma Elizabeth experienced in the prison systemHow Elizabeth was able to move into a place of strength after the trauma of prisonHow she realized that she deserved to take care of herselfSome tools that help with PTSD and trauma healingThe healing power of artThe power we all have to rewire our brainsWe hope you enjoyed our conversation with Elizabeth! If you are interested in checking out her art and fashion line, you can find it here. You can also follow her on Instagram and TikTok.Thanks again for tuning in. We are so grateful to each and every one of you. Please remember to leave a rating and review of our show. It helps us grow and reach those who need it. Also, make sure to subscribe so you never miss an episode! Links: Check out Elizabeth's fashion line Follow Elizabeth on Instagram Connect with Elizabeth on LinkedInVisit our website: https://fromsurvivortothriver.com/Follow us on Facebook: https://www.facebook.com/brushcreekthriversFollow us on Instagram: https://www.instagram.com/brushcreekthrivers/Get in touch: amgits.reverse@gmail.com“70% of the women in prison are suffering from some horrible trauma.” -Elizabeth“I am very thankful that there are strong, powerful women out there who are doing the hard work, not only for themselves, but for others and telling the stories of those whose voices aren't able to reach the media, the state house floor, or a show like ours.” -Erik
Sign up for the Black Women Stitch quarterly newsletter! Check out our merch here Leave a BACKSTITCH message and tell us about your favorite episode. Join the Black Women Stitch PatreonAmazon Store Jennifer OldhamJennifer Oldham is a thread artist who creates beautiful embroidery hoop designs through which we can see our sisters and ourselves. Jennifer shares her designs through @herhoopdreams and a collection of her work was recently displayed at the Nashville Hermitage Library. While her mom has sewn throughout her entire life and she wore handmade clothes regularly including to her prom and her wedding, Jennifer never took to sewing like her mom did but used the skill when she first got married and couldn't afford to buy curtains and placemats, making them herself. Still, she understood the beauty, skill, and time it takes to make things by hand and eventually found her joy in embroidering. Lisa WoolforkLisa Woolfork is an associate professor of English specializing in African American literature and culture. Her teaching and research explore Black women writers, Black identity, trauma theory, and American slavery. She is the founder of Black Women Stitch, the sewing group where Black lives matter. She is also the host/producer of Stitch Please, a weekly audio podcast that centers on Black women, girls, and femmes in sewing. In the summer of 2017, she actively resisted the white supremacist marches in her community, Charlottesville, Virginia. The city became a symbol of lethal resurging white supremacist violence. She remains active in a variety of university and community initiatives, including the Community Engaged Scholars program. She believes in the power of creative liberation. Insights from this episode:How Jennifer discovered an art form that spoke to herExpressing facial features in a realistic way through embroidery and getting the details rightHow learning and unlearning play an important role in both the creating process and in lifeWhere Jennifer gets her inspiration fromThe importance of seeing ourselves and people who look like us expressed through artThe therapeutic power of creative art forms Quotes from the show:“You are creating things from your needle and thread that are a reflection of so much Black beauty, so much patience, so much intricate detail.” – Lisa Woolfork, Stitch Please, Episode #194“Even now I still take things to my mother's house for her to sew them!” – Jennifer Oldham, Stitch Please, Episode #194“A part of the journey that I'm on is one of unlearning things that don't fit who I am now and recreating myself–or creating myself and being intentional about that.” – Jennifer Oldham, Stitch Please, Episode #194“This is my year, this is my time, this is my phase of life. Finding me, rediscovering me, taking the pieces that still work and basically stitching them together.” – Jennifer Oldham, Stitch Please, Episode #194“Learning and unlearning, all of these are such vital elements of what it means to just exist in this world, and you have given us a model for putting that not on stage or Instagram where that feels sometimes so forced, but making something really permanent and beautiful and taking the time to do so. That's something I really appreciate, the care and detail about your work.” – Lisa Woolfork, Stitch Please, Episode #194“Sometimes people have asked me how do you decide what to make, and it's just whatever I'm interested in at the moment; there is no rhyme or reason. I'm just like ‘I want to make that!', so I make it. Which is very freeing! There aren't a lot of spaces in our daily lives where we can just do what we want. Sometimes there might be pockets of that, but it feels like with this particular medium I can just do what I want, and it feels very freeing, it feels very calming. It's a good way to sometimes feel a little bit more control when things feel out of control.” – Jennifer Oldham, Stitch Please, Episode #194“I think one of the things that matter most in sewing and in life is to have boundaries. To exercise your boundaries to stay within the lines that you create yourself, not necessarily what other people have created for you. To take time to play. For me, play is just as vital as breathing. Make boundaries for yourself, honor other people's boundaries, and just enjoy yourself!” – Jennifer Oldham, Stitch Please, Episode #194 Stay Connected:YouTube: Black Women StitchInstagram: Black Women StitchFacebook: Stitch Please Podcast Lisa WoolforkInstagram: Lisa WoolforkTwitter: Lisa Woolfork Jennifer OldhamInstagram: @herhoopdreams Subscribe to our podcast + download each episode on Stitcher, Apple Podcasts, and Spotify. This episode was produced and managed by Podcast Laundry.
We also cover: What to do when you're feeling stuck, the difference between authenticity and sincerity, and his approach to work/life balance.Rick Rubin is a nine-time GRAMMY-winning producer and a New York Times number one best selling author of the book, The Creative Act: A Way of Being. He was named one of the 100 most influential people in the world by Time and the most successful producer in any genre by Rolling Stone. He has collaborated with artists from Tom Petty to Adele, Johnny Cash to the Red Hot Chili Peppers, Beastie Boys to Slayer, Kanye West to the Strokes, and System of a Down to Jay-Z.In this episode we talk about:Rick's meditation practiceThe connection between meditation and creativityWhy creativity is a birthright for all of usHow good habits help facilitate the making of good artThe benefits of accepting the magical and mysterious aspects of creativityHis analogy of the vessel and the filter The difference between authenticity and sincerity The role of doubt when creating The role of intuitionWhat to do when you're feeling stuck in a creative endeavor His approach to a work/life balance His take on drugs and their effect on the creative process And his thoughts on the creative capacity of AI For tickets to TPH's live event in Boston on September 7:https://thewilbur.com/armory/artist/dan-harris/Full Shownotes: https://www.tenpercent.com/tph/podcast-episode/rick-rubinSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
On this episode - Why do audiences care more about box office numbers than a good story? How do you shoot a documentary in Iraq and a musical film with 100 kids, a dog, a frog, and a rabbit? Find out in part two of this series, where Fab interviews David about –Money vs ArtThe importance of relationship to actorsBright Ones, the musical filmDocumentary in IraqLittle Women, the playUnderstanding the power of wordsLeave us a 5-star review, comment, and follow this podcast!Follow us on Instagram - https://www.instagram.com/podcaststoria/Follow us on Tiktok - https://www.tiktok.com/@storiapodcastFollow us on Twitter - https://twitter.com/podcaststoriaFollow us on Facebook - https://www.facebook.com/storiapodcastSubscribe + Watch on Youtube - https://youtube.com/@PodcastStoriaCheck out https://www.bethelconservatory.com
In this episode, Daniel R. Kuritzkes, MD, and Cristina Mussini, MD, discuss managing ART failure, including:The definitions of virologic blips, low-level viremia, and virologic failure on ARTThe infrequency of failure with resistance on first-line INSTI-based ART and the instances where this has occurred with BIC- and DTG-based ART in clinical trials and in the real worldThe potential reasons for ART failure, including patient/adherence-related factors, HIV-related factors, and regimen-related factorsThe impact of adherence on viral suppression with BIC- and DTG-based ARTDrug-drug interactions as a reason for failure of first-line INSTI-based ARTWhat to do if someone is experiencing virologic failure requiring an ART changeThe use of proviral DNA testing in patients with viral suppression or low-level viremia with ART treatment experienceThe impact of high HIV-1 RNA on ART effectivenessThe impact of NRTI resistance, including the M184V and K65R mutations, on the effectiveness of BIC- and DTG-based ARTStrategies to encourage and measure patient adherence to ART PresentersDaniel R. Kuritzkes, MDHarriet Ryan Albee Professor of MedicineHarvard Medical SchoolChief, Division of Infectious DiseasesBrigham and Women's HospitalBoston, MassachusettsCristina Mussini, MDProfessorDepartment of Infectious DiseasesUniversity of Modena and Reggio EmiliaModena, ItalyLink to full program: https://bit.ly/3HPu4Lk
We're here to offer no-nonsense advice for illustrators and image-makers navigating a creative careerHere are 3 things you need to know:At The Good Ship, our big mission is to help illustrators and image-makers navigate a creative career.There are 3 of us - Tania, Helen and Katie - and we are the Goldilocks (3 bears!) of illustration, covering 3 areas and eras of the industry.We believe your creative work should feel good, make you money, and leave you feeling confident to fly your freak flag!In this episode, we talk about:The (un)importance of qualifications in artThe importance of having a masters Stamps of approvalChoosing yourselfGatekeepersBe a punkDid you like this? You might love Art Club too! Come on over to Instagram and be our internet pal. We host pop-up art clubs every now and again and our entire back catalog is on there too.We're @thegoodshipillustrationhttps://www.instagram.com/thegoodshipillustration/
Welcome to today's video, where we dive deep into the captivating world of AI-generated art and explore its impact on the creative landscape. Join us as we delve into the controversies, collaborations, and innovative ways artists can harness AI technology to elevate their work. If you're an artist, a creative professional, or just curious about the intersection of art and AI, this video is for you!In this video, you'll learn:How AI-generated art is reshaping the creative process and its implications for artistsThe ethical concerns and plagiarism debates surrounding AI-generated artThe ways in which artists are embracing AI as a tool for creative collaborationThe importance of personal branding and community building in the age of AI and artInsider tips on leveraging AI technology to enhance your creativity and reach new heights in your artistic endeavors
Welcome to today's video, where we dive deep into the captivating world of AI-generated art and explore its impact on the creative landscape. Join us as we delve into the controversies, collaborations, and innovative ways artists can harness AI technology to elevate their work. If you're an artist, a creative professional, or just curious about the intersection of art and AI, this video is for you!In this video, you'll learn:How AI-generated art is reshaping the creative process and its implications for artistsThe ethical concerns and plagiarism debates surrounding AI-generated artThe ways in which artists are embracing AI as a tool for creative collaborationThe importance of personal branding and community building in the age of AI and artInsider tips on leveraging AI technology to enhance your creativity and reach new heights in your artistic endeavors
Are you curious how writing can foster healing, which practices you might try, and how to protect your well-being if you tackle difficult memories?Joining today's conversation is Rebecca Evans, a memoirist, poet, essayist, and professor of creative non-fiction. In this episode, you'll discover how Rebecca uses creative writing and journaling not only to reconnect with herself daily but also to find purpose in her traumatic experiences. You'll also learn how to set up a safety dismount practice for those emotionally difficult writing sessions. And you'll hear how journaling helped Rebecca to connect with her struggling teenager. Topics discussed in this episode: Bookending our days with journalingLosing the use of her hands for yearsSafely dismounting from writing as therapyThe power of funding your voiceConnecting with our kids via journalsHow art informs life, and life informs artThe challenges of staying intentionally presentBeing open to exploring someone else's POVFavorite booksAbout Rebecca: Rebecca Evans is a memoirist, poet, and essayist. In addition to writing, she teaches Creative Nonfiction at Boise State University and mentors high school girls in the juvenile system. In her spare time, she co-hosts a radio program, Writer to Writer, offering a space for writers to offer tips on craft and life. Rebecca is also disabled, a Veteran, a Jew, a gardener, a mother, a worrier, and more. She has a passion for sharing difficult stories about vulnerability woven with mysticism. She's earned two MFAs, one in creative nonfiction, the other in poetry, both from the University of Nevada, Reno at Lake Tahoe. She lives in Idaho with her sons, her Newfies, and her Calico.Connect w/ Rebecca: Instagram: https://www.instagram.com/rebeccawrites33 Facebook: https://facebook.com/rebeccawrites YouTube: https://www.youtube.com/playlist?list=PLhPAJcZV0CEtlCwr_UuMvDuQIm8-UW_ME Get her books: Tangled by Blood: A Memoir in Verse: https://www.amazon.com/dp/1957799080 When There Are Nine: https://www.moontidepress.com/books Links to her essays, poems, and more: Website: https://rebeccaevanswriter.com/published-work/ Books discussed during the show: The Warrior of Light, by Paulo CoelhoCome the Slumberless to the Land of Nod, by Traci BrimhallThe Book of Nightmares, by Galway KenkThe City in Which I Love You, by Li-Young LeeThe Alchemist, by Paulo CoelhoJude the Obscure, by Thomas HardyAll the Light We Cannot See, by Anthony DoerrLemon, by Kwon Yeo-sunGarlic Ballads, by Mo YanThe Monster at the End of This Book, by Jon StonePeanut Butter and Brains, by Joe McGeeMoby-Dick, by Herman MelvilleFree your creative self too. Download your free copy of my guide, 5 Steps to Help You Start Writing Today, at https://lifebeyondparenting.com/5-steps-start-writing. Let's connect via my Facebook group, Parents Who Write, at https://www.facebook.com/groups/parentswhowrite.
Welcome to today's video, where we dive deep into the captivating world of AI-generated art and explore its impact on the creative landscape. Join us as we delve into the controversies, collaborations, and innovative ways artists can harness AI technology to elevate their work. If you're an artist, a creative professional, or just curious about the intersection of art and AI, this video is for you!In this video, you'll learn:How AI-generated art is reshaping the creative process and its implications for artistsThe ethical concerns and plagiarism debates surrounding AI-generated artThe ways in which artists are embracing AI as a tool for creative collaborationThe importance of personal branding and community building in the age of AI and artInsider tips on leveraging AI technology to enhance your creativity and reach new heights in your artistic endeavors
On this episode Simon K speaks to Matt Thornton.Matt Thornton is a martial arts pioneer, renowned instructor, and founder of Straight Blast Gym International (SBGi), an organization that has revolutionized the approach to functional martial arts training. With a background in Brazilian Jiu-Jitsu, boxing, and wrestling, he has coached top-level athletes such as UFC hall of famers Randy Couture and Dan Henderson, as well as John Kavanagh, the coach who trained UFC superstar Conor McGregor.Thornton is also a prolific writer and author of the book "The Gift of Violence," which delves into the philosophy and practice of martial arts and self-defense. In addition to his work as an instructor and author, Thornton is a sought-after speaker, with a focus on the importance of honesty, discipline, and critical thinking in martial arts and in life.In their conversation, Simon and Matt covered a wide range of martial arts-related topics, including:Violence on US streets and its impact on societyStatistics on fatherless children and the effect it has on their livesChoosing our words carefully in a politically correct worldMatt's early martial arts experiences and how he discovered his styleThe differences between functional and exciting martial artsContact sports and the physical demands they requireThe role of martial arts in the militaryThe philosophy of Jeet-Kun-do and its impact on modern martial artsThe differences between BJJ and Japanese Ju-jitsuWhat goes into making a professional MMA fighterCriticisms of the Aliveness conceptThe effectiveness of Krav Maga as a self-defense systemThe importance of cultivating a calm and focused mind in martial artsThe European standard of BJJ and its influence on the artThe lineage of Gracie BJJ and its impact on modern martial artsConnect with Matt Thornton on his social handles:Webpage: straightblastgym.comYoutube: youtube.com/user/sbgglobalTwitter: twitter.com/sbgintFacebook: facebook.com/straightblastgymInstagram: instagram.com/sbginternationalCollective Whisper website: https://www.collectivewhisperpodcast.com#mattthornton #straightblastgyminternational #alivenesstraining #brazilianjiujitsu #martialartsinstructor #functionalmartialarts #fitnesscoaching #athletecoaching #mmacoach #sbginternational #johnkavanagh #conormcgregor #ufc #randycouture
It's no revelation that success is the sum of preparation and opportunity, yet it's always inspiring to witness the philosophy in action. On today's podcast episode, San Diego-based painter Ezra Brown joins host and NOT REAL ART founder Scott “Sourdough” Power to chat about the power of perseverance in an oversaturated industry. “I'm a late bloomer,” says Ezra, who dropped his day job during the pandemic to focus on a career in fine art. “I've been [painting] for such a long time, and I had been waiting for my opportunity to hit,” he tells Scott, adding, “In this day and age, you've got to do what makes you happy.”Ironically, Ezra's signature character, a vintage-style cartoon called Happy the Clown, is anything but. Starring as the protagonist in Ezra's recent show at LA's ThinkSpace Projects, Trying to Keep It Together, Happy drinks, smokes, and cries as his house burns, his soul leaves his body, and his girlfriend leaves him. Like many artists before him, Ezra encourages viewers to access and cope with their own emotions as he puts Happy through the wringer. “I'm tired of the norm ... just watching art on a wall, walking away from it, having a drink, and forgetting about it,” Ezra says. “I'm creating an experience that somebody's going to remember and talk about for the rest of their life.” In the episode, Scott and Ezra chat about humanizing classic iconography to access raw emotions. They also cover the pitfalls of parenthood, the dangers of social media, and Ezra's recent collaboration with collectible toy company Tenacious Toys. Tune in to the episode below to hear about Ezra's creative success, and the dedication it took to get there. “You have to make those sacrifices,” he says, “and put in the extra work.”In Today's Podcast EpisodeEzra Brown discusses…How the pandemic bolstered his fine art careerWhy people connect with his raw, emotional, often funny worksHis instinct to challenge the status quo and create memorable experiencesHow his father, also an artist, inspired his creative careerThe exaggerated narratives portrayed on social media and national newsThe challenge of being a parent in the age of social mediaThe surprising overlap between the fine art and the collectible toy marketsThe recent explosion of experiential and immersive artThe many benefits of perseverance, fortitude, and determinationFor more information, please visit http://notrealart.com/ezra-brown
In this important episode, Brooke and Noa interview Dave Bannick, a master trainer, former pro soccer player and co-owner of Studeo Gyms in Beverly Hills, California about Breath!Together we discuss:"No matter what you eat, how much you exercise, how skinny or young or strong you are, none of it matters if you're not breathing properly.” ~James Nestor's book ‘Breath: The New Science of a Lost Art'How despite being born with the natural ability to breathe and breathing about 25,000 times a day we still haven't mastered this artThe perfect breathBolt and the down shiftWim Hoff's work and contribution Understanding aerobic vs. anaerobic respirationTo learn more about Dave Bannick's amazing work please visit:Website: www.lifelabusa.comGym: www.studeogyms.comSign up to Noa's NEW 360 Wellness course and receive a 15% coupon code when you mention Raising the New Earth Podcast! Click the link here: https://naturallynoa.com/coursesWe thrive in community - and we'd love you to be part of ours!Join the conversation @raisingthenewearth on IG , YouTube- or all other podcast platforms and learn more at www.raisingthenewearth.comDISCLAIMER: By watching/listening to this post including but not limited to video, text, reel, audio, (“Post”) you understand and agree to the following: This Post is for General information purposes ONLY. We are not liable for any loss, death, property damage, or bodily injury, based on your use or interpretation of the information in this Post. This Post should not be construed as a promise of benefits, a claim of cures, or a guarantee of results to be achieved.
On the latest episode of the podcast I chat to the multi-talented James Nepaulsingh. James is a lawyer, executive coach, painter, music producer and host of the Plus Future Podcast! James joins us to discuss his ikigai and we have a great discussion about his approaches to life and to pursuing new hobbies and learning new things. Listen to the episode and get inspired to treat life as an experiment and break out of any box you feel you may be stuck in!If you enjoyed this episode and it inspired you in some way, we'd love to hear about it and know your biggest takeaway. In this episode you'll hear:How to do more of the things you enjoyWhat led James to pursue abstract artThe importance of protecting yourself from negative peopleWhat being remarkable means to JamesJames' advice to listeners for 2023About James:James is a multipotentialite: a lawyer, executive coach, painter, music producer and podcaster. He graduated from Oxford University and the Royal College of Art and was awarded a coaching certification from Cambridge University. He holds two board positions in Japan and lectures law part-time at Japan's top-ranking universities. He is Senior Legal Counsel at one of Japan's best-known institutions. He uses his fine art background to approach the corporate world through a creative corporate design lens. In the art world, he regularly holds exhibitions in Tokyo and London. His works have recently been displayed at a virtual exhibition that took place during a private event organised at the National Gallery, London.James is accredited as an Associate Certified Coach by the International Coaching Federation and a Mediator by the Centre for Effective Dispute Resolution.James is British and is of Trinidadian origin.Things Mentioned in the Episode:If you want to see James' art for yourself you can purchase your own copy of James' art book, All Of Me, with half of the proceeds going to Refugee Empowerment International. Check out the links below!Japan: https://amzn.asia/d/fvWWPYnUK: https://amzn.eu/d/2IwLBl4US: https://a.co/d/4zvkI9sConnect with James:James' Instagram: https://www.instagram.com/nepopublic/Plus Future Coaching Instagram: https://www.instagram.com/plusfuturecoaching/Twitter: https://twitter.com/nepotek1Plus Future Podcast: https://plusfuturepodcast.com/Connect with Jennifer:Linked In: https://www.linkedin.com/in/jennifershinkai/ Facebook:
Listen to Cointelegraph's new crypto trading and investing podcast, featuring exclusive guest interviews. Each episode covers the current and future cryptocurrency market, guests' unique trading tactics and backstories, and their opinions on the latest trends, with topics such as:Finding the market's bottom or top: Discussing the current crypto market conditions.Trade secrets: Learn about guests' backgrounds and hear their best cryptocurrency trading/investing styles and strategies.The next bull run or bear market: Guests share their plans to identify and navigate the next crypto bull run, should we see another.Hope you enjoy the show!Cointelegraph's Twitter: @CointelegraphCointelegraph's website: cointelegraph.comIntro and outro music produced by Jonathan “MADic” DeYoung: http://madic.artThe views, thoughts and opinions expressed in this podcast are its participants' alone and do not necessarily reflect or represent the views and opinions of Cointelegraph. This podcast (and any related content) is for entertainment purposes only and does not constitute financial advice, nor should it be taken as such. Everyone must do their own research and make their own decisions. The podcast's participants may or may not own any of the assets mentioned.
Dogs in cowboy hats. Darth Vader hanging out with Jack Sparrow. Spider-Man browsing a cereal aisle. Imagine how uncanny your creatives would be if you could create such surreal images using AI.On today's episode, Ralph and Kasim sit down with Patrick Gilbert from AdVenture Media Group to discuss digital advertising in the age of AI and automation.AI-generated art is the new king of graphic design, and for good reason; the technology is the easiest and fastest way for anyone to build original artworks from scratch. But what can a digital marketer do with AI-generated art? Tune in to hear Patrick describe how marketers can use AI to generate original creatives from prompts that can be as simple as "man riding a bike."IN THIS EPISODE, YOU'LL LEARN:Why creatives are now more important than everThis week's nugget: Marketers must learn about AI-generated artAI-generated art is the future of creative developmentWhy brands must focus on providing value for their clientsHow AI-generated art will transform marketing foreverEffective tools for creating AI-generated artThe unbundling of AIContent is and will forever be kingLinks and Resources:Patrick's LinkedInAdVenture Media Group's website Patrick's book - Join or Die: Digital Advertising in the Age of Automation DALL-E Image GeneratorMid-journey.comPerpetual Traffic SurveyPerpetual Traffic WebsiteFollow Perpetual Traffic on TwitterConnect with Ralph and Kasim on TwitterOUR PARTNERS:Get a Free Month of Blogs from BKA ContentGet a Free book on how to optimize your website Conversion Fanatics7 Levels of Scale workbookGet Roland's book, Zero Down, FREEFind out your Leadership Trust Score at Ready to Lead.Register for our free Founders Board workshopThanks so much for joining us this week. Want to subscribe to Perpetual Traffic? Have some feedback
The Here Be Monsters Art Exchange is back!It's a really simple and wonderful thing where you, gentle listener, can mail a piece of art to a stranger and get a piece of art in return. It's open to artists of all experience levels from around the world. The deadline to sign up is November 10th, 2022. Sign up and more info here: https://www.hbmpodcast.com/artThe art exchange is made possible this year by HBM listener Devon Sherman, who's offered her time and expertise to help with communication between artists. Thank you Devon. Devon is a past participant in the art exchange, and has an ongoing project where she illustrates Robert Burton's The Anatomy of Melancholy. Another listener, known as “Endless_Want”, also helped out by making the Art Exchange's promotional video, which you can see on the sign-up page and on our Instagram and Twitter.Music: The Black Spot, Robbie Quine—Glitter Rock Werewolf
The Here Be Monsters Art Exchange is back!It's a really simple and wonderful thing where you, gentle listener, can mail a piece of art to a stranger and get a piece of art in return. It's open to artists of all experience levels from around the world. The deadline to sign up is November 10th, 2022. Sign up and more info here: https://www.hbmpodcast.com/artThe art exchange is made possible this year by HBM listener Devon Sherman, who's offered her time and expertise to help with communication between artists. Thank you Devon. Devon is a past participant in the art exchange, and has an ongoing project where she illustrates Robert Burton's The Anatomy of Melancholy. Another listener, known as “Endless_Want”, also helped out by making the Art Exchange's promotional video, which you can see on the sign-up page and on our Instagram and Twitter.Music: The Black Spot, Robbie Quine—Glitter Rock Werewolf
In today's episode, we speak to two astounding artists, Diana Schmertz and Fay Ku. Their artworks will be featured in Sensing Woman 2022 an upcoming week-long benefit for the Center of Reproductive Rights and Center for Intimacy Justice in Chelsea, New York.Diana Schmertz moved to Amsterdam after completing her BFA from Purchase College at the age of 19, to start her art career as a recipient of De Ateliers 63' grant and residency program. In addition to showing her work at traditional galleries and museum spaces, Schmertz has made public art supported by grants. Fay Ku is a Taiwan-born, New York City-based artist whose work is figurative, narrative and connects with past and present cultural histories. She is the recipient of a 2007 Louis Comfort Tiffany Grant and 2009 New York Foundation for the Arts fellowship grant. She has exhibited both nationally and internationally.Tune in to hear about their inspirations in creating beautiful pieces with thought provoking statements.In this episode, we cover:Part 1 (Diana Schmertz)Diana as an Art activist: Political views and women's healthJourney to ArtmakingThe beginning of Laser cut artworks: E, Alternates and Origin StoriesStatements reflected in her artThe commercial side of artPart 2 (Fay Ku)Thoughts on the female experienceShunga inspired artworksFeeling and healing with artworksCharacters and nature relationship in her artThe Peacock Motif and the Nasty Women series explainedDeciding on having children and statisticsVainglory and Reach artworks explainedHelpful links:Diana Schmertz - Check out her artworks for sale at the Sensing Woman 2022 and her upcoming shows. Follow her on Instagram @dianaschmertz.Fay Ku - Check out her artworks for sale at the Sensing Woman 2022. Follow her on Instagram @fay.ku and Facebook @fay.ku.art Hosted on Acast. See acast.com/privacy for more information.
Today's guest is Helen Denham, mindset mentor and meditation teacher, who I'm very excited to have in the show for you to hear. Helen grew up having to take antidepressants until she just quit, “cold turkey”, wanting to stop suppressing her emotions. Relying on her mom and a good support system, she was able to show up for herself, build her confidence and deal with her depression during her adolescence. This experience early on was eye opening for her and really sparked her interest in inner work. Afterwards, during college, she was introduced to plant medicine and mushrooms which she says “really changed my life and grounded my energy”. Slowly but surely, she started working in meditation and now also does 1 of 1 mentorships where she deep dives into rewiring belief systems, building new habits and creating a new paradigm for yourself. HIGHLIGHTS PurgingReclaiming her life Shadow work Making sadness into artThe mother woundPeople pleasingThe subconscious by Dolores CannonWizard Merlin energyGodBody intelligenceMoney as the biggest triggerOpen communicationA morning ritualTO LEARN MORE ABOUT HELENCheck out her website: https://www.helendenham.com/aboutFollow her on instagram: https://www.secure.instagram.com/helendenham_/Listen to her podcast: @theliftedpodcastCONTACT ALYSESign up for the ACCELERATED WEALTH program https://www.alysebreathes.com/accelerated-wealthJoin my Facebook group: Breathe to SucceedFollow me on Instagram @alyse_breathesVisit https://www.alysebreathes.com/Or contact me at info@alysebreathes.comTo all the business owners, entrepreneurs and spiritual women out there who want to make an impact and grow their income, check the details of my Accelerated Wealth Program right at the beginning of the episode.
How can you innovate with a material as old as time? Marisa carves paper in a way all her own. Learn how to streamline your efforts, go with the flow and show up. Figure out how to do the work as you go. This chat with Marisa Aragon Ware was jam packed with helpful info about how and why to have various streams of income as a creative, how to think differently about teaching, how to stretch time, and even some financial info about what we are both doing differently now. Marisa shares about the importance of generosity and her wild ride with reality television. Be sure to connect with Marisa @marisaaragonwarehttps://www.instagram.com/marisaaragonware/https://www.marisaware.com/Join the Waitlist for my upcoming 8 week course on Food as Medicine:https://www.aidazea.com/waitlistWe get into:Different streams of incomeVarious forms of creative expressionChildren's book illustrationShifting from student to teacherCreativity in pedagogy and teaching assignmentsListening to what students needAdapting to needs and questions of the studentshOles in education, and asking what people want to learnTeaching-connecting on a deeper level and perceiving where someone is and helping them to be more confident and helping to meet people where they are. Ongoing river of new students to learn with and fromTrusting the process The war of artThe only way out is throughThe spiritual journey of Finishing projectsBig magicMaking friends with the fearSteering your ship of creative workFear of breaking through into new territoryTime managementThe ritual and routine of artInvesting/ Business, money side of creative workRetirement account-Get a ROTH IRAFinancial FeministReframing the stories we tell ourselvesWatering a garden ad tending to it it will bloom, same as an art practiceArt Gallery representation and having an agent/agency and getting representationArt is no one size fits all. Everyones path is so differentValuing artWith money comes more options Thyme in the Studio links:https://www.patreon.com/thymeinthestudiohttps://www.instagram.com/thymeinthestudiopodcast/https://www.aidazea.comJoin the Waitlist for my upcoming 8 week course on Food as Medicine:https://www.aidazea.com/waitlistDiscliamer: I am not a doctor. I am not an accountant. I am an herbalist. This podcast is for educational and entertainment purposes. This podcast and none of my handouts, classes, videos, audio or consultations are considered medical or financial advice. Please do your own research to determine what is right for you.
Frederic Duquette, known throughout the NFT art world as FVCKRENDER is a digital artist who has continually blurred the lines between the physical and virtual worlds through his ambitious experiential art experiences. Initially making a foray into the metaverse with 2021's FVCKRENDERVERSE, the Canadian artist has recently doubled down on building worlds with FVCK PARK — a virtual NFT skatepark — and LVCIDIA, a full-on metaversal experience. And what do these virtual worlds hold? The purest representations of FVCKRENDER's art.In this episode we cover:FVCKRENDER's plans for the future of LVCIDIAHis gradual shift from digital-only experiences to physical artThe value of presenting NFT art in formats beyond the screenWhy NFT artists need to start building worldsThe intrinsic value and utility of NFT art projectTo listen to the audio version of this episode, go to http://smarturl.it/nftnowTo sign up for the nft now newsletter where we break down the NFT market into actionable insights each week, go to: https://www.nftnow.com To follow FVCKRENDER on Twitter, go here: https://twitter.com/fvckrenderTo follow FVCKRENDER on Instagram, go here: https://instagram.com/fvckrender See acast.com/privacy for privacy and opt-out information.
Episode 65: Today I sit down with professional photographer, writer, editor, and expedition leader and instructor, Justin Black, to chat about:What it was like working with Galen Rowell at Mountain Light Photography and some of the lessons he learned from GalenHis vision behind creating Visionary Wild and the various workshop and expedition types they offerThe role visual perception plays in how we interpret compositions and how we can use it to creatively and effectively compose our imagesWhat we can learn from studying other two-dimensional forms of artThe importance of curiosity, experimentation, investigation, discovery, and reflection in one's growth as a photographerPhotography as a practice (couldn't agree more!)The idea of purposeful photographyHis work with the International League of Conservation Photographers and ways that photographers can work with non-profits on conservation projectsHow anticipation and awareness help with visualization and responding to nature in the momentUsing simplicity in compositions from the grand landscape to small, intimate scenesA whole lot more!LINKS MENTIONED:Portfolio Website: http://justinblackphoto.comFollow Justin Black on:InstagramFacebookWorkshops and Travel Opportunities: http://visionarywild.com [Use coupon code OPSCHOOL5% for 5% off all Visionary Wild Workshops and Expeditions booked in 2022 - programs themselves can operate in 2022, 2023, or 2024.]Follow Visionary Wild on:InstagramFacebookJustin's articles and episodes we discussed:Opening the Mind's EyePhotographing With PurposeSubtracting the UniverseEpisode 40: The One Thing That Will Improve Your Photography This YearRecommended Books (Amazon affiliate links):Mountain Light, Galen RowellTrust the Process: An Artist's Guide to Letting Go, Shawn McNiff Full Show Notes***HAVE A QUESTION?Record a Question for Tidbit TuesdayLOVE THE OUTDOOR PHOTOGRAPHY PODCAST?Ways you can support the show:Buy Me a CoffeeLeave a Rating and ReviewSign up for the Outdoor Photography School NewsletterShare the show with others!***5 Naturalist Skills That Transform Your PhotographyImprove your nature photography by becoming a better naturalist with this FREE guide full of resources, skill-building strategies, exercises, templates, and more! Download at https://www.conservationvisuals.com/skills.Brought to you by the Conservation Visual Storytellers Academy
In May, staff and core collaborators gathered to disclose what's new and true in the big community experiment that is Black Rock City. How Center Camp changedTurning down turnkey campingThe bumper crop of inclusive artThe hive platform for teaching, learning, and up-leveling leadershipListen as they share about jobs, classifieds, and the Survival Guide, about behind-the-scenes machines for emergency response, decommodification deals, sustainability solutions, and diversity discussions.This is a glimpse into how it all works.BURNING MAN LIVE: RETURN TO BLACK ROCK CITY (stream, transcript, pics)Black Rock City 2022Black Rock City Art Theme: Waking DreamsBurning Man ArtsDesert Arts Preview: June 12thBurning Man Project JobsSpark ClassifiedsPlaya Events Registration (WhatWhereWhen)Survival GuideThis is How We Hive (HIVE)Touching Down: a BRC orientation (HIVE)Return to Black Rock City (HIVE)Burning Man's 10 Principles
Horacio spoke with Zak Boca and Kareem Hamady, co-founders of the online platform AltExchange helping financial advisors and individual investors keep track of their funds. Zak and Kareem talk about the current state of the market and provide some insight on how to weather downturns. They also talk about AltExchange and how it's helping investors and financial advisors keep better track of investments and helping spark conversations about financial strategies and goals. Discussion topics include:Independent research to invest in alternative assets, focus on artThe correlation factor between alts and traditional investmentsActing on the market as retail investorsSelf-binding to help impulsivity on a portfolioInvestment behavior during a down marketUsing free online resources to learn more about the marketsReal estate and private lending as stable investmentsAdvocates for institutional alternatives and private equityCreating a frictionless experience for alternative investorsCreating a “Plaid-like” experience to track investmentsSites that AltExchange is syncing with---Follow Alts- Website & newsletter: https://alts.co- YouTube: https://www.youtube.com/channel/UCpmgk4gzQ56QvpyegBJJVQA- Discord: https://discord.gg/DEkHgzggwC- Twitter: https://twitter.com/altassetsclub- Insta: https://instagram.com/alts_co- Link to Alan Goldsher playlist
You may want to kick off your shoes and socks for this one! It's time to celebrate your sexy feet! Yes you heard me right; your feet! Your feet are incredible; we're talking twenty six bones, thirty three joints and seven thousand nerve endings in each foot! They are the most important portal to connecting with the life force energy of sweet Mother Earth. When fully activated your feet can provide you with a wellspring of vitality, emotional wellbeing, and sensual pleasure. Re-wilding and enlivening your feet is one of the best things you can do for your overall posture, health and radiance. Not only that it's a powerful way to care for your nervous system, create safety in your body and experience and more sensual pleasure. For the past two years I've been a bit obsessed with my feet. Barefoot hiking has become a big passion of mine and after listening to this episode you'll understand why. Here's what I cover:Why going barefoot is one of my favorite sensual healing practicesWhy your feet are a masterpiece; a work of artThe 7,000 nerve endings in each foot as a portal into sensual pleasureYour sentient feet; your hands that touch the EarthWhy you need to start smart and go slowWhy your feet need movementThe feet/pelvis connection and full range of motionHow going barefoot has drastically improved my balance and agilityHow going barefoot has toned my coreWhen our feet are in lockdown, our pelvis is in lockdownHow going barefoot has healed my knee and hip issuesAllowing the feet to do what they were born to doThe power of Bubbling Spring aka Kidney One points to nourish our libidoHow going barefoot helps cultivate our flow/pleasure zone aka our parasympathetic state of our nervous system and make it our defaultHow going barefoot helps us nourish our Yin and libidoHow going barefoot helps us rejuvenate and even sleep betterHow going barefoot reduces inflammationHow going barefoot helps prevent heart diseaseHow going barefoot helps with autoimmune issuesHow going barefoot helps with emotional stress and supports mental healthThe emotional benefits of re-wilding and connecting to our inner wild childBarefoot and first and second Chakra healingBarefoot and belongingConnecting to the Great Mother through going barefootStarting small, soft and smartAn amazing bootcamp for your feetMy favorite minimalist shoe company to transition safelySome resources for you:Check out Sacred Sensual Movement™ hereJoin Petra Fisher's Fix Your Feet Bootcamp hereFind Petra on Instagram hereDownload a short PDF guide that I create for my clients: 3 Tips to Re-wild You Feet hereHere's an image of those amazing Bubbling Sprig/Kidney 1 PointsMy favorite company for barefoot shoes: Xero Shoes
When you see amazing street art, how do you feel? what do you think? what difference does it make to you? I spoke with acclaimed street artist Jason Naylor in his Studio. His works are all over New York City walls, and far beyond: colorful and uplifting designs with a touch of punk.Jason's distinctive touch is an explicit intent to spread messages of optimism and self-care throughout his work. His art and words are a remedy against cynicism, and a permission to play. Jason trained initially as a graphic designer, and gained serious recognition as a mural artist as he partnered with brands like Coach, Pepsi, Guess, XBOX and Maybelline and Sephora. We talked about:The democratic uplifting powers of street artThe meaning and impact of *positivity*The power of colorsWhat are small creative ways to bring more joy into our lives.Creativity and creative thinking as a way to make us *pay attention*, be present, grateful and connected.Whilst speaking to Jason in his studio, I found it super refreshing to hear someone so sincere in their desire to promote "positivity", a concept that we often tend to dismiss as an inauthentic pseudo self-help slogan.Enjoy
Astrea is Crypto Coven's Coven Cultivator (Community Manager). We discuss how Astrea helped cultivate such a strong community unlike any other NFT project.A big theme we've heard from all of our Web3 guests is that community is the key to success. Crypto Coven, one of the top NFT collections, has a community that I believe is unparalleled in the space. This episode is hopefully the beginning of a series of episodes where we learn about different aspects of what makes the Crypto Coven community so strong.Learn more about Astrea and CryptoCoven:Astrea's Twitter: @astrea_ethCrypto Coven Twitter: @crypto_covenCrypto Coven Website: https://www.cryptocoven.xyzXuannu: Inking a Smart ContractEpisode notes and links:How Astrea got involved with Crypto CovenWhat is a full moon ceremony?What did the early days look like when cultivating the communityWhat type of “cultivator” experience Astrea had and how she translated it to Crypto CovenReasons why humans gather together and form in communitiesLooking to connect with othersComing together over shared interestsShare values with anotherEvent planning: whether IRL or Digital - it's about creating a containerHow high growth and an influx of people spurred the quick set up of community guidelinesHad to create a set of community guidelines: backbone to enforce rules of engagementHow do some of the rules differ?Lore not floor - Don't tolerate people coming to a discord to sellHow Astrea has worked with hard conversationsPact Keepers: Discord moderatorsHow Astrea manages her own mental healthCommunity Managers of Crypto Coven:Pact keepers: Setting the containerLibrarians - building out Web3 educational resources and brewing new ideas around panelsLessons from enforcing the CryptoCoven guidelinesWhat is community?How to build communityGuidelinesPeople to teach and nudge and guide - the guidelinesProvide art for inspirationCultivating a space for support and idea sharingCultivating enabling people to be exuberant and themselvesThinking more about:How culture is what begets communityCulture often centers around really great artThe witches have charmed us all into gathering here in a communityHow society has historically had very rigid standards for what makes great artBook by School of Life: What is culture for?Art redeems usHow we find companionshipHow we genuinely engage in itTangible action of how to build a strong community:Keeping an ear to the ground on what kind of events to put onBig picture thinkingAdapting the inspiration to the medium to make it feel meaningful to attendeesThrowing events to create experiences so witches feel heard, seen, and can learn from each other.Who gets to throw the events and how do they happen?How to be a community curator:Set guidelines and provide inspirationNudge and teach people to adhere to cultureHelp people navigate and learn from the communitySee the community, listen to the community, notice what they need, provide inspiration, encourage people to be themselves and helpRecognize who has expertise, connect people to gaps, help these folks share their expertise, patch their holes to they will be successful helping the community.Why has CryptoCoven been so successful?Some of Astrea's favorite community momentsWhat the process was like to get a custom witch?Have you seen any unhealthy signals that you now monitor?Astrea likes to “Underpromise and over-deliver”Astrea is thinking about “Converging the physical and digital spaces”If you liked this episode, you can find more episodes at wld.show!
ARTIST: Roché ApinsaCOUNTRY: The Netherlands
A video call with Sal Velluto who together with Chronicle Chamber calls out phellow Phantom artists to support Ukraine through some donations of their work to sell to phans.Full details can be found on this website.Artists, if you want to participate, please contact us to discuss the donation. We will also be in touch with artists. We will post artwork as it comes up. To reserve the art, it will be first in best dressed. Reserve by email only (chroniclechamber@gmail.com)All phunds go to Unicef.The process:The artist creates the workThe artist sends a scan of the artwork to CCWe promote the art on our website and socialsSomeone reserves the artThe buyer sends Chronicle Chamber the money via paypal/EFTChronicle Chamber sends the money to Unicef in the buyers nameWe send the receipt to the buyer (can be used for tax deductions)The artist sends the art to the buyerThe purchaser may need to pay extra for the postage. Deal with the buyer and artistIf any artists would like to do another video with us promoting your piece, also contact us.As some phans will know, 2020 we did a bushfire phundraiser book and we all together raised over $25,000. This is NOT a book but just a call out for artists to help support Ukraine.All details, plus images of the donations and any further communications with artists can be found here.You can email us at chroniclechamber@gmail.com or chat with us via our social media profiles with your feedback at Facebook, Twitter and or Instagram. Make sure you stay with us and do not forget to subscribe and leave a review on our podcast and or our YouTube Channel. Support the show (https://www.patreon.com/chroniclechamber)
Emily Shoyer is the Consulting Curator at the Museum of Sex in New York City while she pursues her PhD in the History of Art at Bryn Mawr College in Pennsylvania where she focuses on the intersections of contemporary art and traumatic experience through a decolonial and psychoanalytic lens. In November she opened "Reclaiming & Making: Art, Desire, Violence" at the Museum of Sex, an exhibition confronting the complex relationship between sex and violence through the artwork of 15 living female and non-binary artists and organizations. She holds a B.A. in Art History from Barnard College, Columbia University and an M.A. in Art History from the Institute of Fine Arts at New York University and has held curatorial positions at the Museum of Modern Art, the National September 11 Memorial & Museum and the Jewish Museum.In this episode, we dive into:The intersections of contemporary art and sexual traumaArt as terrain for marginalized folk to share voice & storyArt as window into lived experience and stories you may otherwise not hearArt as an avenue for healing and processing trauma Addressing female genital mutilation and imagined violence for marginalized communities through artThe role that art and writing played in Marlee's healing after sexual traumaConversations around sexuality that reflect wholeness: from violence to beautiful erotic experienceSocial media censorship and the harmful impact of suppressionDefining resiliency in the survivor communityEmpowered choice when it comes to how we do or don't share our stories; overcoming shame around ‘sensationalizing' our storiesFollow the Museum of Sex on Twitter: https://twitter.com/museumofsex?lang=en and at https://www.museumofsex.com/ Follow @marleeliss and @emmshoyy Learn more about Marlee's group coaching program the Sensual Wholeness Academy: https://www.marleeliss.com/SWAClaim your free 1-1 connect call with Marlee: https://itssessiontime.youcanbook.me/Join/learn more about the F*ck Comphet Support Club: 2SLGBTQIA+ Community Space: https://www.patreon.com/fckcomphetsupportclub
Artists epitomize purpose. They bring something out from inside of themselves to share with and contribute to the world. For most artists, art equals purpose.Katie Chonacas knows about art because she's done many different mediums of it. She's an actor, podcaster, voiceover artist, musician, filmmaker, and writer. Here she shares her unique perspective about art and its relationship with purpose. In this episode, you'll learn about:Why artists create artThe difficulties of having a calling in lifeWhat happens when a calling is followedWhy being domesticated is the opposite of being an artistHaving courage in purposeKatie's Links:WebsiteInstagramLinkedInThriveGlobal* **Want help in finding your own purpose? Email us at bradleywrightphd@gmail.com.Want to connect? Make a connection on Bradley's LinkedIn page. Want to start your own podcast? This podcast is edited and produced (and music too) by Josh Gilbert. Contact him at joshgilbertmedia@gmail.com. He specializes in working with early podcasters.
On the heels of the news regarding the passing of Meat Loaf, Jeff and Matt share some of their individual memories and experiences with his music. We're also discussing carbonated beverages (thanks, Sloane Spencer!), a recent book by Daryl Gregory that's worthy of your reading time, Dweezil Zappa's excellent Van Halen podcast and other topics. See the show notes below for more details.Cassingle Notes:The passing of Meat LoafLosing control of your artThe long road to the success of BatJeff's UCR article on Meat Loaf and Steve Popovich of Cleveland International RecordsAn unexpected wedding ritual involving “Paradise by the Dashboard Light.”Seeing Meat Loaf live for the first time in the ‘90sMeat Loaf's Bat Out of Hell tour on Rockpalast in 1978Matt's interview with Bruce Kulick about playing in Meat Loaf's band on the Bat Out of Hell tour.Reader MailBonnie Raitt's ‘70s albums on Warner BrothersBook recommendation: Revelator by Daryl GregoryPodcast recommendations: Bubble Bottles and also, One Hit History, hosted by Sloane SpencerFavorite carbonated beveragesDr. Pepper vs. Mr. PibbBob Seger - The Fire Inside retro t-shirtRegional and small batch sodas - Fizzy Izzy Root Beer is awesome!Rocket Fizz“I've listened to 10 hours of you assholes over the past few days” - Jason HareJason Hare keeps receiptsLinda Martell - "Color Me Father"Holly G and Black OpryDweezil Zappa's Van Halen podcast is awesomeDetails on the next episode!Closing remarks -- leave us reviews on your favorite podcast platform!
Today's episode with Elisa Jouannet is the first episode in a new series of student spotlights that will be coming out over the next few weeks. A few months ago, I invited some of our students to come on the podcast, and share the exciting projects that they have been creating in the world. I'm forever in awe, and inspired by the passion, determination and generosity our students possess, so I wanted to share their brilliance with all of you. In today's episode, Elisa and I speak about her book, The Wind's Daughter, released in early 2021. Elisa is a constant source of inspiration, and tenacity. Harnessing the power of her experiences travelling alone in Australia, Elisa penned a series of poems that over the next several years were woven into her first self-published book. Elisa has a “just do it” no-nonsense approach to moving forward with ones creative dreams that I think you will find at once, both incredibly relatable and deeply motivating. PODCAST HIGHLIGHTSElisa's Book: The Winds DaughterUsing the space covid created as an opportunity to harness a creative visionEmbracing the learning process when it comes to publishing your bookLeaning into collaboration when it comes to launching a big projectMaking the most of “mistakes” when it comes to business and artThe joy and satisfaction that can come from realising creative dreamsHow Elisa took a chance, and got a very special person to write the forward for her bookWhy a book can be the best business card everBeing the hero of your own adventure in your creative workMoving past perfectionism into meaningElisa's advice to anyone who has a big project in their heartUsing social media as a vessel to express yourself, have fun and finding joy in the creative process FIND ELISA JOUANNETElisa's websiteElisa's InstagramElisa's YoutubeFIND CORACora's WebsiteCora's NewsletterFor links & resources mentioned in this episode go to https://www.corageroux.com/elisa Support the show (https://www.corageroux.com/theteachersclub)
#148-146Intro/Outro: Only Love by Tycho & Benjamin Gibbard148. The White Stripes by The White Stripes (St. James Infirmary Blues & Stop Breaking Down & Cannon & Screwdriver)147. Crash by Dave Matthews Band (So Much To Say & Crash Into Me & Too Much & Lie in Our Graves & Tripping Billies)146. The 18th Letter by Rakim (The 18th Letter (Always and Forever) & It's Been a Long Time & The Mystery (Who is God?))The White Stripes album artCrash album artThe 18th Letter album artVote on Today's Album ArtHave you voted on Week 6 Round 1 winners yet? If so, no further action needed. If not:Week 6 Round 1 Winners (episodes 326-330)Vote on Week 6 Round 2 Album Art
'I think capitalism is over, but the problem is we have nothing to replace it with. Here's when we need artists, and others, to tell us what kind of vision they have for a future that is different than that: a future of play and meaningful work would be one future that I think is not just utopic, but very possible. 'dr. todd dufresne, e21 conscient podcastVideo version:Transcriptione21 dufresne : capitalism is over, my conversation with philosopher Dr. Todd Dufresne about reality, grief, art and the climate crisis.Democracy of SufferingI think capitalism is over, but the problem is we have nothing to replace it with. Here's when we need artists, and others, to tell us what kind of vision they have for a future that is different than that: a future of play and meaningful work would be one future that I think is not just utopic, but very possible. So there's a possible future moving forward that could be much better than it is right now, but we're not going to get there without democracy of suffering as we're experiencing it now and will at least over the next 20, 30, 40 years until we figure this out, but we need to figure it out quickly.e22 westerkamp : slowing down through listening, my conversation with composer and listener Hildegard Westerkamp about acoustic ecology and the climate crisis.Some HopeWe need toallow for time to pass without any action, without any solutions and to just experience it. I think that a slowdown is an absolute - if there is any chance to survive - that kind of slowing down through listening and meditation and through not doing so much. I think there's some hope in that.e23 appadurai: what does a just transition look like?,my ‘soundwalk' conversation with climate activist Anjali Appadurai about the just transition and the role of the arts in the climate emergency.The deeper diseaseThe climate crisis and the broader ecological crisis is a symptom of the deeper disease, which is that rift from nature, that seed of domination, of accumulation, of greed and of the urge to dominate others through colonialism, through slavery, through othering – the root is actually othering – and that is something that artists can touch. That is what has to be healed, and when we heal that, what does the world on the other side of a just transition look like? I really don't want to believe that it looks like exactly this, but with solar. The first language that colonisation sought to suppress, which was that of indigenous people, is where a lot of answers are held.e24 weaving : the good, possible and beautiful, my conversation with artist jil p. weaving about community-engaged arts, public art, the importance of the local, etc.The roles that artists can playThe recognition, and finding ways to assist people, in an awareness of all the good, the possible and the beautiful and where those things can lead, is one of the roles that artists can specifically play. e25 shaw : a sense of purpose, my conversation with Australian climate activist Michael Shaw about support structures for ecogrief and the role of art.Listen to what the call is in youIt's a real blessing to feel a sense of purpose that in these times. It's a real blessing to be able to take the feelings of fear and grief and actually channel them somewhere into running a group or to making a film or doing your podcasts. I think it's important that people really tune in to find out what they're given to do at this time, to really listen to what the call is in you and follow it. I think there's something that's very generative and supportive about feeling a sense of purpose in a time of collapse.e26 klein : rallying through art, my conversation with climate emergency activist Seth Klein about his book A Good War : Mobilizing Canada for the Climate Emergency, the newly formed Climate Emergency Unit and his challenge to artists to help rally us to this causeMy challenge to artists todayHere would be my challenge to artists today. We're beginning to see artists across many artistic domains producing climate and climate emergency art, which is important and good to see. What's striking to me is that most of it, in the main, is dystopian, about how horrific the world will be if we fail to rise to this moment. To a certain extent, that makes sense because it is scary and horrific, but here's what intrigued me about what artists were producing in the war is that in the main, it was not dystopian, even though the war was horrific. It was rallying us: the tone was rallying us. I found myself listening to this music as I was doing the research and thinking, World War II had a popular soundtrack, the anti-Vietnam war had a popular soundtrack. When I was a kid in the peace and disarmament movement, there was a popular soundtrack. This doesn't have a popular soundtrack, yet.é27 prévost : l'énergie créatrice consciente (in French), my conversation with sound artist, musician and radio producer Hélène Prévost about the state of the world and the role of artists in the ecological crisis.The less free art is, the less it disturbsIt is in times of crisis that solutions emerge and that would be my argument. It is in this solution to the crisis that, yes, there is a discourse that will emerge and actions that will emerge, but we can't see them yet. Maybe we can commission them, as you suggest: Can you make me a documentary on this? or Can you make me a performance that will illustrate this aspect? But for the rest, I think we must leave creative energy be free, but not unconscious. That's where education, social movements and education, or maybe through action. You see, and I'm going to contradict myself here, and through art, but not art that is servile, but art that is free. I feel like quoting Josée Blanchette in Le Devoirwho, a week ago, said 'the less free art is, the less it disturbs'.é28 ung : résilience et vulnérabilité (in French), my conversation with educator and philosopher Jimmy Ung about the notion of privilege, resilience, the role of the arts in facilitating intercultural dialogue and learning, education, social justice, etc. Practicing resilienceResilience, at its core, is having the ability to be vulnerable and I think often resilience is seen as the ability to not be vulnerable, and for me, the opposite, more like resilience is the ability to be vulnerable and to believe with hope. Maybe we have the ability to bounce back, to come back, to rise again, to be reborn? I think that's a way of practicing resilience, which is more and more necessary. Because if we want to move forward, if we want to learn and learn to unlearn, we will have to be vulnerable and therefore see resilience as the ability to be vulnerable.e29 loy, : the bodhisattva path my conversation with professor, writer and Zen teacher David Loy about the bodhisattva path, the role of storytelling, interdependence, nonduality and the notion of ‘hope' through a Buddhist lens.The ecological crisis as a kind of the karmaSome people would say, OK, we have a climate crisis, so we've got to shift as quickly as possible as we can from fossil fuels to renewable sources of energy, which is right. But somehow the idea that by doing that we can just sort of carry on in the way that we have been otherwise is a misunderstanding. We have a much greater crisis here and what it fundamentally goes back to is this sense of separation from the earth, that we feel our wellbeing, therefore, is separate from the wellbeing of the earth and that therefore we can kind of exploit it and use it in any way we want. I think we can understand the ecological crisis as a kind of the karma built into that way of relating and exploiting the earth. The other really important thing, which I end up talking about more often, is I think Buddhism has this idea of the bodhisattva path, the idea that it's not simply that we want to become awakened simply for our own benefit, but much more so that we want to awaken in order to be a service to everyone. e30 maggs : art and the world after this, my conversation with cultural theorist David Maggs about artistic capacity, sustainability, value propositions, disruption, recovery, etc.Entanglements of relationshipsComplexity is the world built of relationships and it's a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we've been sort of under the thumb of the old world. We've always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don't have. What I've been trying to do with this report (Art and the World After This) is articulate the way in which these different disruptions are putting us in a very different reality and it's a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.e31 morrow : artists as reporters, my conversation with composer, sound artist, performer, and innovator Charlie Morrow about the origins of the conscient podcast, music, acoustic ecology, art and climate, health, hope and artists as journalists. In tune with what's going on in the worldI think that artists are for the most part in tune with what's going on in the world. We're all reporters, somehow journalists, who translate our message into our art, as art is in my mind, a readout, a digested or raw readout of what it is that we're experiencing. Our wish to be an artist is in fact, in order to be able to spend our lives doing that process.é32 tsou : changer notre culture (in French), my conversation (in French) with musician and cultural diplomacy advisor Shuni Tsou about citizen engagement, cultural action, the ecological crisis, arts education, social justice, systemic change, equity, etc,Cultural change around climate actionCitizen engagement is what is needed for cultural change around climate action. It's really a cultural shift in any setting. When you want to make big systemic changes, you have to change the culture and arts and culture are good tools to change the culture.e33 toscano : what we're fighting for, my conversation podcaster and artist Peterson Toscano about the role of the arts in the climate crisis, LGBTQ+ issues, religion, the wonders of podcasting, impacts, storytelling, performance art, etc. Where the energy is in a storyIt's artists who not only can craft a good story, but also we can tell the story that's the hardest to tell and that is the story about the impacts of climate solutions. So it's really not too hard to talk about the impacts of climate change, and I see people when they speak, they go through the laundry list of all the horrors that are upon us and they don't realize it, but they're actually closing people's minds, closing people down because they're getting overwhelmed. And not that we shouldn't talk about the impacts, but it's so helpful to talk about a single impact, maybe how it affects people locally, but then talk about how the world will be different when we enact these changes. And how do you tell a story that gets to that? Because that gets people engaged and excited because you're then telling this story about what we're fighting for, not what we're fighting against. And that is where the energy is in a story.é34 ramade : l'art qui nous emmène ailleurs (in French), my conversation (in French) with art historian, critic, curator and art and environment expert Bénédicte Ramade on the climate emergency, nature, music, visual arts, ecological art, etc.With music, you can convey so many thingsI am thinking of artist-composers who write pieces based on temperature readings that are converted into musical notes. This is also how the issue of global warming can be transmitted, from a piece played musically translating a stable climate that is transformed and that comes to embody in music a climatic disturbance. It is extraordinary. Is felt by the music, a fact of composition, something very abstract, with a lot of figures, statistical curves. We are daily fed with figures and statistical curves about the climate. ‘They literally do nothing to us anymore'. But on a more sensitive level, with the transposition into music, if it is played, if it is interpreted, ah, suddenly, it takes us elsewhere. And when I talk about these works, sometimes people who are more scientific or museum directors are immediately hooked, saying ‘it's extraordinary with music, you can convey so many things.e35 salas : adapting to reality, my conversation with Spanish curator + producer Carmen Salas on reality, ecogrief, artists & the climate crisis, arts strategies, curating and her article Shifting ParadigmsArtists need help in this processI find that more and more artists are interested in understanding how to change their practice and to adapt it to the current circumstances. I really believe artists need help in this process. Like we all do. I'm not an environmental expert. I'm not a climate expert. I'm just a very sensitive human being who is worried about what we are leaving behind for future generations. So, I'm doing what I can to really be more ethical with my work, but I'm finding more and more artists who are also struggling to understand what they can do. I think when in a conversation between curators or producers like myself and people like you - thinkers and funders - to come together and to understand the current situation, to accept reality, then we can strategize about how we can put things into place and how we can provide more funding for different types of projects.e36 fanconi : towards carbon positive work, my conversation with theatre artist and art-climate activist Kendra Fanconi, artistic director of The Only Animal about the role of the arts in the climate emergency, carbon positive work, collaboration and artists mobilization.Ecological restorationBen Twist at Creative Carbon Scotland talks about the transformation from a culture of consumerism to a culture of stewardship and we are the culture makers so isn't that our job right now to make a new culture and it will take all of us as artists together to do that? … It's not enough to do carbon neutral work. We want to do carbon positive work. We want our artwork to be involved with ecological restoration. What does that mean? I've been thinking a lot about that. What is theatre practice that actually gives back, that makes something more sustainable? That is carbon positive. I guess that's a conversation that I'm hoping to have in the future with other theatre makers who have that vision.é37 lebeau : l'art régénératif (in French), my conversation with Écoscéno co-founder and executive director Anne-Catherine Lebeau on collaboration, circular economies, the role of art in the climate crisis, moving from ‘Take Make Waste' to ‘Care Dare Share' and creating regenerative art.From 'Take Make Waste' to 'Care Dare Share'For me, it is certain that we need more collaboration. That's what's interesting. Moving from a 'Take Make Waste' model to 'Care Dare Share'. To me, that says a lot. I think we need to look at everything we have in the arts as a common good that we need to collectively take care of. Often, at the beginning, we talked in terms of doing as little harm as possible to the environment, not harming it, that's often how sustainable development was presented, then by doing research, and by being inspired, among other things, by what is done at the Ellen MacArthur Foundation in England, around circular economies, I realized that they talk about how to nourish a new reality. How do you create art that is regenerative? Art that feeds something.e38 zenith : arts as medicine to metabolize charge, my conversation with animist somatic practitioner, poet, philosopher, ecologist and clown Shante' Sojourn Zenith about reality, somatics, ecological grief, rituals, nature, performance and ecological imaginations.The intensity that's left in the systemArt is the medicine that actually allows us to metabolize charge. It allows us to metabolize trauma. It takes the intensity that's left in the system, and this goes all the way back to ritual. Art, for me, is a sort of a tributary coming off from ritual that is still sort of consensually allowed in this reality when the direct communication with nature through ritual was silenced, so it comes back to that wider river…e39 engle : the integral role of the arts in societal change, my conversation with urbanist Dr. Jayne Engle about participatory city planning, design, ecological crisis, sacred civics, artists and culture in societal and civilizational change.How change occursThe role of artists and culture is fundamental and so necessary, and we need so much more of it and not only on the side. The role of arts and culture in societal and civilizational change right now needs to be much more integral into, yes, artworks and imagination - helping us to culturally co-produce how we live and work together into the future and that means art works - but it also means artists perspectives into much more mainstream institutions, ideas, and thoughts about how change occurs.e40 frasz : integrated awakeness in daily life, my conversation with researcher and strategic thinker Alexis Frasz about ecological crisis, creative climate action, community arts, Buddhism, leadership and cross-sectoral arts practices. A lack of agencyThere is a lot of awareness and interest in making change and yet change still isn't really happening, at least not at the pace or scale that we need. It feels to me increasingly like there's not a lack of awareness, nor a lack of concern, or even a lack of willingness, but actually a lack of agency. I've been thinking a lot about the role of arts, and culture and creative practice in helping people not just wake up to the need for change, but actually undergo the entire transformational process from that moment of waking up (which you and I share a language around Buddhist practice). There's that idea that you can wake up in an instant but integrating the awakeness into your daily life is actually a process. It's an ongoing thing.e41 rae : a preparedness mindsetmy conversation with artist-researcher, facilitator and educator Jen Rae about art and emergency preparedness, community arts, reality, ecological grief, arts and climate emergency in Australia How artists step upThe thing about a preparedness mindset is that you are thinking into the future and so if one of those scenarios happens, you've already mentally prepared in some sort of way for it, so you're not dealing with the shock. That's a place as an artist that I feel has a lot of potential for engagement and for communication and bringing audiences along. When you're talking about realities, accepting that reality, has the potential to push us to do other things. It's great to hear about Canada Council changing different ways around enabling the arts and building capacity in the arts in the context of the climate emergency. It'll be interesting to see how artists step up.e42 rosen : when he climate threat becomes real, my conversation with architect Mark Rosen about what is enough, green buildings, how to change the construction industry, barriers and constraints in finding solutions to the climate crisis and deferred ecological debt.The idea of enoughThe idea of enough is very interesting to me. The idea that the planet doesn't have enough for us on our current trajectory is at the heart of that. The question of whether the planet has enough for everyone on the planet, if we change the way we do things is an interesting way. Can we sustain seven, eight, nine billion people on the planet if everyone's idea of enough was balanced with that equation? I don't know, but I think it's possible. I think that if we've shown nothing else as a species, as humans, it's adaptability and resiliency and when forced to, we can do surprisingly monumental things and changes when the threat becomes real to us.ConstraintsOne of the things that I find very interesting in my design process as an architect is that if you were to show me two possible building sites, one that is a green field wide open, with nothing really influencing the site flat, easy to build, and then you show me a second site that is a steep rock face with an easement that you can't build across. Inevitably, it seems to be that the site with more constraints results in a more interesting solution and the idea that constraints can be of benefit to the creative process is one that I think you can apply things that, on the surface, appear to be barriers instead of constraints. Capitalism, arguably, is one of those, if we say we can't do it because it costs too much, we're treating it as a barrier, as opposed to us saying the solution needs to be affordable, then it becomes a constraint and we can push against constraints and in doing so we can come up with creative solutions and so, one way forward, is to try and identify these things that we feel are preventing us from doing what we know we need to do and bringing them into our process as constraints, that influence where we go rather than prevent us from going where we need to go.e43 haley: climate as a cultural issue my conversation with British ecoartist David Haley about ecoart, climate change as a cultural issue, speaking truth to power, democracy, regeneration, morality, creating space and listening.Deep questions and listeningClimate change is actually a cultural issue, not a scientific issue. Science has been extremely good at identifying the symptoms and looking at the way in which it has manifest itself, but it hasn't really addressed any of the issues in terms of the causes. It has tried to use what you might call techno fix solution focused problem-based approaches to the situation, rather than actually asking deep questions and listening.A regenerative way of doing and thinkingGoing back to reality, one of the issues that we are not tackling is that we're taking a dystopian view upon individual activities that creates guilt, syndromes, and neuroses which of course means that the systems of power are working and in terms of actually addressing the power - of speaking truth to power - we need to name the names, we need to name Standard Oil, IG Farben who now call themselves ESSO, Chevron, Mobil, DuPont, BP, Bayer, Monsanto BASF, Pfizer and so on. These are the people that control the governments that we think we're voting for and the pretense of democracy that follows them. Until those organizations actually rescind their power to a regenerative way of doing and thinking, we're stuffed, to put pretty bluntly.Create the space for life to move onwardsWhat I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it. When I say I work with ecology, I try to work with whole systems, ecosystems. The things within an ecosystem are the elements with which I try to work. I try not to introduce anything other than what is already there. In other words, making the space as habitat for new ways of thinking, habitat for biodiversity to enrich itself, habitat for other ways of approaching things. I mean, there's an old scientific adage about nature abhors a vacuum, and that vacuum is the space as I see it.e44 bilodeau : the arts are good at changing culture, my conversation with playwright and climate activist Chantal Bilodeau about theatre, cultural climate action, the role of art in the climate emergency and how to build audiences and networksLet's think about it togetherI think of the arts as planting a seed and activism as being the quickest way you can get from A to B. So activism is like, this is what we're going to do. We have to do it now. This is a solution. This is what we're working towards and there's all kinds of different solutions, but it's about action. The arts are not about pushing any one solution or telling people, this is what you need to do. It is about saying here's a problem. Let's think about it together. Let's explore avenues we could take. Let's think about what it means and what it means, not just, should I drive a car or not, but what it means, as in, who are we on this earth and what is our role? How do we fit in the bigger ecosystem of the entire planet? I think the arts are something very good to do that and they are good at changing a culture.e45 abbott : a compassionate, just and sustainable world, my conversation with filmmaker Jennifer Abbott about her film The Magnitude of all Things, reality, zen, compassion, grief, art and how to ensure a more compassionate, just and sustainable livable world.Untangling the delusionThe notion of reality and the way we grasp reality as humans is so deeply subjective, but it's also socially constructed, and so, as a filmmaker - and this is relevant because I'm also a Zen Buddhist - from both those perspectives, I try to explore what we perceive as reality to untangle and figure out in what ways are we being diluted? And in what ways do we have clear vision? And obviously the clearer vision we can have, the better actions we take to ensure a more compassionate, just and sustainable livable world. I'm all for untangling the delusion while admitting wholeheartedly that to untangle it fully is impossible.We're headed for some catastropheIn terms of why people are so often unable to accept the reality of climate change, I think it's very understandable, because the scale and the violence of it is just so vast, it's difficult to comprehend. It's also so depressing and enraging if one knows the politics behind it and overwhelming. I don't think we, as a species, deal with things that have those qualities very well and we tend to look away. I have a lot of compassion, including for myself, in terms of how difficult it is to come to terms with the climate catastrophe. It is the end of the world as we know it. We don't know what exactly the new world is going to look like, but we do know we're headed for some catastrophe. e46 badham : creating artistic space to think, my conversation with Dr Marnie Badham about art and social justice practice Australia and Canada, research on community-engaged arts, cultural measurement, education and how the arts create space for people to think through issues such as the climate emergency.There's a lot that the arts can doI think going forward, there's a lot that the arts can do. Philosophically art is one of the only places that we can still ask these questions, play out politics and negotiate ideas. Further, art isn't about communicating climate disaster, art is about creating space for people to think through some of these issues.e47 keeptwo : reconciliation to heal the earth, my conversation with Indigenous writer, editor, teacher and journalist Suzanne Keeptwo about Indigenous rights and land acknowledgements, arts education, cultural awareness and the role of art in the climate emergency.Original AgreementIn the work that I do and the book that I've just had published called, We All Go Back to the Land, it's really an exploration of that Original Agreement and what it means today. So I want to remind Indigenous readers of our Original Agreement to nurture and protect and honor and respect the Earth Mother and all of the gifts that she has for us and then to introduce that Original Agreement to non-indigenous Canadians or others of the world that so that we can together, as a human species, work toward what I call the ultimate act of reconciliation to help heal the earth.é48 danis : l'art durable (in French), my conversation with author and multidisciplinary artist Daniel Danis on sustainable art, consciousness, dreams, storytelling, territory, nature, disaster and the role of art in the ecological transitionImages of our shared ecology are bornIt's like saying that we make art, but it's an art that, all of a sudden, just like that, is offered. We don't try to show it, rather, we try to experience something and to make people experience things and therefore, without being in the zone of cultural mediation, but to be in a zone of experiences, of exchanges and therefore that I don't control. For example, in the theatre, a bubble in which I force the spectator to look and to focus only on what I am telling them, how can we tell ourselves about the planet? How can we tell ourselves about our terrestrial experiences, where we share a place between branches, clay, repair bandages and traces of the earth on a canvas or ourselves lying on the earth? No matter, all the elements that one could bring as possible traces of a shareable experience are present, and from there, all of a sudden, images of our shared ecology are born.Art must emit wavesFor me, a manifestation of art must emit waves and it is not seen, it is felt and therefore it requires the being - those who participate with me in my projects or myself on the space that I will manifest these objects there - to be in a porosity of my body that allows that there are waves that occur and necessarily, these waves the, mixed with the earth and that a whole set, we are in cooperation. It is sure that it has an invisible effect which is the wave, and which is the wave of sharing, of sharing, not even of knowledge, it is just the sharing of our existence on earth and how to be co-operators?e49 windatt : holistic messages, my conversation with Indigenous artist Clayton Windatt of about visual arts, Indigenous sovereignty, decolonization, the arts and social change, communications, artists rights, the climate emergency and hope.Make a changeWhat if you tasked the arts sector with how to make messages, not about the crisis, but on the shifts in behavior that are necessary on a more meaningful basis. When the pandemic began and certain products weren't on the shelves at grocery stores, but there was still lots of stuff. There were shortages, but there wasn't that much shortage. How much would my life really change if half the products in the store were just not here, right and half of them didn't come from all over in the world? Like they were just: whatever made sense to have it available here and just having less choice. How terrible would that be: kind of not. How can we change behavior on a more holistic level, and have it stick, because that's what we need to do right now, and I think the arts would be a great vehicle to see those messages hit everybody and make a change.e50 newton : imagining the future we want, my conversation with climate activist Teika Newton about climate justice, hope, science, nature, resilience, inter-connections and the role of the arts in the climate emergency.There are no limitsThere are so many amazing people across this country who are helping to make change and are holding such a powerful vision for what the future can be. We get trapped in thinking about the paradigm limit in which we currently live, we put bounds on what feels like reality and what feels possible. There are no limits, and the arts helps us to push against that limited set of beliefs and helps us to remember that the way that we know things to be right now is not fixed. We can imagine anything. We can imagine the future we want.We need to love the things around usI see that there are a lot of ways in which people in my community use the landscape in a disrespectful way. Not considering that that's someone's home and that a wild place is not just a recreational playground for humans. It's not necessarily a source of wealth generation. It's actually a living, breathing entity and a home to other things and a home to us as well. I find that all really troubling that there is that disconnection and it sometimes does make me despair about the future course that we're on. You know, if we can't take care of the place that sustains us, if we can't live with respect for not just our human neighbours, but our wilderness neighbors, I don't know how well we're going to fare in the future. We need to love the things around us in order to care for them.Feel connected to othersHaving the ability to come together as a community and participate in the collective act of creating and expressing through various media, whether that's song, the written word, poetry, painting, mosaic or mural making, so many different ways of expressing, I think are really, really valuable for keeping people whole grounded, mentally healthy and to feel connected to others. It's the interconnection among people that will help us to survive in a time of crisis. The deeper and more complex the web of connections, the better your chances of resilience.e51 hiser : the emotional wheel of climate, my conversation with educator Dr. Krista Hiser on research about climate education, post-apocalyptic and cli-fi literature, musical anthems, ungrading, art as an open space and the emotional wheel of the climate emergency.Help them see that realityWhat motivates me is talking to students in a way that they're not going to come back to me in 10 years with this look on their face, you know, Dr. Hiser, why didn't you tell me this? Why didn't you tell me? I want to be sure that they're going to leave the interaction that we get to have that they're going to leave with at least an idea that someone tried to help them see that reality.The last open spaceThe art space is maybe the last open space where that boxiness and that rigidity isn't as present.Knowledge intermediariesThe shift is that faculty are really no longer just experts. They are knowledge brokers or knowledge intermediaries. There's so much information out there. It's so overwhelming. There are so many different realities that faculty need to interact with this information and create experiences that translate information for students so that students can manage their own information.Not getting stuck in the griefThere's a whole range of emotions around climate emergency, and not getting stuck in the grief. Not getting stuck in anger. A lot of what we see of youth activists and in youth activism is that they get kind of burned out in anger and it's not a sustainable emotion. But none of them are emotions that you want to get stuck in. When you get stuck in climate grief, it is hard to get unstuck, so moving through all the different emotions — including anger and including hope — and that idea of an anthem and working together, those are all part of the emotion wheel that exists around climate change.e52 mahtani : listening and connecting, my conversation with composer Dr. Annie Mahtani about music, sound art, the climate emergency, listening, nature, uncertainty, festivals, gender parity and World Listening DayThat doesn't mean we should give upIf we can find ways to encourage people to listen, that can help them to build a connection, even if it's to a small plot of land near them. By helping them to have a new relationship with that, which will then expand and help hopefully savour a deeper and more meaningful relationship with our natural world, and small steps like that, even if it's only a couple of people at a time, that could spread. I think that nobody, no one person, is going to be able to change the world, but that doesn't mean we should give up. Exploration of our soundscapesFor the (BEAST) festival we wanted to look at what COVID has done to alter and adjust people's practice, the way that composers and practitioners have responded to the pandemic musically or through listening and also addressing the wider issues: what does it mean going forwards after this year, the year of uncertainty, the year of opportunity for many? What does it mean going forward to our soundscape, to our environmental practice and listening? We presented that goal for words, as a series of questions, you know, not expecting necessarily any answers, but a way in a way to address it and a way to explore and that's what the, the weekend of concerts and talks and workshops was this kind of exploration of our soundscapes, thinking about change and thinking about our future.e53 kalmanovitch : nurturing imagination, my conversation with musician Dr. Tanya Kalmanovitch about music, ethnomusicology, alberta tar sands, arts education, climate emergency, arts policy and how artistic practice can nurture imaginationThe content inside a silenceOne of the larger crises we face right now is actually a crisis of failure of imagination and one of the biggest things we can do in artistic practice is to nurture imagination. It is what we do. It's our job. We know how to do that. We know how to trade in uncertainty and complexity. We understand the content inside a silence, it's unlocking and speaking to ways of knowing and being and doing that when you start to try to talk about them in words, it is really challenging because it ends up sounding like bumper stickers, like ‘Music Builds Bridges'. I have a big problem with universalizing discourses in the arts, as concealing structures of imperialism and colonialism.GriefNormal life in North America does not leave us room for grief. We do not know how to handle grief. We don't know what to do with it. We push it away. We channel it, we contain it, we compartmentalize it. We ignore it. We believe that it's something that has an end, that it's linear or there are stages. We believe it's something we can get through. Whereas I've come to think a lot about the idea of living with loss, living with indeterminacy, living with uncertainty, as a way of awakening to the radical sort of care and love for ourselves, for our fellow living creatures for the life on the planet. I think about how to transform a performance space or a classroom or any other environment into a community ofcare. How can I create the conditions by which people can bear to be present to what they have lost, to name and to know what we have lost and from there to grieve, to heal and to act inthe fullest awareness of loss? Seeing love and loss as intimately intertwined.StorytellingMy idea is that there's a performance, which is sort of my offering, but then there's also a series of participatory workshops where community members can sound their own stories about where we've come from, how they're living today and the future in which they wish to live, what their needs are, what their griefs are. So here, I'm thinking about using oral history and storytelling as a practice that promotes ways of knowing, doing and healing … with storytelling as a sort of a participatory and circulatory mechanism that promotes healing. I have so much to learn from indigenous storytelling practices. Nature as musicWe are all every one of us musicians. When youchoose what song you wake up to on your alarm or use music to set a mood. You sing a catchy phrase to yourself or you sing a child asleep: you're making musical acts. Then extend that a little bit beyond that anthropocentric lens and hear a bird as a musician, a creek as a musician and that puts us into that intimate relationship with the environment again.AlbertaI guess this is plea for people to not think aboutoil sands issues as being Alberta issues, but as those being everyone everywhere issues, and not just because of the ecological ethical consequences ofthe contamination of the aquifer, what might happen if 1.4 trillion liters of toxic process water, if the ponds holding those rupture, what might happen next…That story will still be there, that land and the people, the animals and the plants, all those relationships will still be imperiled, right? So to remember, first of all, that it's not just an Alberta thing and that the story doesn't end just because Teck pulled it's Frontier mining proposal in February, 2020. The story always goes on. I want to honor the particular and the power of place and at the same time I want touplift the idea that we all belong to that place.e54 garrett : empowering artists, my conversation with theatre artist Ian Garrett about ethics, theatre, education, role of art in Climate Emergency, Sustainability in Digital Transformation & carbon footprint of Cultural Heritage sector. Complete guarantee of extinctionI don't want to confuse the end of an ecologically unsustainable, untenable way of civilization working in this moment with a complete guarantee of extinction. There is a future. It may look very different and sometimes I think the inability to see exactly what that future is – and our plan for it - can be confused for there not being one. I'm sort of okay with that uncertainty, and in the meantime, all one can really do is the work to try and make whatever it ends up being more positive. There's a sense of biophilia about it.A pile of burning tiresThe extreme thought experiment that I like to use in a performance context is: if you had a play in which the audience left with their minds changed about all of their activities, you could say that that is positive. But, if the set that it took place on was a pile of burning tires – which is an objectively bad thing to do for the environment – there is a conversation by framing it as an arts practice as to is there value in having that impact, because of the greater impact. And those sorts of complexities have sort of defined the fusion and different approaches in which to take; it's not just around metrics.Individual values towards sustainabilityThe intent of it [the Julie's Bicycle Creative Green Tools] is not like LEED in which you are getting certified because you have come up with a precise carbon footprint. It's a tool for, essentially, decision-making in that artistic context, that if you know this information, then you have a better way to consider critically the way that you are making and what you're making and how you are representing your values and those aspects, regardless of whether or not it is explicitly part of the work. And so there's lots of tools in which I've had the opportunity to have a relationship with which that are really about empowering artists, arts makers, arts collectives to be able to make those decisions so that their individual values towards sustainability – regardless of what they're actually making – can also be represented and that they can make choices that best represent those regardless of whether or not they're explicitly creating something for ‘earth day'.The separation of the artist from the personThe separation of the artist from the person and articulating as a profession is a unique thing, whereas an alternative to that could just be that we are expressive and artistic beings that seeks to create and have different talents but turning that into a profession is something that we've done to ourselves and so while we do that, we exist within systems, our cultural organizations exist within systems, that have impacts much farther outside of it so that a systems analysis approach is really important.é55 trépanier : un petit instant dans un espace beaucoup plus vaste (in French), my conversation with indigenous artist France Trépanier about colonialism, indigenous cultures, ecological transition, time, art, listening, dreams, imagination and this brief moment…The responsibility to maintain harmonious relationshipsI think that with this cycle of colonialism, and what it has brought, that we are coming to the end of this century, and with hindsight, we will realize that it was a very small moment in a much larger space, and that we are returning to very deep knowledge. What does it mean to live here on this planet? What does it mean to have the possibility, but also the responsibility to maintain harmonious relationships? I say that the solution to the climate crisis is ‘cardiac'. It will go through the heart. We are talking about love of the planet. That's the work.Terra nulliusFor me, the challenge of the ecological issue or the ecological crisis in which we find ourselves is to understand the source of the problem and not just to put a band-aid on it, not just to try to make small adjustments to our ways of living, but to really look at the very nature of the problem. For me, I think that something happened at the moment of contact, at the moment when the Europeans arrived. They arrived with this notion of property. They talked about Terra Nullius, the idea that they could appropriate territories that were 'uninhabited' (I put quotation marks on uninhabited) and I think that was our first collision of worldviews.Eurocentric vision of artistic practicesIf we take a longer-term view of how the eurocentric view of artistic practices have imposed itself on the material practices of world cultures, this is going to be a very small moment in history. The idea of disciplines, the way in which the Eurocentric vision imposed categories and imposed a certain elitism of practices. The way it also declassified the material culture of the First Nations, or it was not possible, it was not art. Art objects became either artifacts or crafts. It was completely declassified, we didn't understand. I think the first people who came here didn't understand what was in front of them.The real tragedyThe artist Mike MacDonald was telling a story, Mike, who is a Mi'kmaq artist, who is with us now, but who has done remarkable work, a new media artist, he was telling a story once about one of the elders in his community, he was saying that the real tragedy of Canada, it's not that people have been prevented from speaking their language. The real tragedy is that the newcomers have not adopted the cultures here. So 'there have been great misunderstandings. Rewriting the worldI don't think we need to rewrite anything at all. I think we just need to pay attention and listen. We just need to shut up a little bit for a while. Because it's in the notion of authoring there is the word 'author' which presupposes the word authority and I'm not sure that's what we need right now. I think it's the opposite. I think we need to change our relationship to authority. We need to deconstruct that idea when we're being the decision makers or the masters of anything. I don't think that's the right approach. I think you have to listen. I'm not saying that we shouldn't imagine - I think that imagination is important in this attentive listening - but to think that we are going to rewrite is perhaps a little pretentious.é56 garoufalis-auger : surmonter les injustices (in French), my conversation with activist Anthony Garoufalis-Auger about sacrifice, injustices, strategies, activism, youth, art, culture, climate emergency and disaster SacrificeIt's going to take sacrifice and it's going to take a huge commitment to change things, so maybe getting out of our comfort zone will be necessary at this point in history. What's interesting is looking at the past and the history of humanity. It has taken a lot of effort to change things, but at least we have examples in history where we have come together to overcome injustices. We need to be inspired by this.We are really heading for disasterThe people around me, the vast majority, understand where we are with climate change. There is a complete disconnect with the reality that we see in our mass culture and in the news which is not a constructed reality. What science tells us is reality. We are really heading for disaster. é57 roy : ouvrir des consciences (in French), my conversation with artist Annie Roy on socially engaged art, grief, cultural politics, nature, how to open our consciousness, the digital and the place of art in our livesThe contribution of artIs being creative also about getting away from the world, pure to the source as it is, rather than just accepting that we're small and we should go back to the basics? I don't know if art brings us back to the essential versus brings us back to drifting completely. Maybe creativity or creation takes us so far away that we imagine ourselves living on Mars in a kind of platform that doesn't look like anything, or we won't need the birds, then the storms, then the this and that. We will have recreated a universe from scratch where it is good to live. That could be the contribution of art. I don't like this art too much.Opening consciousness If we are in reality and then we say to ourselves in the current world, it is necessary that it insufflate desire and power towards a better future. But it is not the artist who is going to decide and then that disturbs me. It bothers me to have a weight on my shoulders, to change the world while not having the power to do it, real. The power I have is to open consciousness, to see dreams in the minds of others and to instill seeds of possibility for a future.On the back of artThe artist is a being who lives in his contemporaneity, who absorbs the 'poop' in everything that happens and tries to transform it into something beautiful, then powerful for a springboard to go towards better. But we could leave it at that, in the sense that people, how do they use art in their lives? The artist may have all his wills, but what is the place of the art that we make in our lives? Because they are between four walls, in a museum or in very specific places. It's not always integrated into the flow of the day as something supernatural. It's a framed moment that we give away like we consume anything else. Then, if you consume art like anything else, like you go to the spa or you go shopping and then you buy a new pair of pants and then it feels good to have gone to a play. Wasn't that good? Yeah, it's cool but it's not going to go any further than anything other than a nice thrill that's going to last two or three hours and then you're going to get in your Hummer and go home all the same. I think that's putting a lot on the back of art.e58 huddart : the arts show us what is possible, my conversation with Stephen Huddart about dematerialization, nature, culture, capital, supporting grassroots activity, innovation and how the arts can show us what is possible.Existential crisisThis is now an existential crisis, and we have in a way, a conceptual crisis, but just understanding we are and what this is, this moment, all of history is behind us: every book you've ever read, every battle, every empire, all of that is just there, right, just right behind us. And now we, we are in this position of emerging awareness that in order to have this civilization, in some form, continue we have to move quickly, and the arts can help us do that by giving us a shared sense of this moment and its gravity, but also what's possible and how quickly that tipping point could be reached.DematerializationI think we have to more broadly, dematerialize and move from a more material culture to some more spiritual culture, a culture that is able to enjoy being here, that experiences an evolutionary shift towards connection with nature, with all of that it entails with the human beings and the enjoyment and celebration of culture and so I think those two perspectives that the arts have an essential and so important and yet difficult challenge before them.Gabrielle RoyLet's just say that on the previous $20 bill, there's a quote from Gabrielle Roy. It's in micro-type, but it basically says : 'how could we have the slightest chance of knowing each other without the arts'. That struck me when I read that and thought about the distances, that have grown up between us, the polarization, the prejudices, all of those things, and how the arts create this bridge between peoples, between lonely people, between dreamers and all people and that the arts have that ability to link us together in a very personal and profound and important ways. Capital A lot of my time is really now on how do we influence capital flows? How do we integrate the granting economy with all that it has and all of its limits with the rest of the economy: pension funds, institutional investors of various kinds, family offices and so on, because we need all of these resources to be lining up and integrated in a way that can enable grassroots activity to be seen, supported, nurtured, linked to the broader systems change that we urgently need, and that takes the big capital moving so that's a space that I'm currently exploring and I'm looking for ways to have that conversation.e59 pearl : positive tipping points, my conversation with arts organiser Judi Pearl about theatre, climate emergency, collaboration, arts leadership, intersection of arts and sustainability and the newly formed Sectoral Climate Arts Leadership for the Emergency (SCALE)That gathering placeIt's (SCALE, the Sectoral Climate Arts Leadership for the Emergency) a national round table for the arts and culture sector to mobilize around the climate emergency. A few months ago, you and I, and a few others were all having the same realization that while there was a lot of important work and projects happening at the intersection of arts and sustainability in Canada, there lacked some kind of structure to bring this work together, to align activities, to develop a national strategy, and to deeply, deeply question the role of arts and culture in the climate emergency and activate the leadership of the sector in terms of the mobilization that needs to happen in wider society. SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.é60 boutet : a la recherche d'un esprit collectif (in French), my conversation with arts practice researcher Dr. Danielle Boutet on ecological consciousness, reality, activism, grief, art as a way of life, innovation and spiritualityUnconsciousCollectively, we are unconscious. We try to talk about ecological consciousness. If there is a collective psyche, which I believe there is, I do think there is a kind of collective mind, but it is a mind that is unconscious, that is not capable of seeing itself, of reflecting and therefore not capable of meditating, not capable of transforming itself, and therefore subject to its fears and its impulses. I am quite pessimistic about this, in the sense that ecological grief, all grief and all fear is repressed at the moment. There are activists shouting in the wilderness, screaming, and people are listening, but in a fog. It is not enough to bring about collective action. Therefore, our grieving is far from being done, collectively.Changing our relationship to nature We need to change our relationship to nature, our way of relating to others, and it's not the generalizing science that's going to tell us, it's this kind of science of the singular and the experience of each person. For me, it is really a great field of innovation, of research and I see that the artists go in this direction. You know, you and I have been watching the changes in the art world since the 1990s. I see it through the artists who talk about it more and more and integrate their reflection in their approach. How art can help humans evolveI hear a lot of people calling for artists to intervene and of artists also saying that something must be done, etc. I think that art is not a good vehicle for activism. I'm really sorry for all the people who are interested in this. I don't want to shock anyone, but sometimes it can risk falling into propaganda or ideology or a kind of facility that I am sorry about, in the sense that I think art can do so much more than that and go so much deeper than that. Art can help humans to evolve. It is at this level that I think that we can really have an action, but I think that we have always had this action, and it is a question of doing it again and again and again.e61sokoloski: from research to action, my conversation with arts leader Robin Sokoloski about cultural research, arts policy, climate emergency, community-engaged arts, creative solution making and how to create equitable and inclusive organizational structuresConnections to truly impact policyI think that there needs to be greater capacity within the art sector for research to action. When I say that the art sector itself needs to be driving policy. We need to have the tools, the understanding, the training, the connections to truly impact policy and one thing that Mass Cultureis really focused on at the moment is how do we first engage the sector in what are the research priorities and what needs to be investigated together and what that process looks like, but then how do you then take that research create it so that it drives change.Creative Solution MakingI'm very curious to see what the arts can do to convene us as a society around particular areas of challenges and interests that we're all feeling and needing to face. I think it's about bringing the art into a frame where we could potentially provide a greater sense of creative solution making instead of how we are sometimes viewed, which is art on walls or on stages. I think there's much more potential than that to engage the arts in society.Organizational StructuresWe do have the power as human beings to change human systems and so I think I'm very curious of working with people who are like-minded and who want to operate differently. I often use the organizational structure as an example of that because it is, as we all know is not a perfect model. We complain about it often and yet we always default to it. How can we come together, organize and, and bring ideas to life in different ways by changing that current system, make it more equitable, make it more inclusive, find ways of bringing people in and not necessarily having them commit, but have them come touch and go when they need to and I feel as though there'll be a more range of ideas brought to the table and just a more enriching experience and being able to bring solutions into reality by thinking of how our structures are set up and how we could do those things differently. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, 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 frightened by the ecological crisis'. 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 April 2, 2024
Daniel talked about a video to help pronounce "Diego Garcian" and it reminded me of this youtube channelYouTube channel launched on April 14th, 2010 with a video instructing viewers how to pronounce ASUS. It continued for years with normal engilsh words, but also did names and brands like Baal, Tutankhamun, Ke$$ha.Some videos gained more notariety, because of the subtle comedy or oddity. in 2012 * The video "How to pronounce GIF" followed the typical format, but substituted the phrase "GIF stands for graphics interchange format"some surreal, like the correct pronounciation for the phrase "please help me escape from this place"July 9th, 2013, Pronunciation Book departed from its regular programming with a video titled “How To Pronounce 77”. Instead of illustrating the correct pronunciation, the voiceover narrates that “something is going to happen in 77 days,” followed by 15 seconds of silence with soft clicks that could be interpreted as Morse code.Next day the video was 76The following days had a different pattern than previous videos:Start with a cryptic sentenceState how many days until when something will happenA cryptic narrative began to form through the intro sentencecaused internet buzz, the whole world wide web was spreading this series of videos in what I'd call an "explosive node" way.Bear Stearns BravoOn September 24th, 2013 Pronunciation Book released a new video titled "How to Pronounce Horse_ebooks," which contains a phonetic reading of the infamous Twitter spambot account @Horse_ebooks and a mysterious message narrated by a woman standing in front of a silver screen.The same day as the Horse_ebooks reveal, the New Yorker revealed Thomas Bender, VP of product development at HowCast as the identity behind Pronunciation Guide and he was running the @Horse_ebooks Twitter account with BuzzFeed's creative director Jacob Bakkila. The two were staging an event to launch of their new alternate reality game project called "Bear Stearns Bravo."Pronunciation ManualOn April 13th, 2011, the YouTube channel Pronunciation Manual launched, offering similar instructional videos. However, these videos intentionally mispronounce the words for comedic purposes. As of July 2013, the channel has inspired other copycat channels including PronunciationPartner and PronunciationPooper while amassing more than 213,000 subscribers and 68.4 million views, averaging 81,600 views per day.horse_ebooksStarted basically as a spam bot, but a Russian web developer, But without the nefarious tactics.Gained popularity as poeticTwitter account that posted nonsense phrases from ebooks about horses, interspersed with spam links."I will make certain you never buy knives again,""We all agree, no one looks cool,""Is the dance floor calling? No,""Everything happens so much""unfortunately, as you probably already know, people."Purchased in 2011 by Bakkila. This change was noticed by the account's followers when, on September 14, 2011, the account began tweeting "via web" instead of "via Horse ebooks", and the frequency of tweets promoting ClickBank significantly dropped while the number of "funny" tweets increased.Alternate Reality Game (ARG)interactive networked narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players' ideas or actions.Among the terms essential to understanding discussions about ARGs are:Puppet-master – A puppet-master or "PM" is an individual involved in designing and/or running an ARG. Puppet-masters are simultaneously allies and adversaries to the player base, creating obstacles and providing resources for overcoming them in the course of telling the game's story. Puppet-masters generally remain behind the curtain while a game is running. The real identity of puppet masters may or may not be known ahead of time.The Curtain – The curtain, drawing from the phrase, "Pay no attention to the man behind the curtain," is generally a metaphor for the separation between the puppetmasters and the players. This can take the traditional form of absolute secrecy regarding the puppetmasters' identities and involvement with the production, or refer merely to the convention that puppet-masters do not communicate directly with players through the game, interacting instead through the characters and the game's design.Rabbit-hole/Trailhead – A rabbit-hole, or trailhead, marks the first media artifact, be it a website, contact, or puzzle, that draws in players. Most ARGs employ a number of trailheads in several media to maximize the probability of people discovering the game. Typically, the rabbit-hole is a website, the most easily updated, cost-effective option.[4]This Is Not A Game (TINAG) – Setting the ARG form apart from other games is the This Is Not A Game sentiment popularized by the players themselves. It is the belief that "one of the main goals of the ARG is to deny and disguise the fact that it is even a game at all."design principlesStorytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.Platformless narrative. Stories are not bound to a single medium, but exist independently and use whatever media is available to make itself heard.Designing for a hive mind. While it might be possible to follow games individually, designs are directed at a collective of players that share information and solutions almost instantly and incorporate individuals possessing almost every conceivable area of expertise. While games might initially attract a small group of participants, as the participants come across new challenges they try to find others with the knowledge needed to overcome an obstacle.A whisper is sometimes louder than a shout. Rather than openly promoting games and trying to attract participation by "pushing" it toward potential players, designers attempt to "pull" players to the story by engaging in over-the-top secrecy, have elements of the game "warn" players away from them, and eschew traditional marketing channels. Designers do not communicate about the game with players or press while it is in play.The "this is not a game" (TINAG) aesthetic. ARGs themselves do not acknowledge that they are games. They do not have an acknowledged ruleset for players; as in real life, they determine the "rules" either through trial and error or by setting their own boundaries. Narratives present a fully realized world: any phone number or the email address mentioned works, and any website acknowledged exists. Games take place in real time and are not replayable. Characters function like real people, not game pieces, respond authentically, and are controlled by real people, not by computer AI. Some events involve meetings or live phone calls between players and actors.Real life as a medium. Games use players' lives as a platform. Players are not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants are constantly on the lookout for clues embedded in everyday life.Collaborative storytelling. While the puppetmasters control most of the story, they incorporate player content and respond to players' actions, analysis and speculation by adapting the narrative and intentionally leave "white space" for the players to fill in.Not a hoax. While the TINAG aesthetic might seem on the surface to be an attempt to make something indistinguishable from real life, there are both subtle and overt metacommunications in place to reveal a game's framework and most of its boundaries.Inspiration1905 short story "The Tremendous Adventures of Major Brown" by G. K. Chesterton(part of a collection entitled The Club of Queer Trades)seems to predict the ARG conceptWhile investigating a case of assault brought by Major Brown, Rupert Grant, the private detective, and his brother Basil stumble upon the Adventure and Romance Agency, Limited, an agency that creates adventures for its clients.John Fowles' 1965 novel The Magus.young Oxford graduatemoves to greece to teachgets dissolution, meets wealth reclusegets drawn into Godgamesscience fiction novel Triton (Delaney) pub 1976 byThe combination board and card game, Vlet, that many of the main characters in play throughout his novel appears to be a type of ARG.Ludic texts (Ludology is game studies)Choose Your Own Adventure children's novelsReader-influenced online fiction such as AOL's QuantumLink Serial provides a model that incorporates audience influence into the storytelling in a manner similar to that of ARGs, as do promotional online games like Wizards of the Coast's Webrunner games.Other break-the-fourth-wall actions in theater and performing artThe concept has had cultural touchstones throughout post-WWII pop culture.the Beatles' "Paul is dead" phenomenon.the 1997 movie The Game with Michael DouglasEarliest examples of ARG includeWebrunner: The Hidden Agenda to promote "Netrunner"Dreadnotfrom SF Chronicle published at sfgate.com in 1996The game included working voice mail phone numbers for characters, clues in the source code, character email addresses, off-site websites, real locations in San Francisco, real people (including then-Mayor Willie Brown), and of course a fictional mysteryMarketing for the Blair Witch Projectexpanding the world of the movie online, adding backstory, and treating the fiction as reality through real-world media such as fliers and a fake documentary on the Sci-Fi Channel.However, due to the subject material & absence of overt metacommunications that this was fiction, so mor elike a internet hoaxNotable examplesThe Beastmarketing for Spielberg's AI Artificial Intelligencean elaborate murder mystery played out across hundreds of websites, email messages, faxes, fake ads, and voicemail messagesdubbed "the Citizen Kane of online entertainment" by Internet Life,[19] was a runaway successthree million active participants[21] from all over the world during its runAn early asset list for the project contained 666 files, prompting the game's puppetmasters to dub it "the Beast"Portal 1March 1 , 2010 game updategame update now includes 26 radios in the test chambers playing the same default tune that the original radios playedplay Morse code which led to phone numberphone number was to a BBSshow the user ASCII art images and paragraphs quoting Cave Johnsonidle for 4 minutes, "Hey! Please login now. You have one minute left." and if left idle for one more minute the next text will say "Your login time (5 minutes) ran out. Goodbye" disconnecting the user.Portal was updated at another time on two days later "Added valuable asset retrieval". The Portal 1 game ending was expanded to include Chell being dragged back into the facility by the Party Escort Bot saying "Thank you for assuming the party escort submission position" creating the plot for the upcoming game Portal 2.I Love Beesfirst advertised by a hidden message in a Halo 2 traileron the website discovered that the pages appeared to be hacked by a mysterious intelligence. As players solved puzzles, audio logs were posted to the ilovebees.com site which gradually revealed more of the fictional back-storyinvolving a marooned artificial intelligence stranded on Earth and its attempts to put itself back together.CBS made an ARG for Jericho to promote the series in 2007.2016 TV show Mr. Robot, started with a phone number shown on a box in a video clip. Prizes were awarded to the first 509 solversSerious ARGsif ARGs can spark players to solve very hard fictional problems, could the games be used to solve real-world problems?World Without Oilusing collective intelligence, puppetmasters acted as players to guide the "collective imagination" to create a multi-authored chronicle of the alternative futureOctober 2008 The British Red Cross created a serious ARG called Traces of Hope to promote their campaign about civilians caught up in conflictEuropean Union funded an ARG to support motivation for multilingualism within European secondary school students called ARGuing for Multilingual MotivationMeow WolfHouse of Eternal ReturnHouse of Eternal Return has a storyline based on the fictional Selig family, who disappeared after experimenting with interdimensional travel by tapping into a mysterious force known as "The Anomaly" in an effort to bring back deceased family members. This caused the house to fracture open paths to alternate dimensions. A secret government organization called the Charter was able to contain the Anomaly's effects and passes off the containment warehouse as an art installation. Hosted on Acast. See acast.com/privacy for more information.
"Jesus is the great kintsugi master." "Something that's broken is already more valuable than when it's whole." "The imagination creates, through the fractures, a river of gold, a mountain of gold." Makoto Fujimura joins Miroslav Volf to discuss Art & Faith: A Theology of Making. Fujimura is a painter who practices the Japanese art of nihonga, or slow art. His abstract expressionist pieces are composed of fine minerals he grinds himself and paints onto several dozens of layers, which take time and close attention both to make and to appreciate.Mako and Miroslav discuss the theology and spirituality that inspires Mako's work, the creative act of God mirrored in the practice of art, the unique ways of seeing and being that artists offer the world, which is, in Mako's words "dangerously close to life and death." They reflect on the meaning of Christ's humanity and his wounds, the gratuity of God in both creation from nothing and the artistic response in the celebration of everything.Show NotesMakoto Fujimura's Art & Faith: A Theology of MakingIlluminated Bible by Makoto FujimuraMary, Martha, & LazarusGenesis Creation NarrativeArt follows in the footsteps of the creatorThe reasons for God's creationWhy would an all-sufficient God create anything?God as "a grand artist with no ego and no need to create."Communicating about art and theology outside the boundaries of the institutional churchReconciliation between art and faithGod's gratuitous creation doesn't need a utilitarian purposeCreating vs makingIn artistic creation, something new does seem to emerge"God is the only artist"The scandal of God's incarnation: In becoming incarnate, God's utter independence is flipped to utter dependence.Psalmist's cry to GodHow art breaks the ordinaryThe artist's way of seeing and beingSeeing as survivalSeeing with the eyes of your heart"Artists stay dangerously close to death and life"Getting beyond the rational way of seeingLetting the senses become part of our prayerWilliam James on conversion: everything becomes new for the convertedSeeing with a new frame of beautyFaith and the authenticity of seeing with the eyes of an artistEmily Dickenson on the "tender pioneer" of JesusHartmut Rosa on resonance—in modernity, the world becomes dead for us, and fails to speak with us, but we need a sense of resonanceKandinsky and Rothko—artists' intuitive sense of resonance that has escaped the church in the wake of mid-century destructionMary's wedding nard oil and the gratuitous cost of artThe non-utilitarian nature of artUsing precious materials in artTear jarsMiroslav's mother regularly weeping and crying: "I wonder why God gave us tears? Only humans are the animals who cry."Helmut Plessner's Laughing and Crying: Weeping as relinquishing self-possession and merging the self with the flesh (as opposed to reason/ratio or technique/techne)N.T. Wright—the greatest miracle is that Jesus chose to stay human.Jesus's remaining woundsCo-mingling our tears with Christ's tearsKintsugi and Japanese Slow ArtAccentuating the fracture"The imagination creates, through the fractures, a river of gold, a mountain of gold."This is the best example of new creation."What would happen to our scars? That's a question with no answer."Through his wounds, our wounds would look differentJesus is the great kintsugi master, leading a path of gold along the fractures of lifeThe permanence of scarsIs it possible to be in the good and be truly joyous?"God is not the source of beauty. God is beauty."Fundamental "new newness": So new that it evades understandingGoodness, truth, and beautyGod loved the world so much, it wasn't enough to merely admire it—he had to join it.What is a life worthy of our humanity?Fujimura's practice of art as an attempt to answer that question."Our lives as the artwork of God, especially as a collaborative community in the Body of Christ."About Makoto FujimuraMakoto Fujimura is a leading contemporary artist whose process driven, refractive “slow art” has been described by David Brooks of New York Times as “a small rebellion against the quickening of time”. Robert Kushner, in the mid 90's, written on Fujimura's art in Art in America this way: “The idea of forging a new kind of art, about hope, healing, redemption, refuge, while maintaining visual sophistication and intellectual integrity is a growing movement, one which finds Makoto Fujimura's work at the vanguard.”Fujimura's art has been featured widely in galleries and museums around the world, and is collected by notable collections including The Museum of Contemporary Art in Tokyo, The Huntington Library as well as Tikotin Museum in Israel. His art is represented by Artrue International in Asia and has been exhibited at various venues including Dillon Gallery, Waterfall Mansion, Morpeth Contemporary, Sato Museum in Tokyo, Tokyo University of Fine Arts Museum, Bentley Gallery in Phoenix, Gallery Exit and Oxford House at Taikoo Place in Hong Kong, Vienna's Belvedere Museum, Shusaku Endo Museum in Nagasaki and Jundt Museum at Gonzaga University. He is one of the first artists to paint live on stage at New York City's legendary Carnegie Hall as part of an ongoing collaboration with composer and percussionist, Susie Ibarra. Their collaborative album "Walking on Water" is released by Innova Records. As well as being a leading contemporary painter, Fujimura is also an arts advocate, writer, and speaker who is recognized worldwide as a cultural influencer. A Presidential appointee to the National Council on the Arts from 2003-2009, Fujimura served as an international advocate for the arts, speaking with decision makers and advising governmental policies on the arts. His book “Refractions” (NavPress) and “Culture Care” (IVPress) reflects many of his thesis on arts advocacy written during that time. His books have won numerous awards including the Aldersgate Prize for “Silence and Beauty” (IVPress). In 2014, the American Academy of Religion named Fujimura as its 2014 “Religion and the Arts” award recipient. This award is presented annually to professional artists who have made significant contributions to the relationship of art and religion, both for the academy and a broader public. Previous recipients of the award include Meredith Monk, Holland Cotter, Gary Snyder, Betye & Alison Saar and Bill Viola. Fujimura's highly anticipated book "Art+Faith: A Theology of Making" (Yale Press, with foreword by N.T. Wright, 2021) has been described by poet Christian Wiman as "a real tonic for our atomized time".Fujimura founded the International Arts Movement in 1992, now IAMCultureCare, which over sees Fujimura Institute. In 2011 the Fujimura Institute was established and launched the Four Qu4rtets, a collaboration between Fujimura, painter Bruce Herman, Duke theologian/pianist Jeremy Begbie, and Yale composer Christopher Theofanidis, based on T.S. Eliot's Four Quartets. The exhibition has travelled to Baylor, Duke, and Yale Universities, Cambridge University, Hiroshima City University and other institutions around the globe.Bucknell University honored him with the Outstanding Alumni Award in 2012.Fujimura is a recipient of four Doctor of Arts Honorary Degrees; from Belhaven University in 2011, Biola University in 2012, Cairn University in 2014 and Roanoke College, in February 2015. His Commencement addresses has received notable attention, being selected by NPR as one of the “Best Commencement Addresses Ever”. His recent 2019 Commencement Address at Judson University, was called “Kintsugi Generation”, laying out his cultural vision for the next generation.Production NotesThis podcast featured artist Makoto Fujimura and theologian Miroslav VolfEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Martin Chan & Nathan JowersA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give
Erotic Art has been part of the human experience for millennia. But there is HUGE difference between Erotic “Art” and mainstream porn. Join Devi Ward Erickson and her guest, visual artist and Photographer, Ricardo Scipio as they discuss the toxic limitations of mainstream phonography and the healing impact of Eros as an art form.TUNE IN TO FIND OUT:What inspires one to become an erotic artistThe challenges of being a POC in the white dominated realm of sexual expressionsThe lessons of sex and intimacy transmitted through erotic artThe toxic legacy of mainstream porn such as racism, lack of diversity, lack of human connectionSex-negativity and censorship in social media and the wider societyThe transcendental expense of photographing authentic, unapologetic, connected sex
Pro-Witch Gabriella Rosie joins today's episode to chat about all things creativity. She brings her magical insight on navigating the life of a creative in the modern day and how we can truly show up in our art. Listen to find out what it means to be a Creatrix and how you can achieve true creative freedom. Today on Basic Witches:What it means to be a CreatrixHow to show up in your artThe challenges of social media as a form of artistic expressionCreating for the sake of creatingPractical tips for fellow creativesFollow Gabriella:Instagram: Gabriella RosieWebsite: Gabriella RosieFollow your intuwitchin' by following us on IG: @BasicWitches // @LeahKnauer // @RachelLaforestJoin us LIVE for “Blazin' with @BasicWitches” on Instagram every Tuesday at 5:55pm PST. Free Q&A, card pulls, and expert guests!New Merch Alert! Visit BasicWitches.Threadless.com for our latest releases.Subscribe! Review! Join our Patreon! And we promise we won't put a hex on you
Belinda is a Comedic Actor & Yoga Teacher and in this episode we dive deep into the ups and downs of the creative journey and how to come to peace with your art. In this episode we speak about: Growing up in an environment where your artistry isn't encouraged as a professionHow tantra & yoga supports your mindset & artistic journeyHow to move through the voices in your head when putting yourself and your art out thereHow to detach from other people's opinions on your artThe create process of making comedic videos Navigating the inner voices & the ego with mantrasHow to grow & learn from your mistakesAbout Belinda: Bel Totino, a graduate of 16th street actor studio, yoga teacher who did her training in India and tantric training in Melbourne and Thailand. She is a comedic actor who writes, films and stars in her sketches. Belinda combines yogic philosophy in her approach to her acting and feels they both support one another beautifully. It helps with the challenging moments that most creatives and actors have, but also supports with the inspiring times as well.Follow Belinda:Instagram: bel_totinoYoutube: Belinda TotinoLet us know what you enjoyed from this episode by leaving a rating & review on Apple podcasts.To listen to more episodes & free guided meditations on The Creative Zone podcast, click hereSupport the show
How do you come to terms with loss? Is it simply part of life or should it be examined and carefully acknowledged? These are the themes and questions at play in One Art by Elizabeth Bishop. The poem looks at the difficulty of moving on from a loss and in some cases how it's simply not possible.You can find a copy of the poem here: https://www.poetryfoundation.org/poems/47536/one-artThe show notes for today's episode, with full references can be found here: https://wordsthatburnpodcast.com/You can get in touch with me on instagram: https://www.instagram.com/wordsthatburnpodcast/The music in this weeks episode is Solace by Scott Buckley and is used under creative commons license. Enjoy his music here: https://www.scottbuckley.com.au/ Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
Ellen Bass is a poet, non-fiction author, and teacher. She is the author of many collections and books including Like a Beggar, The Human Line, and Mules of Love. Ellen’s poems also appear frequently in The New Yorker, American Poetry Review, and many other journals. She’s been awarded three Pushcart Prizes, The Lambda Literary Award, The Pablo Neruda Prize, and The New Letters Prize. Ellen also teaches in the MFA Writing Program at Pacific University. Her newest collection of poetry is entitled Indigo. This is Ellen’s second time as a guest on the show.In this episode, Ellen and Eric discuss the power of poetry – how it can change us and deepen our experience of and attention to the world around us. Ellen reads some of her incredibly beautiful poetry and as a result, we are indeed changed.Spiritual Habits Group Program – Find Solid Ground In Shaky Times: Join Eric in this virtual, live group program to learn powerful Spiritual Habits to help you access your own deep wisdom and calm steadiness – even when the world feels upside down. Click here to learn more and sign up. Enrollment is open now through Sunday, July 19th, 2020Need help with completing your goals in 2020? The One You Feed Transformation Program can help you accomplish your goals this year.But wait – there’s more! The episode is not quite over!! We continue the conversation and you can access this exclusive content right in your podcast player feed. Head over to our Patreon page and pledge to donate just $10 a month. It’s that simple and we’ll give you good stuff as a thank you!In This Interview, Ellen Bass and I Discuss the Power of Poetry and…Her new book of poetry, IndigoHow gratitude and love help her combat fearHer practice as a poet is to take suffering and make artThe poem that took her 12 years to writeThat worthwhile things are hard to do – even for expertsWanting to be changed after writing or reading a poemHer poem, Taking My Old Dog Out To Pee Before BedHer poem, EnoughWhat she thinks about when she hears someone else read her poetry as well as how poetry is to be read and heard “out loud”Her poem, The Long RecoveryTrying not to resist the life we have and instead, hurl ourself more deeply into itGreat poets and their poetry teach us to observe the world more closely and see it as sacred and beautifulHer poem, Any Common DesolationEllen Bass Links:ellenbass.comTwitterInstagramFacebookAshford University: Their online bachelor’s and master’s degrees allow you to learn on a convenient and flexible schedule. There’s no fee to apply and no standardized testing to enroll. Go to ashford.edu/wolf Athletic Greens: The all in one daily drink to get daily nutritional needs, support better health and peak performance. Visit www.athleticgreens.com/feed to get 20 free daily travel packs with your first purchase. Daily Harvest: Delivers absolutely delicious organic, carefully sourced, chef-created fruit and veggie smoothies, soups, overnight oats, bowls, and more. To get $25 off your first box go to www.dailyharvest.com and enter promo code FEEDIf you enjoyed this conversation with Ellen Bass on the power of poetry, you might also enjoy these other episodes:Ellen Bass (2018 Interview)Marilyn Nelson
Host Will Foster interviews Bryan Knight about his long time in the Industry and a lot more. You can find Bryan Knight on his Twitter, Facebook, Instagram, RentMen, or his website. The charity highlighted in today's show is: Leslie-Lohman Museum of ArtThe music of this episode Is by Demize and Bunce Force Trauma. The full song will be out the day following this podcast. It was made for Talk@Will and for Erik Rhodes.Support the show (https://www.patreon.com/talkatwill)
William G. Robinson is one of the curators of the Picasso and Paper exhibition. In this episode he talks about putting exhibition together, working with museums in different countries, and Picasso's prolific output.Picasso and Paper is at the Royal Academy London from 25th January to 13th April, 2020 and then it moves to Cleveland Museum of ArtThe exhibition is sponsored by the City of Malaga.https://www.royalacademy.org.uk/exhibition/picasso-and-paperhttps://www.clevelandart.org/exhibitions/picasso-and-paperFollow me on Instagram https://www.instagram.com/thegitajoshi/https://thecuratorssalon.com/artist-blog/2020/1/30/curator-talk-picasso-and-paper
In this episode of Automation Unplugged, Ron Calls spoke with Justin Johnston about topics such as:How Justin got his start in the A/V industryThe recent $75 million Bravas mergerThe latest technology trends like tunable lighting and digital artThe importance of a strong company cultureCatch us LIVE on Facebook each week and stay updated by RSVPing to get notified about our next live event here: https://www.facebook.com/OneFireflyLLC/To get transcripts, resources of what was mentioned in the show, and more visit: https://onefirefly.com/au87 SHOW NOTESAs the youngest contractor in the state of California, Justin Johnston has been constantly working towards making Twilight Solutions a leader in the custom integration market. Ron Callis is the CEO of One Firefly, LLC, a digital marketing agency based out of South Florida and creator of Automation Unplugged. Founded in 2007, One Firefly has quickly became the leading marketing firm specializing within the integrated technology and security space. The One Firefly team work hard to create innovative solutions to help Integrators boost their online presence, such as the elite website solution, Mercury Pro. About One FireflyOne Firefly, LLC is an award-winning marketing agency that caters to technology professionals in the custom integration, security and solar energy markets. One Firefly is headquartered in Davie, Florida with staff located throughout North America and has been operating since 2007.
Artist and Chief-of-Staff at The Moth, Sarah Jane Johnson, and Patrice Miller, director, joined Hope Singsen to discuss their project, Devil In A Box, which was presented to sold out houses at The #HealMeToo Festival.Equal parts poetic theater and feminist stand-up, Devil in a Box follows the journey of a young American woman from sexual assault, through the French justice system and into life after trauma. A frightening yet joyous tale, Sarah Jane chronicles the complexities of it all with disarming honesty, beaucoup d’humour, and a 24 oz. can of Miller Lite.By turns frank, hilarious, and inspiring, Sarah Jane and Patrice share with Podcast listeners about:The story of how Devil in a Box started as a performance art piece and evolved over years in tandem with Sarah Jane's court case and recovery processWays that working on the piece both were and weren't always healing for Sarah JaneHow the Devil in a Box team has developed a method of collaboration that engages them all in a healing process Patrice's insights as a self-declared “lazy witch” on the magic of imagination and the healing similarities between making magic and making artThe “go to” skills that help Sarah Jane, Patrice & Hope in moments of challenge, like:Finding friends you can really talk to, “Trying on” ideas for yourself to act “as if” you were already “healed”, Stretching yourself by taking a “contrary action,” Learning ways to step back from dark thoughts that might otherwise spiral and seem larger than they areHow to honor your own ways of surviving and start seeing the next things you could do to have a fuller life, even while healingComing to accept that being a survivor will always be in one’s life, but it doesn’t have to control things, as you figure out how you want to dialogue with itObserving tricky moments “in neutral” in order to avoid making things worse, and come back to it later The #HealMeToo Podcast is hosted by Hope Singsen--the artist, creativity researcher and survivor-activist who founded the #HealMeToo Festival in NYC this Spring. On the episode details page for this interview, you'll find many testimonials about Devil in A Box, as well as a video teaser for the show. While you're there, you can also link to other #HealMeToo Festival performance videos, and sign up on our email list to hear about future pop-up #HealMeToo Festival events.Subscribe now. Let's talk about how we can #HealMeToo.Find the #HealMeToo Podcast on Apple Podcasts at bit.ly/hm2pod. Or visit healmetoopodcast.com to find links to other platforms. Interview recorded & prepped by Delaney HafenerEdited by Hope SingsenMusic performed by Micah Burgess: If I Can by Hope Singsen & Dillon KondorRockabye by Hope Singsen, Dillon Kondor & Micah BurgessGorgeous Fire by Hope Singsen & Dillon KondorSupport the show (https://fundraising.fracturedatlas.org/healmetoo-festival)
Luke Kondor is a podcaster, comic creator, filmmaker, and bestselling author. His short film ‘Keith’ – a film made with no ideas, no money, and no camera – went on to win the best low-budget short film at the London Film Festival and has since been played the world over. His work with Hawk & Cleaver’s ’The Other Stories’ podcast has brought in over 3 million downloads internationally, and he has dabbled in post apocalyptic fiction, bringing the immensely weird and wonderful ‘El Marvo’ to life through a successful Kickstarter campaign and has reached the top of the Amazon charts with his best-selling series ’The Rot’, written alongside Daniel Willcocks.Luke’s credentials include 2x Vimeo Staff Picks, Grand Prix at the In Short Fest, 1st Prize at Five Lamps 24hr Film Competition, and Audience Choice at Focus Film Festival (not to forget the aforementioned Best Low-Budget Short Film at the London Short Film Festival).Luke is also part-owner of the independent story studio, HAWK & CLEAVER, and happens to be one of my best friends, inspirations and co-writers.In this episode we go deep into:How Luke kick-started his creative careerHis 7-day creative challengesHow to create a film with no camera and no moneyHow Luke created his morning habitsWhy creating an overly curated personal brand can be counterproductive to successWhy Luke thinks of himself as an 'explorer'What mediums and genres Luke still wants to play withHow experiencing all that life has to offer can inform your artThe links between writing and runningConquering distractions when writingHow journalling plays into a successful morning routineHow bullet journalling supplements a good productive routineLuke's proudest achievement to dateChoosing between traditional publishing and independentFind out more about Luke Kondor:www.lukekondor.comwww.hawkandcleaver.comLinks from the show:Luke's Massive Storytelling podcastLuke's award-winning film, KeithThe Hipster from Outer Space bookSwiss Army Man See acast.com/privacy for privacy and opt-out information.
Guest overviewShe graduated from St Martin's in London, spent five years developing her unique freestyle artistic expression in Tokyo, before moving to New York to further her ambitious and expansive artistic exploration of identity and the self, welcome this weeks' guest live visual artist Shantell MartinIn this episode we discuss the impact of her upbringing in a racially fueled district of London, how her self-belief, unique perspective, unerring curiosity and persistence propelled along an ever evolving, non-conformist artistic career path.We discuss the impact of serendipity and how her characteristic live and spontaneous black-and-white compositions form the basis of an exploration into identity and the self based on two philosophical questions of “Who are you? Are you you?”With clarity and candor Shantell talks about her curiosity fuels her and provides insight into her creative process and some of her many collaborations including Kendrick Lamar and The New York City Ballet.I hope you enjoy this freestyle episode of truth-telling and truth-seeking with Shantell Martin.What we discussAn upbringing in a mixed-race householdThe influence of cartoons on her artistic ambitionShantell's dual love of running and artThe barriers and hurdles she facedOvercoming social norms to carve her own pathHer passion and desireConfronting her art teacher's doubtPower of head to hand in art and writingThe first experience of live art in JapanHow she guides her studentsThe importance of asking the questions Who Are You?Drawing on everythingHer curiosityEnvironmental impact on her workSocial justice and compassionHer Impossible advice Connecting on SocialShantell Martin TwitterInstagramYouTube FacebookTumblrLinks In The ShowSir Ken Robinson TED Talk St Martin's Art SchoolSilent Giants podcast Jiro Dreams of SushiNew York City Ballet Kendrick Lamar One Red Paperclip See acast.com/privacy for privacy and opt-out information.
Niraj Naik is an ex-pharmacist turned holistic health expert. After working for several years as a community pharmacist, Niraj saw firsthand just how ineffective and even damaging pharmaceutical drugs can be. When he found himself a patient of stress-related depression and ulcerative colitis, he embarked on a journey of profound healing and now has no symptoms at all. Known internationally as The Renegade Pharmacist, Niraj is also the founder of SOMA Breath and is dedicated to educating others on topics of holistic health, breath work meditation, and more.In this episode Amy and Niraj discuss:Reclaiming Pranayama as a healing artThe journey from from pharmacist to spiritual breath workerWhy breathing slower and more mindfully is essential for the bodyLearn more about Growing Your Yoga Business - Amy’s 6-month Yoga biz training program - here: http://www.amymcdonald.com.au/growingyouryogabiz
I am, self-admittedly, jealous of artists. There is a part of me that feels like my art ability peaked in 3rd grade. So when I come across a talented artist, I am in awe of their talent.Not only is Kelly Anderson (Crayonkelly.com) such an extremely talented artist, she is a very down to Earth and insightful person. On her website, she describes her art the following way:My mixed media images depict feelings that everyone encounters at some point in their life. The crayon ties in those childlike feelings of safety and comfort. I use other items to tie in the meaning. I include a dictionary cutout relevant to the overall theme so one can visualize the emotions. Most of all it adds a personal touch.Each image has it's own story as a handwritten message that is sealed for one persons eyes.Having struggled through manic depression, she had to find another outlet than the ones she was choosing for self-medication.Enter her art.In our conversation we discuss how art, and especially the use of Crayons, bring us back to the safety of our childhood when we were immune to the judgement of society and we were free to be creative without boundaries. In this heartfelt conversation, we also discuss:Where she draws inspiration for her artHer creative process to bring a brand to life when working with companiesAdvice for those who are timid about trying artThe changes and benefits she witnesses when working with her clientsHow art benefits stress and creativity in personal and professional settingsDo you have a topic you'd like me to discuss? You can contact me by email at rich@richbracken.com or on Twitter and Instagram @richbracken1.
In this episode, you'll learn:The bull and bear thesis behind investing in fine artThe key metrics behind valuing fine artIf fine art has a place in your portfolioWhy art by great artists might be value trapsHow the ultra rich are moving the market BOOKS AND RESOURCES MENTIONED IN THIS EPISODELearn more about Scott’s company, MasterworksCitibank’s report about the Global Art MarketLearn more about the art market on ArtPrice.comDownload your free audio book at Audible.Find the best job candidate at Ziprecruiter.Get quality shaving at a fair price with Harry's.Solve your long list of must-reads once and for all with Blinkist.
Please Support The Show with a DonationWill Schwalbe is an author, entrepreneur, and journalist. He is also perhaps the most delightful, interesting and thoughtful person you've come across in a while. His love of books is infectious and as you know, Eric is a bibliophile himself so when the two talk about books and reading as they do in this episode, the result is one blissful experience. Do you love reading? Did you used to love reading but it's moved out of the spotlight of your life? Have you wanted to cultivate a love of reading? Are you looking for some really wonderful books to read? Are you alive and breathing? If your answer to any of these questions is yes, then this interview is for you.He is the author of Thoughts on Reading, Reflecting and Embracing Life, The End of Your Life Book Club and SEND: Why People Email So Badly and How to Do It Better Omax3 Ultrapure go to www.tryomax.com/wolf and try a box for freeIn This Interview, Will Schwalbe and I Discuss...The Wolf ParableHis book, Books for Living, Some Thoughts on Reading, Reflecting and Embracing LifeThe importance of readingThat reading isn't binaryThat every time we read, we become better at readingHow reading can promote empathyHow we connect through booksThe practice of "visiting your books"How he chooses which book to read nextThe way books can be a bio of your lifeThe primary emotion he has at the beginning of reading a bookLive to work vs work to liveThe freedom to quitThe freedom of mediocrityGood being the enemy of greatYou write the books you needThat our devices allow us to rob ourselves of silenceHow reading is an artThe "can't you tell I'm reading" faceHis favorite books that he's read recently that were written recentlyWill Schwalbe LinksHomepageTwitterFacebook Please Support The Show with a Donation
Lisa Congdon didn't start drawing or painting until she was 30. In this episode of the podcast Lisa talks about her journey from doing education reform work in the non-profit world to making a full time living as an artist.HighlightsA painting class that was the catalyst for a career changeInfusing a spirit of generosity into the world of artThe starving artist narrative that perpetuates our culture Dealing with fear of claiming your identity as an artistIdentifying the special, important and transformative moments of your life The process of self discovery to uncover latent skillsHow we get comfortable with putting our work in front of an audience Navigation the emotional journey of a creative careerLeaning into the discomfort and messiness of your life and work RESOURCESArt IncThe Expression of Your Soul's CallingLisa Congdon is a fine-artist, illustrator and the Author of Art Inc: The Essential Guide to Building Your Career as an Artist. You can follow her on twitter @lisacongdon. See acast.com/privacy for privacy and opt-out information.
Debbie Millman has taken a rather unconventional approach to the process of brand strategy. The discipline of the visual narrative has been the driving force behind her work as writer, educator and a brand consultant.Here are a few of the highlights from our conversationHow working on a student newspaper shaped Debbie's careerThe role that the contemporary culture of 70's influenced Debbie's artHow brands influence of our emotions and impacted Debbie's lifeFinding vehicles that help you to navigate the turbulence of lifeWhy you need interesting enough reasons to create your artThe reason you're not entitled to make any money from your artHaving endeavors that are purely creative and not about making moneyWhy there is no amount of money that will make you safeLiving in a 140 character culture and why it's not successWhy success is earned over a series of accomplishmentsThe reason finding success in your 20's is not the common Recognizing moments that mold us into who we areLearning to identify the difference between failure and defeat The common denominator of self doubt that we all shareThe danger of becoming satisfied with the quality of your workWhy growing older gives you much more material to work withMixing different art forms and pulling from different disciplinesUnderstanding why people are attracted to certain brands and experiencesThe power and necessity of deliberate differentiation Debbie Millman. is a writer, educator, artist, brand consultant and host of the radio show Design Matters Resources and People MentionedWriters on Loving and Leaving New YorkA Resume of my Failures See acast.com/privacy for privacy and opt-out information.
In this backstage episode we have a discussion on whether or not consumers have a responsibility to support artists. Here are a few of the highlights from our chat: Revisiting last week's episode on the All or Nothing InternetWhy It may not matter who the Haves and Have Nots AreThe power of showing up every single dayHow little habits bleed into bigger onesThe first disagreement that Greg and Srini have on airThe question of whether consumers have a responsibility to support artThe responsibility of the artists to produce work that's worth paying forA discussion on the importance of feeding our ecosystem Resources and People Mentioned The Unmistakable Curator/Writer Position The All or Nothing Internet The Great Debate: Does Talent Matter? See acast.com/privacy for privacy and opt-out information.
Rob Greenfield has a unique way of traveling.Instead of following the rules, he makes his own.Rob's adventures and the 'rules' surrounding them align with his core values because he creates them. You may want to do the same after listening to this podcast.To listen now simply hit play on the bar above this post.I think you'll agree that Rob's journeys are anything but ordinary.[Tweet "check out the @zerototravel podcast with @robjgreenfield #sharemywayhome"]In this inspiring episode you'll learn:How creating 'rules' around your adventures can turn travel into an artThe strategies Rob will use to make his way home with no money from Panama to San Diego, CASecrets to traveling with absolutely zero money or possessionsThe techniques Rob used to bike across America and create less trash than an average American does in one dayWhat handstands are worth in MexicoHow the share economy can get you anything you need on the roadWhat other forms of currency besides money can do for youWhy Rob's hardest moments made him a better person and what hardship can teach youAnd much more....Can't get enough about traveling?Subscribe to the Zero To Travel podcast on iTunes.Links from this showRob's website - robgreenfield.tvHow to make money for travel with the Share EconomyCouchsurfingThe post Creating Adventures and Pushing Limits appeared first on Zero to Travel.
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