Podcasts about Canada Council

Welcome to a special series of Art Pays Me interviews with the winners of the 2024 Creative Nova Scotia Awards. Presented annually by Arts Nova Scotia and the Creative Nova Scotia Leadership Council, these awards celebrate artistic excellence across Mi'kma'ki. This would not be possible without the fantastic production work of Heist and Keke Beatz. On this episode I spoke with Emerging Artist Award recipient, Susanne Chui.  A central figure in Halifax's contemporary dance community, Susanne became Co-Artistic Director of Mocean Dance in 2012. With Mocean, Susanne has developed roles in works by Heidi Strauss, Serge Bennathan, Tedd Robinson, Lesandra Dodson and Claire French, and co-created Burnwater: Alchemy with Erin Donovan (Hear Here Productions). Susanne trained professionally at the School of Toronto Dance Theatre and was based in Toronto from 1999-2007. During that time she danced for many independent choreographers and extensively with Yvonne Ng, with whom she toured to Singapore in 2005. She was a founding member of TILT: sound + motion dance company, where she had the pleasure of performing works by some of Canada's finest choreographers including, Robert Abubo, Marie-Julie Asselin, Bill Coleman, Lesandra Dodson, Deborah Dunn, Sasha Ivanochko, Sharon Moore, and Heidi Strauss. Since returning to Halifax, Susanne has become immersed in the dance community collaborating with dance artists Jacinte Armstrong, Lesandra Dodson, Veronique MacKenzie, Gwen Noah Dance, Phin Performing Arts, as well as with SiNS, a collective she co-founded in 2005 with Jacinte Armstrong and Sara Coffin. Susanne collaborates across disciplines, working regularly with master musician Jerry Granelli and teaching at Creative Music Workshop, an annual improvisation-based summer program. As a choreographer she has received funding from Canada Council for the Arts and Arts Nova Scotia and her works have been presented in Moncton, Toronto and in Halifax by Kinetic Studio and the TD Halifax Jazz Festival. She was the first recipient of Kinetic Studio's Explorations Choreographic Scholarship and was the 2012 recipient of the Diane Moore Creation Scholarship. In 2016 she received the Lieutenant Governor of Nova Scotia's Masterworks Award, for her role as a dancer in Mocean's Canvas 5 x 5, choreographed by Tedd Robinson. An active arts manager, Susanne has worked in various roles in the arts community. She has served on the boards of Live Art Dance Productions, Kinetic Studio and the Legacy Centre for the Performing Arts, and participated on various committees and juries including Arts Nova Scotia, City of Halifax, Nova Scotia Talent Trust and the Canadian Dance Assembly. She is a member of Dancer Transition Resource Centre, Canadian Alliance of Dance Artists and Canadian Dance Assembly.

Canada Council director Michelle Chawla says Canadian decision-makers need to acknowledge that the arts have a vital role to play in these uncertain times. In response to the threats of annexation by the U.S. and the tariffs aimed at weakening the Canadian economy, there has been a major rise in nationalistic cultural expression. Musicologist Rosheeka Parahoo says that when it comes to radio play, funding and recognition, the promise of diverse Canadian music has seldom matched the reality. And that needs to change.

Summary This month on Strangers, we have The Memory Shop by Melissa Ren, a short story about grief, belonging, and memory alteration. The word of the month is about deep care…and also deep anxiety. Read along at Tangledwilderness.org Guest Info Melissa Ren (she/her) is a Chinese-Canadian writer whose narratives tend to explore the intersection between belonging and becoming. She is a prize recipient of Room Magazine's Fiction Contest, a Tin House alum, a grant recipient of the Canada Council for the Arts, and a senior editor at Augur Magazine. Her writing has appeared or forthcoming in Grain Magazine, Factor Four Magazine, Fusion Fragment, and elsewhere. Find her at linktr.ee/MelissaRen or follow @melisfluous on socials Publisher This podcast is published by Strangers In A Tangled Wilderness. We can be found at www.tangledwilderness.org or on Twitter @tangledwild. You can support this show by subscribing to our Patreon at https://www.patreon.com/strangersinatangledwilderness Host The host is Inmn Neruin. You can find them on instagram @shadowtail.artificery Theme music The theme song was written and performed by Margaret Killjoy. You can find her at http://birdsbeforethestorm.net or on twitter @magpiekilljoy Find out more at https://strangers-in-a-tangled-wildern.pinecast.co This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-69f62d for 40% off for 4 months, and support Strangers In A Tangled Wilderness.

Elise Campbell is a multimedia artist based in Stillwater Lake, Nova Scotia. Working primarily with wool, silk, and other natural fibres, she creates sculptural pieces that push traditional craft boundaries and the limits of wool as a medium by exploring human-nature relationships through textural forms, histories, and surface design. Utilising both contemporary techniques such as needle felting and nuno felting alongside the traditional craft of wet felting, she creates work that reflects narratives of ecological movement, weaving in themes of environmental stewardship. Inspired by both found specimens and botanical watercolour illustrations, Elise's body of work is growing from fungi and algae/kelp to include historical and currently relevant ecology specimens. Elise's dedication to elevating wool fibre to fine craft is evident in her commitment to innovation and collaboration. Her work has garnered recognition and support from prestigious institutions such as the Canada Council for the Arts, The Robert Pope Foundation, and the Denis Diderot Grant, and has been showcased in galleries across Nova Scotia, British Columbia, and Ontario. Through her creative endeavours, residencies, and an international felting study, Elise strives to both inspire and embrace innovation and collaboration, fostering a collective responsibility to protect and cherish our natural home, Earth. We talked about our first time meeting through an art jury, her love of felting and why she only recently started identifying as an artist. We also talk about a very raw and beautiful documentary that she starred in called Hold Fast | A Tattoo That Fits and Flows. In this award winning short film by tattoo artist, Chad Harrington Elise generously shares the journey to getting her first tattoo.

In this NBN episode, host Hollay Ghadery speaks with Michael Blouin about his poetry collection, Hard Electric (Anvil Press, 2024). Hard Electric is Michael Blouin's third book of poetry, a road-tripping, bridge-burning collection of the author's hard-won and soft-edged reflections that seem to stutter-step towards resolution while tumbling down a decided slant towards disaster. “Where Does My Heart Beat Now” was Celine Dion's first North American hit and in it she asks: ‘Where do all the lonely hearts go?' In Hard Electric Blouin presents a bleakly unsettling but ultimately life-affirming treatise that hints at his fascination with the same question and perhaps shuffles into the neighbourhood of an answer. That neighbourhood is peopled with late-night bars of Key West's Duval Street, the sharp spice of BBQ joints, sunburned beach motels, and Christmas lights frozen to February trees. And Susan Sarandon's cousin. It's a book not for the faint of heart, but for the lonely-hearted, and for those who know them well. About Michael Blouin: Michael Blouin has been a finalist for the Amazon First Novel Award, the bpNichol Award, and the CBC Literary Award. He has been the recipient of the Lilian I. Found Award, the Diana Brebner Award and the Archibald Lampman Award from ARC Magazine. His novel Chase and Haven won the ReLit Award for Best Novel, an award he received again for his novel Skin House. He is an Instructor at the University of Toronto, a guest lecturer for Carleton University, and has served as an adjudicator for both the Ontario Arts Council and the Canada Council for the Arts. Two of his novels are now in a permanent archive on the Moon having landed with NASA in 2024. His collected poetry “Hard Electric” is slated to land at the lunar South Pole later in 2025. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this NBN episode, host Hollay Ghadery speaks with Michael Blouin about his poetry collection, Hard Electric (Anvil Press, 2024). Hard Electric is Michael Blouin's third book of poetry, a road-tripping, bridge-burning collection of the author's hard-won and soft-edged reflections that seem to stutter-step towards resolution while tumbling down a decided slant towards disaster. “Where Does My Heart Beat Now” was Celine Dion's first North American hit and in it she asks: ‘Where do all the lonely hearts go?' In Hard Electric Blouin presents a bleakly unsettling but ultimately life-affirming treatise that hints at his fascination with the same question and perhaps shuffles into the neighbourhood of an answer. That neighbourhood is peopled with late-night bars of Key West's Duval Street, the sharp spice of BBQ joints, sunburned beach motels, and Christmas lights frozen to February trees. And Susan Sarandon's cousin. It's a book not for the faint of heart, but for the lonely-hearted, and for those who know them well. About Michael Blouin: Michael Blouin has been a finalist for the Amazon First Novel Award, the bpNichol Award, and the CBC Literary Award. He has been the recipient of the Lilian I. Found Award, the Diana Brebner Award and the Archibald Lampman Award from ARC Magazine. His novel Chase and Haven won the ReLit Award for Best Novel, an award he received again for his novel Skin House. He is an Instructor at the University of Toronto, a guest lecturer for Carleton University, and has served as an adjudicator for both the Ontario Arts Council and the Canada Council for the Arts. Two of his novels are now in a permanent archive on the Moon having landed with NASA in 2024. His collected poetry “Hard Electric” is slated to land at the lunar South Pole later in 2025. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this NBN episode, host Hollay Ghadery speaks with Michael Blouin about his poetry collection, Hard Electric (Anvil Press, 2024). Hard Electric is Michael Blouin's third book of poetry, a road-tripping, bridge-burning collection of the author's hard-won and soft-edged reflections that seem to stutter-step towards resolution while tumbling down a decided slant towards disaster. “Where Does My Heart Beat Now” was Celine Dion's first North American hit and in it she asks: ‘Where do all the lonely hearts go?' In Hard Electric Blouin presents a bleakly unsettling but ultimately life-affirming treatise that hints at his fascination with the same question and perhaps shuffles into the neighbourhood of an answer. That neighbourhood is peopled with late-night bars of Key West's Duval Street, the sharp spice of BBQ joints, sunburned beach motels, and Christmas lights frozen to February trees. And Susan Sarandon's cousin. It's a book not for the faint of heart, but for the lonely-hearted, and for those who know them well. About Michael Blouin: Michael Blouin has been a finalist for the Amazon First Novel Award, the bpNichol Award, and the CBC Literary Award. He has been the recipient of the Lilian I. Found Award, the Diana Brebner Award and the Archibald Lampman Award from ARC Magazine. His novel Chase and Haven won the ReLit Award for Best Novel, an award he received again for his novel Skin House. He is an Instructor at the University of Toronto, a guest lecturer for Carleton University, and has served as an adjudicator for both the Ontario Arts Council and the Canada Council for the Arts. Two of his novels are now in a permanent archive on the Moon having landed with NASA in 2024. His collected poetry “Hard Electric” is slated to land at the lunar South Pole later in 2025. About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

MATEO CHAVEZ LEWIS (He/They) is a professional musical theatre writer/composer, based in NYC and Toronto.He is best known for writing Book, Music & Lyrics for the critically acclaimed Tommy Rhodes (2024 Toronto World Premiere), and for the epic anthem he wrote and performed as a tribute to Greta Thunberg, “Dear Greta” (you can listen to the song here).Other music & lyrics writing credits include The Opening (2024 Dramatists' Guild reading), The Yellow Wallpaper (a 10-minute musical adaptation), The Accountant (2022 Canada Council for the Arts grant recipient), and Quarantine Songs (2022 Toronto World Premiere).He also runs Music Theatre Theory, a YouTube channel with ~10k subs where he analyzes the best songs and performances from the musical theatre canon. TOMMY RHODES is based on the true mystery of Bobby Dunbar. In the days before DNA testing, two boys go missing. Years later, one boy returns — and both the mothers of the missing kids somehow become convinced that this is their son.

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

In this first episode of Season 6 of Getting Lit With Linda, the host – Linda Morra – begins with a few important announcements: GLWL is now being supported by the Canada Council for the Arts! With that support, we have a "special" season that we're calling GETTING LIT GOES GLOBAL. It means we are emphasizing books or topics that take on international proportions or have international repercussions.Getting Lit With Linda will now also feature an annual prize – more of that in future episodes. And we have a new team on board, featuring Maia Harris (Associate Producer), James Healey (Sound Producer), Aki Barabadi (Marketing Consultant), and Raphael Krux (Music).Linda begins her discussion with a consideration of Martha Nussbaum's Anger and Forgiveness, to mull over what to do with our anger (and specifically feminist anger, 21:00). Her guest, Andrea Warner points the way in her fresh and accessible book, We Oughta Know. Warner tells us what we should know, but don't – that is, she tells us about how much the women she is examining – Celine Dion, Shania Twain, Alanis Morissette, and Sarah McLachlan -- did to work past gendered biases in the music industry to achieve international fame. Warner reminds us that we need to understand and confront not just misogyny (18:00), and the male gaze (19:00), but also internalized misogyny (16:20), and that we ought to know is how to develop solidarity and love for all of us. And, even when we mess up, we need to remember we are all works in progress (16:40).Andrea Warner has her own podcast, Pop This!, and has published other books, including The Time of My Life, and Rise Up and Sing: Power, Protest, and Activism in Music. We also speak about the following:Sabrina Carpenter's Christmas special, A Nonsense Christmas Lisa Whittington Hill's Girls Interrupted: How Pop Culture is Failing Women (Vehicule Press) and gender inequality in music representation (15:00)Miss Piggy's anger (22.50)Celine Dion's VERY AWESOME CANARY YELLOW POWER SUIT Hosted on Acast. See acast.com/privacy for more information.

Since his January 20th inauguration, President Donald Trump has advanced an increasingly isolationist approach to international relations. From imposing 25% tariffs on Canada to claiming Ukraine instigated the ongoing conflict with Russia and proposing the displacement of Palestinians as a solution to the war in Gaza, his administration has fundamentally shifted U.S. foreign policy. Once the cornerstone of American global influence, soft power is eroding under the Trump presidency. What does this mean for the future of international diplomacy and trade? How will China position itself as America's greatest competitor? And where does Canada fit into this shifting landscape? In today's episode of Beyond the Headlines, we dive into the implications of declining American soft power and its impact on the global order. To unpack these questions, we are joined by two distinguished experts in international relations and economics. Janice Gross Stein is the Belzberg Professor of Conflict Management and the founding Director of the Munk School of Global Affairs at the University of Toronto. A leading authority on world politics, she is a Fellow of the Royal Society of Canada and a member of both the Order of Canada and the Order of Ontario. She was the 2001 Massey Lecturer and an inaugural Trudeau Fellow, receiving the Molson Prize from the Canada Council for outstanding contributions to public debate. With an academic career spanning decades, she has authored eight books and over a hundred articles, with her latest research exploring the intersection of geopolitics and technology. Dr. Peter Morrow is an Associate Professor of Economics at the University of Toronto, specializing in international trade and applied microeconomics. His research focuses on U.S.-Canada trade relations, Chinese trade policy, and the broader economic impacts of globalization. He has served as a Senior Researcher for the Federal Reserve Bank of Boston and as a co-editor for the Canadian Journal of Economics. His work has been widely recognized, with support from Statistics Canada and the Social Sciences and Humanities Research Council. Join us as we analyze the evolving global order and what the future holds for trade, diplomacy, and Canada's role in a changing world. Produced by: Sadie McIntosh & Daniel Ebrahimpour

The next chairperson of the Canada Council of the Arts is a prominent leader on the arts and culture scene from this province. We hear all about the general and artistic director of Opera on the Avalon's upcoming role. (Krissy Holmes with Cheryl Hickman)

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

In this interview with Meryem Alaoui, a professional dancer and choreographer originally from Morocco, we explore the body's role in the fight for collective liberation and the power of sharing our gifts with the world. Meryem discusses the concept of 'rigorous play'—how she balances discipline in her training with creating space for magic to unfold. Bio: Meryem Alaoui is a Toronto-based dancer and choreographer from Morocco. Founder and artistic director of Jasad Dance Projects, her work is at the intersection of somatic research using movement and voice, and the exploration of contemporaneity through the reclamation of embodied performance practices, dances and knowledge from her culture as a Moroccan diasporic dance artist. A 2009 graduate of the School of Toronto Dance Theatre, she has danced for choreographers Amanda Acorn, Peggy Baker, Angela Blumberg, Antony Hamilton (with the company Dancemakers), Karen Kaeja (Kaeja d'Dance), among others. Her choreographic work has been presented nationally and internationally, notably in SummerWorks in Toronto, Tangente in Montreal and at the Théâtre National Mohammed V in Morocco. Meryem has received residency support nationally and internationally, and project funding from the Canada Council for the Arts, the Ontario and Toronto Arts Councils. She is a certified Body-Mind Centering® Somatic Movement Educator and she enjoys facilitating movement explorations for dancers in professional settings and in community and arts-education contexts, such as with Toronto Dance Theatre, Tanya Lukin Linklater, Haneen Women Choir and The Arab Community Centre of Toronto. Are you ready to connect with your creative life force? Schedule a free consultation ⁠⁠here⁠⁠!

Rachel is a teacher from Toronto. Her students didn't even know she was a writer — until she won the 2024 CBC Poetry prize. Her poem, Palimpsest County, is inspired by Ontario landscapes and speaks to colonialism, climate change, and how our responsibility to protect the natural world is a key part of reconciliation. Rachel talks to Mattea Roach about approaching reconciliation as a non-Indigenous person and how her job inspired her winning poem.The CBC Poetry Prize is one of three literary prizes that CBC Books offers for aspiring Canadian writers. The CBC Nonfiction Prize is open right now. You could win $6,000 from the Canada Council for the Arts, a writing residency at the Banff Centre for Arts and Creativity, and have your work published by CBC. Head to CBCBooks.ca for all the details.

Mark interviews Waubgeshig Rice, an author and journalist from Wasauksing First Nation, and the author of four books, most notably the bestselling novels Moon of the Crusted Snow and Moon of the Turning Leaves. Prior to the interview, Mark shares comments, a personal update and word about this episode's sponsor. This episode is sponsored by Superstars Writing Seminars: Teaching you the business of being a writer which takes place Feb 6 through 9, 2025 in Colorado Springs, CO. Use code: MARK1592 to get $100 off your registration. In their conversation Mark and Waubgeshig talk about: Waub's interest in high school with English classes but still feeling like there was no strong connection and that not many of the books and stories being taught in Ontario in the 1990s were all that relatable Being shown books by indigenous authors via his Auntie that weren't being studied in school -- books by authors such as Richard Wagamese, Lee Maracle, Louise Erdrich -- and how that blew his world wide open and included thoughts such as maybe he could do that himself some day The Grade 12 Writing Course taught by Tom Bennett at Parry Sound High School that helped Waubgeshig in shaping stories Being side-tracked from creative writing by studying and beginning a career in journalism The benefit of getting to know writers and artists in the Toronto area in the early 2000s Applying for his first writing grant from Canada Council for the Arts in 2004 Waub's first book, Midnight Sweat Lodge, a connected short story collection How things really changed when Waubgeshig's Moon of the Crusted Snow first came out in 2018 Leaving full time journalism employment at CBC to become a full-time writer in 2020 The Northeast Blackout of 2003 and how his experiences being back home at Wasauksing First Nation near Parry Sound when it was all going down is what inspired Waubgeshig in writing Moon of the Crusted Snow Coming to the realization that home was the best place to be if this were actually a world-ending electricity blackout The stereotypes and mythologies about what life on a reservation is, and how, during that dark moment, it was a reminder of the resources and the beauty that place could actually be Expressing the heartfelt spirit of community that has withstood a lot of violence historically, and how that helps a group of people survive this latest major crisis Deciding to set the story in a location that a little further removed from Southern Ontario than where Waubgeshig actually grew up Waub's approach in writing the sequel and wanting it to take place several years after the events in the first novel and how that came to happen How the second novel explores the way the people of the community are able to live more autonomously on the land as Anishinaabe people The interesting publishing path that Waubgeshig's first novel took in landing at ECW Press Working with acquiring editor Susan Renouf and how great an experience that was and the wonderful suggestions she made to improve the raw manuscript The speculative fiction elements of a post-apocalyptic novel and Waub feeling so accepted in the SF/F community How the success of Moon of the Crusted Snow led Waub to getting agent representation by Denise Bukowski The path that led to Penguin Random House offering the contract for the sequel Moon of the Turning Leaves The new project that Waub is working on now Advice that Waub would offer to other writers And more...   After the interview Mark reflects on several different things he was thinking about during and after the conversation.   Links of Interest: Waubgeshig Rice Website Facebook Instagram Twitter Bluesky Superstars Writing Seminars EP 389 - "Now You've Gone" with Cathy Rankin and Ken K. Mary Buy Mark a Coffee Patreon for Stark Reflections How to Access Patreon RSS Feeds Mark's YouTube channel Mark's Stark Reflections on Writing & Publishing Newsletter (Signup) An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard Merry Christmas! Shitter Was Full!: A Trivia Guide to National Lampoon's Christmas Vacation   Waubgeshig Rice is an author and journalist from Wasauksing First Nation. He's written four books, most notably the bestselling novels Moon of the Crusted Snow, and Moon of the Turning Leaves. He graduated from the journalism program at Toronto Metropolitan University in 2002, and spent most of his journalism career with the Canadian Broadcasting Corporation as a video journalist and radio host. He left CBC in 2020 to focus on his literary career. In addition to his writing endeavours, Waubgeshig is an eclectic public speaker, delivering keynote addresses and workshops, engaging in interviews, and contributing to various panels at literary festivals and conferences. He speaks on creative writing and oral storytelling, contemporary Anishinaabe culture and matters, Indigenous representation in arts and media, and more. He lives in Sudbury, Ontario with his wife and three sons.     The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

Paula Murray studied science at the University of Ottawa, Canada, ceramics at Sheridan College, and completed two residencies at the Banff Centre before embarking on a successful career. Elected to the Royal Canadian Academy of Arts (2006) and the International Academy of Ceramics (2017), she has received several Canada Council and CALQ grants for her distinctive work. Paula's full-time studio practice is inspired by her close relationship with nature and the years spent sailing between Canada and South America while raising her two children. Her ongoing study of spiritual writings inspires many of the themes explored in her work. https://ThePottersCast.com/1086

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

Lydia Zimmer, a graduate of The Boston Conservatory (BFA '11), is a dancer and choreographer in Halifax, NS. Lydia has created several works supported by Canada Council for the Arts and Arts Nova Scotia. These include 'Bonne Nuit,' Live Art Dance (2016); 'Embankment,' Votive Dance (2017, 2021); 'Sonderlings,' Nostos Collectives (2018), 'Sonderling,' Festival of Dance Annapolis Royal (2019) & 'Extremophile,' FODAR (2021). Recent creations include 'Mercurials' commissioned by Mocean Dance (2022), a work for The Boston Conservatory's First-year students (2023), and 'Xenofauna', which was created for Atlantic Ballet Theatre's ImpactFest 2023 during a residency with the company. In the summer of 2023 Lydia launched ZIMMERDANS at Festival of Dance Annapolis Royal where an excerpt of The Devil's Intervals was performed, a full-length work that premiered through Live Art Dance in December 2023. Presented by Arts Nova Scotia and the Creative Nova Scotia Leadership Council, the Creative Nova Scotia Awards celebrate excellence in artistic achievement.  Award categories are as follows:  Creative Community Impact Prix Grand-Pré  Established Artist Emerging Artist Black Artist  Indigenous Artist  And finally, The Portia White Prize that is given to a person who has made outstanding and significant contributions to Nova Scotia's creative community over a sustained career – much like the incredible woman that the award is named after. The winner will also choose an emerging artist or cultural organization that they feel deserve recognition. Collectively, the awards are worth $75,000! Visit artsns.ca to nominate your favourite Nova Scotian artist or be a boss and nominate your self! This series would not be possible without the fantastic production work of Heist and Keke Beatz. artpaysme.com

Olivia Daniels is a Canadian performer, director and producer. She holds a BFA in Drama from New York University's Tisch School of the Arts, where they studied at Playwrights Horizons Theatre School and The New Studio on Broadway. Olivia also holds a minor in Philosophy. At the beginning of the COVID-19 pandemic, they co-founded Artists in Residence, a theatrical platform supporting artists' mental health by providing opportunities for connection and social engagement.  Driven by a love of collaboration and community building, they worked to create spaces where artists feel supported, seen, and respected for their individuality. With every new project, striving to embody a spirit of openness, discovery, and joy!  Ilana Khanin is a director of experimental new plays and musicals. Her work has been developed and presented at Ars Nova ANT Fest, Prelude, HERE Arts Center, New Ohio, Judson, Governors Island, The Tank, The Brick, Primary Stages, Theaterlab, Dixon Place, Samuel French Festival, and the Center at West Park. Artist-in-residence at Montclair State University New Works Initiative (2019-2020), and the Baryshnikov Arts Center (2023). She has worked as an associate director for Lila Neugebauer, Annie-B Parson, and Lee Sunday Evans at venues including Playwrights Horizons, Playmakers Rep, Abrons Arts Centre, and Carolina Performing Arts. Associate Artist with Big Dance Theater (BAM, London's Old Vic, Berlin's Deutsches Theater, among other venues). Her work has been supported by the Canada Council for the Arts, the Toronto Arts Council, and the Puffin Foundation. BFA and MA: NYU. PhD candidate: University of Toronto. I Was Unbecoming Then In a high school music room in North Vancouver, twelve teenage girls assemble to practice and perfect their parts, desperate to please Bruce, the choir director.As with any group of girls -As with any choir -They are constantly listening to each otherTuning and re-tuningAdjusting to each other's movements, sounds, and rhythmsFinding dissonance and harmony.I Was Unbecoming Then is an intimate new musical mixing hormones and harmonies.

Ma's life path has been unique, and along the way, she crossed paths with some Canadian icons and international celebrities. In this episode, she shares her experiences, highlighting both the memorable and the less favourable encounters.Hosted by - Kaniehtiio HornYou can follow us on TikTok and Instagram or check us out on our website at www.coffeewithmyma.com. Many nia:wen ko:wen's to our Sponsor, Moccasin Joe Coffee and to Canada Council for the Arts for making season 2 possible. Check out our lovely brand and website designer, Denita Gladeau. Her website is www.lushtre.com, and you can find her on her Instagram at @lushtre. And Many Nia:wen's to our photographer, Daniel Esteban, for our season 2 photoshoot. Check him out at www.danesteban.com.

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

That's the thing about the future's work and foresight work is you need a very broad range of thinkers. You need people from different perspectives who speak different languages and who recognize different worldviews. I think that's always why artists will be important in that process, because they are not necessarily coming from sort of mainstream culture. They may be immersed, raised in mainstream culture, but they're often trying to say, hey, there are other ways of seeing the world, and there are other ways of responding to the world that we're in right now.I first met Zan Chandler in 1999 when we were both starting work at the Canada Council for the Arts running arts programs. I've kept in touch with Zan over the years and have followed her career as an arts educator and expert in foresight. I've always been fascinated with various forms of futuring so I was happy when Zan clarified, for example, the difference between forecasting and foresight. We also talked about foresight into the future of the arts and how the arts can help us anticipate better futures. Zan's journey in the arts and foresight fields began with her background in linguistics, shifting to arts through photography and film, leading to work at the Department of Canadian Heritage on arts and film policy and now at Policy Horizons Canada. During our conversation Zan notes that artists are good at sensing societal shifts and addressing various forms of injustices.  Our conversation explored the potential of art and artists in foresight work, such as storytelling and emotional connections. Zan suggests that the inclusion of artists in foresight work can help challenge our assumptions and introduce new and valuable perspectives.We also talked about the impact of COVID: While I might have been a little doom and gloom about what happened during COVID and how devastating some of the impacts were on the arts community, I think one thing that came through strongly for me was how the innate need to create together, regardless of what the context was, remained. And we have so many examples of the creative sector coming together to raise spirits and to create in ways, in new ways.My takeaway, if not my prognosis, is that we need to be prepared for multiple outcomes while remaining open and actively working on new possibilities. Zan reminds us that:That's the idea around foresight. If you imagine that it's possible, you've at least started to think about : what do I have to do if this happens and how do I recognize that it might be beginning to happen.If you are interested in exploring ways of being and perceiving that likely different to what you were exposed to in school and at work, Zan recommends the following books as a good start:Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants by Robin Wall KimmererSand Talk: How Indigenous Thinking Can Save the World by Tyson YunkaportaThe work of Gabor Mate and Bessel van der Kolk*Sections (generated by AI and reviewed by Claude Schryer)Introduction to the PodcastThe podcast kicks off with a warm welcome to Zan, highlighting her long-standing connection and the intent to explore the intersection of arts and foresight.Zan's Journey into Arts and ForesightZan shares their unique background, detailing their unexpected journey from linguistics to the arts and eventually into the foresight field, shaped by their experiences in Canada and abroad.Understanding Foresight vs. ForecastingThe conversation delves into the distinctions between forecasting and foresight, emphasizing the importance of recognizing multiple possible futures rather than predicting a singular outcome.The Arts as a Form of ForesightZan discusses the role of the arts in anticipating future social and technological changes, citing Marshall McLuhan's insights on how art acts as an early warning system for societal shifts.Balancing Hope and RealityThe discussion shifts to the challenges posed by climate change and societal trends, exploring how to maintain a positive outlook amidst overwhelming negative information.The Role of Technology and SpiritualityZan reflects on the intersection of technology and spirituality in addressing future challenges, considering how a broader interpretation of technology can influence our survival.Ancestral Knowledge and Connection to the PlanetThe conversation highlights the importance of ancestral knowledge and the need to reconnect with our roots and the planet, emphasizing how this connection can inform foresight practices.The Interconnectedness of History and FutureZan and Claude discuss how understanding history is crucial for anticipating future changes, noting that many current issues are rooted in long-standing historical processes.Empowering Artists Through ForesightIn this chapter, the discussion revolves around how everyday artists can leverage foresight methodologies to enhance their creative practices and navigate post-COVID challenges. The importance of understanding cultural and historical contexts in foresight is emphasized as a means for artists to feel more engaged in their work.Artists as Natural Foresight PractitionersThe conversation highlights how artists inherently possess skills relevant to foresight, such as making connections and responding to societal changes. The speakers advocate for artists to recognize their unique contributions and consider integrating foresight methodologies into their practices.The Role of Assumptions in ForesightThis chapter delves into the significance of questioning assumptions within foresight work, particularly in policy contexts related to the arts. The speakers discuss how assumptions about touring and audience engagement were challenged during the pandemic, prompting a reevaluation of the art sector's future.Adapting to Change: Lessons from COVID-19Reflecting on the impact of COVID-19, the speakers discuss how the pandemic revealed vulnerabilities in the arts sector's assumptions about gathering and touring. They explore the resilience of artists and the potential for innovative adaptations in response to ongoing global challenges.The Arts in Times of CrisisThe discussion shifts towards the vital role of the arts during crises, emphasizing how storytelling and creativity can foster community resilience. The speakers look forward to exploring historical and future perspectives on the arts' contributions in challenging times.Creativity Amidst ConstraintsThis chapter celebrates the arts' ability to thrive under constraints, showcasing examples of global collaborations that emerged during the pandemic. The speakers highlight the enduring importance of artistic expression as a means of connection and commentary on societal issues.Foresight Beyond Human PerspectivesThe conversation emphasizes the need for foresight practices to consider more than just human interests, advocating for a broader perspective that includes the planet and other species. The speakers reflect on the historical roots of foresight and the potential for cultural foresighting to shape a more inclusive future.Recommended ReadsIn the final chapter, Zan shares her recent reading recommendations. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

The majority of individuals who work in this sector are deeply concerned about climate change and deeply motivated and often doing a lot about it in their personal lives but as a sector, we don't really have a vision of what our relationship is to it.  So the kinds of responses range from a kind of silence on it and trying not to look at it directly in the eye to a superficial level of conversation, saying things like touring requires flying : flying bad, therefore, we should stop touring. (Owais Lightwala)When we're living in moments of deep confusion and cultural fragmentation, to be able to offer something that has a simplicity to it or something that allows an audience to just breathe together, I think is the greatest gift that artists can offer audiences. And then when the world becomes less fractured, less fragmented, then the work needs to become more complex because the audience will start demanding, like, help me understand what we need to do differently or how we can live more cohesively or whatever but in this moment, in this country, and certainly I'd say in this city, Calgary, where I'm sitting right now, to be able to offer experiences where people can breathe and feel held and feel respected, even admired for their human experiences, seems to me the primary role of the performing arts (SGS)When I first read the header for the Manifesto for Now project I was immediately drawn in because it said: We are concerned. We should be. It's a crisis. Here are some ideas for how we got here. And where we go next.I'm concerned too. The Manifesto also questions:In this moment of multiple seismic shifts: ecological, technological and social, maybe the performing arts can serve as facilitators for the transformation of humanity.  How? One could argue that all the arts need to undertake this seismic shift and transformation and how is a good question. So I contacted the manifesto's co-authors Owais Lightwala and Sarah Garton Stanley (also known as SGS) and we chatted on July 11th, 2024 about the origins of this rather radical project and its impact so far. Owais is Assistant Professor in the Creative School at Toronto Metropolitan University, he's a producer and entrepreneur in the arts and culture worlds who likes to think about big ideas, solve interesting problems, and build better ways of doing things. Among other things he is the founding Director of Chrysalis at the Creative School, a new multidisciplinary performance hub at TMU.SGS self-defines as someone who is into Culture, what it means, how we do it and why we need it. SGS is currently VP of Programming at Arts Commons in Calgary, Alberta, a member of the National Advisory Committee National Creation Fund (NAC), a Board Member Theatre Alberta,  a co-steward at Birchdale and among many things in the past SGS was Creator and lead The Cycle(s) in collaboration with Chantal BIlodeau, about theatre and climate change at the NAC in 2019, which I had the pleasure of working on while I was at Canada Council. You'll hear in our conversation about why the original manifesto was created in April 2023 on the Canvas platform and that they have published 6 of 10 essays so far.The essays are provocative and at times funny. For example, in the first essay, Art is for audiences first, artists second they observe that :People are worried about the climate, groceries, housing, loved ones getting sick, their future… they are NOT asking for more art… They ARE asking for relief. For fresh air. For peace and quiet. For connection. For love. For direction. We need less of what we ARE offering and more of what we are NOT. What if the arts gave people what they need right now? What would change?I love this quote and the opening quotes of this episode that reflect this kind of courageous questioning of the role of art and what kind of art do people need at this time. Their second essay ‘We are not as important as we think we are (or The Shoe Shiners Dilemma), is equally as sharp:We need to make a much better case for what we do. Because we ARE more important than people think we are. Counter-intuitively, we think producing less will create more opportunities for a wider diversity of people to engage with what artists do. Less becomes more. We are all creative, yes, but we need to work together to make a case for our collective brilliance by betting big on individual brilliance.Oh no. Not that trope again about the singularity of the ‘brilliant suffering artist' again, blah blah blah! I disagree or at least I don't understand. So you'll hear that we did not agree on all points but that's part of the fun of a manifesto isn't it, to make us think more deeply, break through some barriers, question some of our rhetoric and assumptions and to take a stand. Who are we as a community and where are we going and, well … who cares? So I was pleased to see that the last of the 10 essays, not yet written, is called  ‘Start here. Your turn', which I think is an invitation for the arts and cultural community to engage with Manifesto for Now and to respond, as openly and as fearlessly as our two colleagues have done so far. Owais recommends: Children of Ruin, a 2019 science fiction novel by British author Adrian Tchaikovsky.SGS recommends :Plurality, the future of collaborative technology and democracyPunditries such as Ezra Klein*Chapters (generated by AI, corrected by Claude Schryer)Introduction to the ManifestoThe host introduces the episode, hinting at the manifesto's significance and the exciting discussion ahead. Meet the GuestsOwais and SGS introduce themselves, sharing their backgrounds in the arts and their current roles. Their diverse experiences set the stage for a rich conversation about the manifesto and its implications.The Manifesto's OriginsThe guests delve into the origins of the manifesto, discussing the questions that sparked their collaboration. They reflect on their shared inquiry into the purpose and impact of the arts in society.The Role of Arts in SocietyThe conversation shifts to the role of the arts in addressing societal issues, particularly in the context of climate change and cultural fragmentation. The guests emphasize the need for artists to engage with audiences meaningfully.Challenging AssumptionsThe discussion takes a critical turn as the guests question the effectiveness of the arts in fostering societal dialogue. They explore the complexities of audience engagement and the challenges of measuring impact.Future Directions of the ManifestoThe guests outline their hopes for the manifesto's impact on the arts community, emphasizing the importance of ongoing dialogue and response. They invite listeners to engage with their questions and contribute to the evolving conversation.Art and the Paradigm ShiftThe guests discuss their personal struggles with imposter syndrome and the need for a paradigm shift in thinking, moving beyond superficial actions to deeper systemic changes. They emphasize the importance of giving people permission to engage with profound ideas rather than just tactical solutions.The Arts Community and Climate ChangeThe conversation shifts to the arts community's relationship with climate change, highlighting a disconnect between individual concern and collective action. The guests reflect on the need for a more profound sectoral vision regarding climate issues, rather than superficial responses.Navigating the Climate Crisis in the ArtsThe discussion delves into the impact of COVID-19 on the arts sector's engagement with climate change, revealing how the shift to online platforms has not necessarily reduced carbon emissions. The guests explore the challenges artists face in accessing research and how this affects their storytelling.Rebuilding Trust in a Fractured SocietyThe guests address the declining trust in society and the potential role of the arts in rebuilding connections among individuals. They discuss the importance of collective human activities in fostering trust, especially in the aftermath of COVID-19.Cross-Sectoral Dialogue and CollaborationAs the conversation wraps up, the guests highlight the significance of cross-sectoral dialogue in tackling climate issues and rebuilding trust. They express a desire for ongoing discussions and collaborations that can lead to meaningful impacts.Recommendations for Engaging Reads and ListeningThe episode concludes with the guests sharing their current reading and listening recommendations, reflecting on how these works influence their thoughts and creative processes. They emphasize the importance of diverse perspectives in shaping their understanding of intelligence and society.Invitation for Dialogue and CritiqueIn the final moments, the guests invite listeners to engage with their ideas, encouraging feedback and critique to sharpen their thinking. They express gratitude for the opportunity to discuss their work and the importance of community engagement in their creative endeavors. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

Ma talks about the times she took it upon herself to stop in and say hello to some of our incarcerated brothers and sisters. P.S. Don't forget to stay tuned until the very end of the episode for a mini-story!Resources used for today's episode can be found here: Indigenous Federal Corrections: Key Challenges and Directions for Reform - Public Lecture - MacEwan University - Edmonton, Alberta, September 19, 2016 | OCI | BEC Parliamentary Committee Notes: Overrepresentation (Indigenous Offenders)INDIGENOUS PEOPLE IN THE FEDERAL CORRECTIONAL SYSTEMHosted by - Kaniehtiio HornYou can follow us on TikTok and Instagram or check us out on our website at www.coffeewithmyma.com. Many nia:wen ko:wen's to our Sponsor, Moccasin Joe Coffee and to Canada Council for the Arts for making season 2 possible. Check out our lovely brand and website designer, Denita Gladeau. Her website is www.lushtre.com, and you can find her on her Instagram at @lushtre. And Many Nia:wen's to our photographer, Daniel Esteban, for our season 2 photoshoot. Check him out at www.danesteban.com.

Ma tells us about the time she got arrested protesting the Canada/USA border that intersects the Kanien'keha'ka (Mohawk) community of Akwesasne in 1968 and lets us in on all the crazy shit that happened after that. Warning: We swear and curse in this episode.Helpful resources used for this episode:You Are on Indian Land by Michael Kanentakeron MitchellFirst Nations and Native Americans - U.S. Embassy & Consulates in Canada Jay's Treaty | The Canadian EncyclopediaHosted by - Kaniehtiio HornYou can follow us on TikTok and Instagram or check us out on our website at www.coffeewithmyma.com. Many nia:wen ko:wen's to our Sponsor, Moccasin Joe Coffee and to Canada Council for the Arts for making season 2 possible. Check out our lovely brand and website designer, Denita Gladeau. Her website is www.lushtre.com, and you can find her on her Instagram at @lushtre. And Many Nia:wen's to our photographer, Daniel Esteban, for our season 2 photoshoot. Check him out at www.danesteban.com.

I really believe that we carry the spirit of the land wherever we go. In the Western canon, they say that once you leave home, you can never return, but in the Indigenous canon, home never leaves you. I remember Sandra Laronde contacting me when I was running the Inter-Arts Office at Canada Council in early 2000 asking me where Red Sky Performance fits in the Council's suite of programs and silos. Claude, you know, I combine indigenous dance, theatre, music, media and more but rarely the same way. The Council and Red Sky figured things out. I've always been amazed by Sandra's imagination, spirit, entrepreneurship and her skills as a connector.We've crossed paths many times of the years, on assessment committees, at festivals and at Indigenous arts gatherings. For example, I have fond memories of having been invited by a group of Indigenous women arts administrators and leaders, including Sandra, to gatherings where we sang, danced, held talking circles and listened to each other's needs and offerings and listened to the world around us. Our conversation on June 18, 2024 in her backyard in Tkaronto focused on her debut novel, ‘She Holds Up the Stars', which was published by Annick Press in August 2022. I wanted to know more about this story of a young Indigenous girl searching for a sense of home who finds strength and courage in her gifts, her deepening connection to the land, and her own cultural awakening. Sandra admitted to me that it is mostly based on her own life and talks about the origins of this book during the episode this way:I wanted something that had humor and saw the world as a positive reflection of who we are as Indigenous people and as a sensitive kid. My world wasn't just focused on humans, it was really more spirit-centric. It was really about everything that is alive in the world, whether that be rivers and trees, or the wind or the lake, or a bird. All of these beings are alive and well. We also spoke about the launch of Aki Creators the night before our conversation, which is a portal of stories rooted in Indigenous wisdom, arts, and a shared love of the land.I asked her, as I always do, about the role of art in the ecological crisis : I think art helps us to connect or reconnect spiritually, emotionally and even intellectually to the environment and world around us and each other. Artists have a kind of an antenna to them where they're often foreseeing what's going to happen next. … Artists are the antenna of the world. Some of these movies that are sci-fi  movies or books have elements of truth in them and there's warnings.We also spoke about the use of artificial intelligence by indigenous artists ;The big concern in the AI space and in the digital space is that in the hands of very few people. Very few are prompt engineering. There's a lot of big companies and the dominant voice in the digital sphere is still a white privileged male voice. Only 14% of women are in AI. As an Indigenous person, my mind wonders if this could potentially be another robust form of colonization if we don't get in there and sway, change and transform the narrative. You know, if we just leave it, I think this is a great peril and not only to us, but to the world.There are many examples of artistic use of AI on Aki Creators. As we sipped a bit of rose wine in her backyard in Tkaronto, planes and helicopters passed by but we also heard and were present with the whisper of trees and birdsong as we talked about how we humans are a part of nature and how art helps us look up at the stars and wonder what was and could be. *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

My dream with AI started with curiosity about how technology can extend to the boundaries of artistic expression. I was fascinated by the possibility of emerging traditional art and forms of traditional artistry to create something entirely new and engage my passion for innovation and to explore AI as tools to enhance my creative visions and bring artistic ideas to life in ways I could only dream or imagine. (Sean Caesar)This is a special episode of the conscient podcast featuring a panel at  The Gathering Divergence Multi-Arts Festival & Conference Spring 2024 presented by Cultural Pluralism in the Arts Movement of Ontario (CPAMO) in collaboration with the Nia Centre for the Arts on on June 6, 2024 in Tkaronto,This episode will begin with a talk by Alica Hall, Executive Director of the Nia Centre for the Arts, who spoke about the history of the building where the Nia Centre is situated in Tkaronto and of the history of the black arts community in Tkaronto and in Canada. After this, you'll hear presentations by artificial intelligence arts expert Sean Caesar (aka Tungz Twisted) and technology consultant Alex Hocevar, however because of the poor quality of the recording in a reverberant space, you'll also find a summary of their presentations in the Transcript section of this episode.For example, Sean observed that:We need to get on board to the table to discuss the implications of the diversity of representation and equitable inclusion. We're at a crossroads where it could be very detrimental to us, future forward. And Alex noted at the end of this presentation that :This should all be taken with a grain of salt until the technology in society gets to the point to say, what is real? What is realistic? How am I using this and am I getting the answers that will help me make a good positive decision?Note: After Alica's presentation and words of welcome by CPAMO curator of programming Kevin Ormsby I have re-recorded my introduction in order to have better audio quality.*Welcome to the 'Impact of Technology on the Practice of the Arts' panel as part of Cultural Pluralism in the Arts Movement of Ontario (CPAMO) The Gathering Divergence Multi-Arts Festival & Conference Spring 2024.A warm welcome to our audience here at the Nia Centre for the Arts in Tkaronto and also to those joining us online from across Canada and those listening offline on conscient podcast, episode 184.My name is Claude Schryer. I'm a composer by training and I worked for 21 years at the Canada Council for the Arts where I ran the Inter-Arts Office and was an advisor. I recall, around 2008, when the NIA Centre For The Arts was created, how it was a challenge for the Council to find a home for this kind of multipurpose multidisciplinary arts organization, which I think has since been resolved, however I'm aware that many artists and arts organizations continue to struggle with finding the right category in our  arts funding systems.For example, is artificial intelligence an art form, is it a method, is a tool? All of the above, none of the above? What criteria do we use to assess artificial art making? And it's a bit ironic that the word artifice comes from artificium, which is Latin for "artistry, craftmanship, craft, craftiness, and cunning." That root also gave us the English word artificial. Artificium, in turn, developed from ars, the Latin root underlying the word art. I'm now retired from the public service and have become an art and climate activist. For example, I was co-founder of the Sectoral Climate Arts Leadership for the Emergency or SCALE. I also produce the conscient podcast about art and the ecological crisis, ainsi que sa version française, le balado conscient. I also invite you to consider the implications of art and technology in the context of the climate emergency and the ecological crisis, which a topic we explored at the 2021 fall edition of Gathering Divergence on the theme of ‘IBPOC arts in planetary renewal' which you can listen to those conversations on conscient podcast episodes 92, 93 and 95.So the theme of this year's Gathering is Visioning Canada's IBPOC Artistic Transformation: Navigating Beyond Precarity Towards Stability and this is the lens through which we will be exploring the impact of technology on the practice of art. Some of the questions our panelists will consider include·   Does working with Artificial Intelligence in the arts lead to innovation, emergent practices and artistic transformation or does AI jeopardize creativity and lead to further precarity for artists? We might not know, yet…·   In what ways are these new technologies, and in particular AI impacting the creation, dissemination and preservation of art? ·   What relationships do artists need to create about and with AI and digital technology?·   Who has access to the infrastructure and how it is being programmed and are all worldviews being included?·   Are there integrative ways in which artists and arts organizations can continue to use digital technologies? What are some of the barriers?·   In what ways are creative rights and revenue generation impacted by AI and generative technologies?·   How is Al being used to make decisions that shape the trajectory of our lives, including creative control of artistic production?·   Finally, what does all of this techno fantasy matter when our planet is on fire and we are facing imminent societal collapse due to ecological overshoot of our planet's boundaries?And before we go any further, I want to admit that I'm not that excited about artificial intelligence, even though I have used it in my artwork and in my podcasts. I'm personally more interested in the contributions of traditional knowledge keepers from around the world who have always known how-to live-in harmony with the earth and with all living beings.This being said, there are reasons for hope. For example, I attended a presentation last week by Leasi Vanessa Lee Raymond of Concordia University about the Abundant Intelligences research program which explores how Indigenous Knowledges and Systems can expand and transform AI.In a nutshell, this research project has published a position paper, Indigenous Protocol (IP) and Artificial Intelligence (AI), which is a starting place for those who want to design and create AI from an ethical position that centers Indigenous concerns.Indigenous ways of knowing are rooted in distinct, sovereign territories across the planet. These extremely diverse landscapes and histories have influenced different communities and their discrete cultural protocols over time. The aim of the Abundant Intelligences project is to articulate a multiplicity of Indigenous knowledge systems and technological practices that can and should be brought to bear on the ‘question of AI.'In other words, as proposed by UNESCO & MILA (Québec Artificial Intelligence Institute) in 2022 our challenge is ‘to develop Al systems that are human-centered, inclusive, ethical, sustainable, as well as upholding human rights and the rule of law'.That's generally not how capitalism works but it's something to aspire to. Another example of policy work on AI is the Disruption on the Horizon report by Policy Horizons Canada, which predicts the following disruption in relation to AI: People cannot tell what is true and what is not : The information ecosystem is flooded with human- and Artificial Intelligence (AI)-generated content. Mis- and disinformation make it almost impossible to know what is fake or real. It is much harder to know what or who to trust. More powerful generative AI tools, declining trust in traditional knowledge sources, and algorithms designed for emotional engagement rather than factual reporting could increase distrust and social fragmentation. Emotional engagement is fertile territory for artists so we have a lot to think about. I think that's enough background information for now. So it's my great pleasure to facilitate this morning's panel with two experts in art and artificial intelligence, Sean Caesar and Alex Hocevar, who I will introduce in a minute. I will also be inviting you in the audience, in person and online, to share your knowledge and experiences with technology because everyone has a story to tell about living in this mad and wonderful digital world, as citizens and as artists, I'll ask Sean Caesar to speak first for about 15 minutes. Sean, aka Tungz Twisted, is producer of the Maybe Might Matter exhibition and owner of Frame Five Media and Second Shooter Sean. Showcasing the rapid advancement of artificial intelligence generated images, Sean's work guides viewers through the progression of AI's capabilities, sparking conversation about the creative explorations, possibilities and implications for the future of art along the way. Sean, the floor is yours.(Sean Ceaser presentation)I'd now like to invite Alex Hocevar to enjoy his 15 minutes of fame here at Gathering Divergence 2024. Alex who runs the Hocevar Group, a consulting agency focusing on digital business transformation here in Toronto.(Alex Hocevar presentation) *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

Today on our show, we bring you a story by Alison Colwell. At age 8, Alison was responsible for making sure her mother's epileptic seizure didn't kill her. In this essay, Alison takes us to a moment in the hospital where if she'd looked away, her mom might have died. Alison's essay is an excellent example of hot topic cold prose and is contained in a very short moment. We will go into detail about what we mean by hot topic cold prose and why the tool is so effective. Alison's essay is called Look Away.Alison Colwell graduated from the BFA program at UVIC and is now the Executive Director of the Galiano Community Food Program, a charity focused on increasing food security on Galiano Island. She is a single working mother of two children with mental health challenges and a survivor of domestic abuse, all of which inform her creative writing. Alison was recently awarded a Canada Council for the Arts Grant to work on a series of interconnected essays that weave fairy tales with memoir. Alison has been published in Rising Tides, Folklife Magazine, The Fieldstone Review, the NonBinary Review, The Fourth River, The Humber Literary Review, The Ocotillo Review, Daily Science Fiction, Flash Fiction Magazine, Crow & Cross Keys, The Drabble, and Tangled Locks Journal and is forthcoming in Two Hawks Quarterly and Hippocampus Magazine. Writing Class Radio is hosted by Allison Langer and Andrea Askowitz. Audio production by Matt Cundill, Evan Surminski, and Aiden Glassey at the Sound Off Media Company. Theme music is by Justina Shandler.There's more writing class on our website including stories we study, editing resources, video classes, writing retreats, and live online classes. Join our writing community by following us on Patreon. A transcription of this episode can be found of the Sound Off Media Company's Network Page. If you want to write with us every week, you can join our First Draft weekly writers groups. You have the option to join Allison on Tuesdays 12-1 ET and/or Mondays with Eduardo Winck 8-9 pm ET. You'll write to a prompt and share what you wrote. If you're a business owner, community activist, group that needs healing, entrepreneur, or scientist and you want to help your team write better, check out all the classes we offer on our website, writingclassradio.com.Join the community that comes together for instruction, an excuse to write, and the support from other writers. To learn more, go to www.Patreon.com/writingclassradio. Or sign up HERE for First Draft for a FREE Zoom link.A new episode will drop every other WEDNESDAY. There's no better way to understand ourselves and each other, than by writing and sharing our stories. Everyone has a story. What's yours?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We essentially know two percent of all different disciplines and that kind of unknownness creates a very free playground for an artist to dance in or to draw in because we know we're going through a massive crisis. The world is ending. We see chaos. We see all of that but my personal hope as an artist remains in how little we know and how little we understand about our own selves, forget the dying large world and huge cosmos outside of our world that we know so little about. So I feel like my work has always celebrated unknownness. Just because we don't know it doesn't mean it's not there.I first met Asma Khan online, when she was an artist in residence and teacher at The Imaginarium a workshop run by the Wolf Willow Institute, which is a practice space for building our complexity muscles and aimed to bring what is known and unknown into a new inquiry, which is what much of Asma's work is about.I was mesmerized by Asma's work at this workshop. It literally brought me into another world. Asma is, among other things, a multidisciplinary artist working with painting, drawing, watercolors, collage, pen and ink, and digital drawing. Her practice explores complex natural systems, aiming to find spiritual symbology and feminine sensibility in phenomena like gravity, time-space, black holes, coral ecosystems, mycelium, and neural structures. Motivated by the mysteries of the natural world, Asma combines rigorous research with intuitive drawing to reveal connections between micro and macro systems. Living between Montreal and Karachi, Asma is committed to cross-cultural and interdisciplinary engagement. For example, her recent project, ‘Micro-frequencies for Prayer', supported by the Canada Council for the Arts and the Conseil des arts et des lettres du Québec, created a series of prayer rugs using microscopy data to represent overlooked objects in domestic environments, highlighting their unseen complexity.During our conversation in her studio in Montreal, I asked Asma to describe some of her prayer rugs for me which I think you'll enjoy. You can see one in the episode photo.I also think you'll enjoy the way she talks about time. It really stretched my mind.There is large time, which is the time of God, the time of black holes, the time of the cosmos, and there is the time of man, which is a very limited time. If we look at our own history, our earth has gone through many extinction events. When we go through, and it's not even a matter of if, but when we go through an extinction. I feel like it's a good thing once again for us to check our egos. The dinosaurs went through it and we're going to have to go through it too and many other life forms have gone through extinction. I don't personally see it as a sad event. I see it as a necessary event  because it's small time. I feel like art is a vehicle that helps us get from small time to large time.I also appreciated her comment about art in crisis, which is a topic I will explore in season 6 of this podcast:If we want to truly be informed from our safe spaces, we really have to focus on the art and science that's coming from places of great discomfort and shifts because they're seeing it before we're seeing it.For further insight into her work, follow Khan's artistic journey on Instagram @asma.ahsan.khan.Asma recommended the following book and film: The Most Unknown filmCarlo Rovelli's work, notably White Holes  *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 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 June 7, 2024

The Ill-Fitting Skin is layered with surreal storytelling but remains an extraordinarily realistic read, in the sense that even the most solid realities of life—and death—tend to blur and shimmer at their raw edges. The talkative bird that nests in a woman's womb is as real as the “previous tenant.” The love of a mother for her uncontrollable son is as real as the wildness that is in her too. The women of The Ill-Fitting Skin are real women—who work and grieve and create and destroy, who love and do not love, whether at the roll of the dice or because “the pages are paths, and you will have to choose among them.”Shannon Robinson's debut short story collection, The Ill-Fitting Skin, is winner of the Press 53 Award for Short Fiction (forthcoming with Press 53 in May 2024). Her writing has appeared in The Gettysburg Review, The Iowa Review, Joyland, Water-Stone Review, Nimrod, failbetter, and elsewhere. She holds an MFA in fiction from Washington University in St. Louis, and in 2011 she was the Writer-in-Residence at Interlochen Center for the Arts. Other honors include Nimrod's Katherine Anne Porter Prize for Fiction, grants from the Elizabeth George Foundation and the Canada Council for the Arts, a Hedgebrook Fellowship, a Sewanee Scholarship, and an Independent Artist Award from the Maryland Arts Council. She teaches creative writing at Johns Hopkins University and lives in Baltimore with her husband and son. www.shannonrobinson.org

In our last episode of the season, we finally get to turn the mic around and find out more about our host extraordinaire, barely scraping the surface of Beatrice's many projects and passions.Credits:Host: Beatrice DeerCo-Host: Tanya InnaarulikGuest: Michael FelberGuest Co-Host and Show Notes Writer: Laurel SprengelmeyerGuest Co-Host and Technical Director: Chris McCarronVideo edited by: Brian SteverPhotography (Intro stills) by: Christyna PelletierProduced by: Jeremie SaundersCreated and Produced by: Michael FelberWe acknowledge the support of the Canada Council for the Arts. Hosted on Acast. See acast.com/privacy for more information.

MATEO CHAVEZ LEWIS (He/They) is a professional musical theatre writer/composer, based in NYC and Toronto. He is best known for his critically acclaimed performance as Jerry Lee Lewis in Million Dollar Quartet at the Arts Club Theatre Company on Granville Island, and for the epic anthem he wrote as a tribute to Greta Thunberg, “Dear Greta” (you can listen to the fully orchestrated version here).Other music & lyrics writing credits include Tommy Rhod es (2024 Toronto World Premiere), The Opening (2024 Dramatists' Guild reading), The Yellow Wallpaper (a 10-minute musical adaptation), The Accountant (2022 Canada Council for the Arts grant recipient), and Quarantine Songs (2022 Toronto World Premiere). He runs Music Theatre Theory, a YouTube channel with ~9k subs where he analyzes the best songs and performances from the musical theatre canon. TOMMY RHODES - In the southern U.S., in the times before DNA testing, two young boys go missing.  Then, a few years later, one boy reappears... and both the mothers of the missing kids somehow become convinced that this is their son.

Tara welcomes author Finnian Burnett, who is a professor, writer and lifelong learner.  Their work often explores the intersection of the human body, mental health and gender identity.  Finnian holds a doctorate in English pedagogy from Murray State University and teaches college English, creative writing and early British Literature, using story-based pedagogy to create equity in multicultural classrooms.   Finnian is a recipient of the Canada Council for the Arts grant, a finalist in the 2023 CBC Nonfiction prize and a 2024 Pushcart nominee. Under their former name, they have published several novels with Sapphire Books Publishing, including two rainbow award winners and the Writer's Digest first place in fantasy self-published book called, Coyote Ate the Stars.   In addition, Finnian has two novellas-in-flash, The Clothes Make the Man (published by Ad Hoc Fiction) and The Price of Cookies (published by Off Topic Publishing).   Finnian lives in beautiful British Columbia with their wife.   https://finnburnett.com/ https://finallyfinnian.com/   Highlighted books and authors: Curious Wine by Katherine V. Forrest Cold by Drew Hayden Taylor The Scourge by Jennifer A. Nielsen Poet Miranda Krogstad Moon of the Crusted Snow by Waubgeshig Rice All the Quiet Places by Brian Thomas Isaac Never Let Me Go; Klara in the Sun by Kazuo Ishiguro Don't forget to check out Rebecca and Tara live on YouTube: https://www.youtube.com/@canadareadsamericanstyle/streams  

Through her work as an educator and traditional knowledge holder, Evie Mark has fulfilled a Shaman's childhood prophesy about her. Join us as Beatrice gets real with her throat singing teacher and best friend on sharing the passion and pain of reclaiming Inuit culture. Don't miss Evie's rendition of a traditional Inuit 'rap battle', and Evie and Beatrice's throat singing demonstrations!This episode mentions suicide. If you or someone you know are in Crisis, call First Nations and Inuit Hope for Wellness Help Line 1-855-242-3310 Toll-free, 24/7 for Mental Health and Wellness. If you are in Canada and need help now, call Talk Suicide Canada 1 (833) 456-4566 or text 45645 from 4 pm to midnightCredits:Host: Beatrice DeerCo-Host: Tanya InnaarulikGuest: Evie MarkGuest Co-Host and Show Notes Writer: Laurel SprengelmeyerGuest Co-Host and Technical Director: Chris McCarronVideo edited by: Brian SteverPhotography (Intro stills) by: Christyna Pelletier Produced by: Jeremie SaundersCreated and Produced by: Michael FelberWe acknowledge the support of the Canada Council for the Arts. Hosted on Acast. See acast.com/privacy for more information.

Today is a very special episode for me because we have with us, the inimitable Dr. Renee-Paule Gauthier, Violinist, Performance & Life Coach for Musicians, Host of the Mind Over Finger Podcast She is a passionate performer, teacher, and high-performance coach whose career has taken her across the United States and Canada as a soloist, recitalist, chamber musician, orchestral leader, and clinician.  Dr. Gauthier performs with some of Chicago's finest ensembles, including the Chicago Symphony and the Chicago Lyric Opera orchestras, Music of the Baroque, and the Chicago Philharmonic. She blogs about creating a meaningful practice at her website, Mind Over Finger, and hosts the Mind Over Finger podcast.  One of the most popular classical music shows, The Mind Over Finger Podcast offers discussions on mindful music-making, efficient practice, and building a purposeful career with the performers, pedagogues, and innovators who are shaping the classical music world today.  Dr. Gauthier presents masterclasses and clinics on the topics of mindful practice, audition preparation, and anxiety management to audiences across the world.   An accomplished concert artist, Renée-Paule Gauthier was mentioned as “one of the best violinists of her generation" in the book Violin Virtuosos, from Paganini to the 21st Century.  Dr. Gauthier has won awards in several competitions, including the exclusive three-year loan of the Taft Stradivari violin through the 2009 edition of the Canada Council for the Arts' Musical Instrument Bank Competition.  She made her Kennedy Center solo debut in April 2014.  She was Concertmaster of the New World Symphony, in the first violin section of the National Arts Centre Orchestra in Canada, Assistant Concertmaster of the Calgary Philharmonic, and is the Founder and former Artistic Director of the Rendez-vous Musical de Laterrière, a chamber music festival in the province of Québec.  Download your free Quarterly Retreat Planning Guide.  Book a free 30-minute discovery call with Kate.   If you enjoyed today's episode, please don't forget to subscribe, rate, review, and share it with your friends!  Want more Tales From The Lane content? Check out the TFTL Blog, with 6+ years of past articles and interviews!  Let's hang out! IG: https://www.instagram.com/kkayaian FB: https://www.facebook.com/groups/Talesfromthelane Twitter: https://twitter.com/kkayaianwright Website: KateKayaian.com  

Proximity proportionate responsibility: if we were to do an inventory of where all the things we own were made, that would give us a very interesting map of where our responsibility, our attention and our donations ought to go because our pressures on the global systems can be revealed. That's a much more reasonable way to interact with different crises than to simply read about it on the news and interact with the whole of it without the context of our footprint. Jimmy Ung was born in Montreal to a family of refugees from the Cambodian war. He has traveled to over 50 countries and worked for Collège Reine-Marie, the Canadian Commission for UNESCO, the Parliament of Canada, and the charity WE (Free the Children). He is currently working on a book about Privilege, Power and Social Responsibility.I first met Jimmy at the Canadian Commission for UNESCO while I was working at Canada Council for the Arts. Jimmy impressed me with his brilliant mind, boundless curiosity and his kind heart. We kept in touch over the years, including my fascination with his motorcycle crossing of the Americas in 2014-15 covering more than 30,000 kilometers. I interviewed Jimmy in French for balado conscient on April 17, 2021 (see é28 ung - résilience et vulnérabilité) where we talked about resilience and vulnerability.  I was struck by Jimmy's observation that ‘resilience is the capacity to be vulnerable' which at the time seemed like a contradiction but now makes sense to me.During this 2nd conversation, this time in English, some 3 years later, our focus was on privilege, in relation to his upcoming book, including the role that privilege plays in the arts and in relation to both the ecological and humanitarian crisis. At the end of our conversation, Jimmy quoted Bayo Akomolafe saying ‘our times are urgent, so let us slow down' and recommended this video:  Climate Crisis, Fragmentation and Collective Trauma, with Bayo Akomolafe, Eriel Tchekwie Deranger, Angaangaq Angakkorsuaq & Dr. Gabor Maté as part of The Wisdom of Trauma - Talks on Trauma Series.I mentioned this link from my ‘a calm presence' newsletter during the conversation : l'orchestre de paris à montréal. *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

------------------Support the channel------------ Patreon: https://www.patreon.com/thedissenter PayPal: paypal.me/thedissenter PayPal Subscription 3 Dollars: https://tinyurl.com/ybn6bg9l PayPal Subscription 5 Dollars: https://tinyurl.com/ycmr9gpz PayPal Subscription 10 Dollars: https://tinyurl.com/y9r3fc9m PayPal Subscription 20 Dollars: https://tinyurl.com/y95uvkao   ------------------Follow me on--------------------- Facebook: https://www.facebook.com/thedissenteryt/ Twitter: https://twitter.com/TheDissenterYT   This show is sponsored by Enlites, Learning & Development done differently. Check the website here: http://enlites.com/   Dr. Paul Thagard is Distinguished Professor Emeritus of Philosophy at the University of Waterloo and a Fellow of the Royal Society of Canada, the Cognitive Science Society, and the Association for Psychological Science. The Canada Council awarded him a Molson Prize (2007) and a Killam Prize (2013). He is a philosopher, cognitive scientist, and author of many interdisciplinary books, the latest one being Falsehoods Fly: Why Misinformation Spreads and How to Stop It.   In this episode, we focus on Falsehoods Fly. We start by distinguishing information from misinformation, and we discuss why we should worry about misinformation. We talk about the AIMS Theory of Information and Misinformation. We discuss cognitive errors and motivated cognition. We talk about the reliability of news sources, and go through several examples of misinformation, namely medical misinformation and the COVID-19 pandemic; scientific misinformation and climate change; conspiracy theories; political misinformation, and misinformation about inequality; and misinformation on the Russia-Ukraine conflict. Finally, we discuss how we can prevent misinformation, and how this book connects to Dr. Thagard's The Cognitive Science of Science. -- A HUGE THANK YOU TO MY PATRONS/SUPPORTERS: PER HELGE LARSEN, JERRY MULLER, HANS FREDRIK SUNDE, BERNARDO SEIXAS, OLAF ALEX, ADAM KESSEL, MATTHEW WHITINGBIRD, ARNAUD WOLFF, TIM HOLLOSY, HENRIK AHLENIUS, FILIP FORS CONNOLLY, DAN DEMETRIOU, ROBERT WINDHAGER, RUI INACIO, ZOOP, MARCO NEVES, COLIN HOLBROOK, PHIL KAVANAGH, SAMUEL ANDREEFF, FRANCIS FORDE, TIAGO NUNES, FERGAL CUSSEN, HAL HERZOG, NUNO MACHADO, JONATHAN LEIBRANT, JOÃO LINHARES, STANTON T, SAMUEL CORREA, ERIK HAINES, MARK SMITH, JOÃO EIRA, TOM HUMMEL, SARDUS FRANCE, DAVID SLOAN WILSON, YACILA DEZA-ARAUJO, ROMAIN ROCH, DIEGO LONDOÑO CORREA, YANICK PUNTER, CHARLOTTE BLEASE, NICOLE BARBARO, ADAM HUNT, PAWEL OSTASZEWSKI, NELLEKE BAK, GUY MADISON, GARY G HELLMANN, SAIMA AFZAL, ADRIAN JAEGGI, PAULO TOLENTINO, JOÃO BARBOSA, JULIAN PRICE, EDWARD HALL, HEDIN BRØNNER, DOUGLAS FRY, FRANCA BORTOLOTTI, GABRIEL PONS CORTÈS, URSULA LITZCKE, SCOTT, ZACHARY FISH, TIM DUFFY, SUNNY SMITH, JON WISMAN, WILLIAM BUCKNER, PAUL-GEORGE ARNAUD, LUKE GLOWACKI, GEORGIOS THEOPHANOUS, CHRIS WILLIAMSON, PETER WOLOSZYN, DAVID WILLIAMS, DIOGO COSTA, ANTON ERIKSSON, CHARLES MOREY, ALEX CHAU, AMAURI MARTÍNEZ, CORALIE CHEVALLIER, BANGALORE ATHEISTS, LARRY D. LEE JR., OLD HERRINGBONE, MICHAEL BAILEY, DAN SPERBER, ROBERT GRESSIS, IGOR N, JEFF MCMAHAN, JAKE ZUEHL, BARNABAS RADICS, MARK CAMPBELL, TOMAS DAUBNER, LUKE NISSEN, KIMBERLY JOHNSON, JESSICA NOWICKI, LINDA BRANDIN, NIKLAS CARLSSON, GEORGE CHORIATIS, VALENTIN STEINMANN, PER KRAULIS, KATE VON GOELER, ALEXANDER HUBBARD, BR, MASOUD ALIMOHAMMADI, JONAS HERTNER, URSULA GOODENOUGH, DAVID PINSOF, SEAN NELSON, MIKE LAVIGNE, JOS KNECHT, ERIK ENGMAN, LUCY, YHONATAN SHEMESH, MANVIR SINGH, AND PETRA WEIMANN! A SPECIAL THANKS TO MY PRODUCERS, YZAR WEHBE, JIM FRANK, ŁUKASZ STAFINIAK, TOM VANEGDOM, BERNARD HUGUENEY, CURTIS DIXON, BENEDIKT MUELLER, THOMAS TRUMBLE, KATHRINE AND PATRICK TOBIN, JONCARLO MONTENEGRO, AL NICK ORTIZ, AND NICK GOLDEN! AND TO MY EXECUTIVE PRODUCERS, MATTHEW LAVENDER, SERGIU CODREANU, BOGDAN KANIVETS, ROSEY, AND GREGORY HASTINGS!

Today we talked with F-Plus Trio!   F-PLUS is a violin, clarinet, and percussion trio committed to collaborating with today's most exciting composers to establish a diverse repertoire for their unique instrumentation. Formed in 2016 at the Bang on a Can Summer Festival, the ensemble has performed all over the country, including Carnegie Hall's Weill Recital Hall, the Art Institute of Chicago, the Great Lakes Chamber Music Festival, the Detroit Institute of Arts, the Ear Taxi Festival, the International Clarinet Association "ClarinetFest," and the New Music Gathering. F-PLUS has premiered over 35 new works since its inception, including commissioned works by Chen Yi, Chicago Symphony Mead Composer-in-Residence Jessie Montgomery, Grawemeyer-winner George Tsontakis, Emma O'Halloran, Gemma Peacocke, Perry Goldstein, Matthew Ricketts, and Charles Peck, among many others. The ensembled has been the recipient of commissioning grants and additional funding from the Fromm Foundation, Chamber Music America, the Barlow Endowment for Music Composition, New Music USA, the Canada Council for the Arts, the Irish Arts Council and the New Zealand Arts Council. F-PLUS is committed to working with the next generation of composers and performers, and has held residencies at Princeton University, the University of Delaware, the Cincinnati College-Conservatory of Music, Washington University (St. Louis), University of Texas-Austin, University of North Carolina-Greensboro, UNC-Pembroke, UNC-Wilmington, and Grand Valley State, Central Michigan, Stony Brook, Duke, and Illinois State Universities.    With F-Plus we discussed how you can commission music in college and form chamber ensembles that continue after you all graduate. Follow F-Plus on all their social media to stay up to date with their performances and projects!   https://www.fplusmusic.com/ https://www.instagram.com/fplusmusic/ https://www.youtube.com/fplusmusic https://www.facebook.com/fplusmusic    

We're not just talking about saving the environment. What we're first and foremost trying to get people to do is care for the environment and you can't care for the environment unless you feel part of it, unless you feel attached to it, unless you can see outside the building and understand we're not living in bubbles. What I mean by bubbles, especially, is that we're not living in an individual bubble, that we have social responsibility, that we make connectivity with other people, building blocks for community, for betterment of, of various kinds.Robert (Bob) Sirman served as director and CEO of the Canada Council for the Arts for 8 of my 21 years there. He had a distinguished career in the arts with the Canada Council, Canada's National Ballet School, the Ontario Arts Council and Ontario's first Ministry of Culture, among many other contributions. I wanted to speak with Bob because he has had a notable influence in my life in terms of engaging with art, ways of being in space (architecture, design), systems thinking and long term planning.So we sat down at his home in Toronto and talked about art and ecology, aesthetics, the role of art in social change, his legacy as an arts leader and what kind of art inspires him (he mentioned photographer Edward Burtinski).You'll hear a story about a meeting between our staff green committee and Bob about the Council carbon footprint in 2007. Bob listened carefully and noted that the Council's largest carbon footprint at the time was its energy inefficient building on Albert street. I was pleased to see that before he left as Director in 2014 that the Council had moved into, and remains, in a Gold, Class A LEED-certified building on Elgin St. in Ottawa.I want to thank Bob for his many contributions to the arts in Canada and to the arts community. Many seeds were planted during his tenure that have blossomed, or might yet. There were many highlights for me, including Bob's very last statement about how ‘having the conversation again makes us focus and makes us think and pay attention to the things that we really care about.'.I appreciate his statement about ‘how it's critical to empower artists to be able to choose freely the passions that they wish to pursue and to develop the skills and have the resources to actually connect with other people.' *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

Vancouver, Canada author Andrea Bishop has been awarded a grant from the Canada Council for the Arts to complete her first collection of short stories. The work-in-progress features stories of fearless women - hikers, hockey-players, moms,  and mom-athletes - all striving to create harmony in an often brutal world. We read her story "Ice Created Layer Upon Layer," which was published in Grain Magazine.   https://andreabishop.ca/Support the show

In this week's episode, I'm in conversation with Sophia Ali Khan, activist, public interest lawyer, and Canadian-based author of *A Good Country: My Life in Twelve Town and the Devastating Battle for a White America*. We talked about a wide range of things, playing with the intersection of activism and spiritualit: from the current genocide (do we take the first flight out to Rafah?) to resonance with our ancestral homeland (what is embedded in our DNA that signals we are home?); from balancing being a mom with activism (how does one guide one's children through the practices of fasting during Ramadan?) to what true spirituality and faith look like. (Hint: It's not all white flowing robes and kumbaya). Come along with us on this meandering road of understanding what our role might be in this life as a human during this particular moment in time. Listen in today! About Sofia Ali-Khan: Sofia Ali-Khan is an anti-racist storyteller, author, and public interest lawyer. Her book, A Good Country: My Life in Twelve Towns and the Devastating Battle for a White America was published by Random House in 2022 and won the 2023 Nautilus Gold Book Award for Social Justice. Writing at the intersection of politics, race, history, and Muslim America, her essays have appeared in the Los Angeles Times, TIME Magazine, the Chicago Tribune, and other publications, earning her a Pushcart Prize nomination in 2022. She has appeared as a featured storyteller on The Moth's Mainstage in Boston and Philadelphia and at the Manhattan Public Theater. Sofia lives in Ontario, Canada with her husband, kids and cat, and is presently at work on her first novel with the generous support of the Canada Council for the Arts.  =============== Today's poems/ Books mentioned: Oracle card: The Queen of Swords Poem: “Please Stop” by Sophia Ali Khan ===============  Courses / Exclusive Content / Book Mentioned: Subscribe to “Adventures in Midlife” newsletter: leslieann.substack.com Instagram: @leslieannhobayan  Email: leslieann@suryagian.com Sophia Ali Khan https://www.sofiaalikhan.com/ https://www.instagram.com/sofia_alikhan/

Welcome to RIMScast. Your host is Justin Smulison, Business Content Manager at RIMS, the Risk and Insurance Management Society.   Justin interviews guest Sarah Mikolich, Risk and Insurance Coordinator at the Ontario Clean Water Agency. Sarah tells about her 25-year career path in risk and insurance management, describes the work of Ontaria Clean Water Agency, the partnership OCWA has with First Nations in Ontario, and what her priorities are at OCWA. She discusses the importance of World Water Day and how water brings peace. She shares her experience as a woman in risk and insurance and how the industry has become more gender equal. Listen in for Sarah's thoughts about the industry, networking in ORIMS, and her tips for women entering the risk and insurance industry.   Key Takeaways: [:01] About RIMS and RIMScast. [:14] Public registration for RISKWORLD 2024 is now open. Explore infinite opportunities with RIMS from May 5th through May 8th, 2024, in San Diego, California. Register at RIMS.org/RISKWORLD. Be thankful that it's a leap year! Advance Registration rates end on February 29th, 2024. [:38] About today's EPISODE of RIMScast. We will discuss water and sustainability, with Sarah Mikolich of the Ontario Clean Water Agency. [1:01] The RIMS-CRMP is the only competency-based risk management credential. That matters because earning the certification shows employers and recruiters that you have the skills necessary to manage risk and create value for your organization. [1:17] Several Exam Prep virtual workshops are coming up. On March 19th and 20th, this two-day course will be presented with PARIMA. The next RIMS-CRMP-FED Exam Prep Virtual Workshop will be held from April 2nd through the 4th and led by Joe Mayo. Visit the certification page on RIMS.org for more information. A link is in these show notes. [1:47] If there is a full group of employees in your organization who should earn the RIMS-CRMP, visit RIMS.org/webinars and register for the complimentary webinar, How Deloitte Leveraged the RIMS-CRMP: A Fireside Chat. A link is on this episode's show notes. [2:06] We will have leaders from the RIMS-CRMP Commission and leaders from Deloitte, who will speak to why they supported several of their employees in earning the RIMS-CRMP. It will be a relaxed, informational session and a lot of fun. Mark your calendars for March 15th and register! [2:26] On March 20th at 9:00 a.m., Eastern, we have another informational session about Recertification: Keep Your RIMS-CRMP Active. I will be hosting that session, along with RIMS VP of Professional Development, Denise Osorio. If you have the CRMP and you don't want the credits to lapse, find out how to keep it active! The link is in the notes. [2:53] We are looking forward to RISKWORLD 2024 in sunny San Diego, California, from May 5th through May 8th, 2024. Public registration is open. Register today at RIMS.org/RISKWORLD and the link in this episode's show notes. [3:08] In the prior episode of RIMScast we had opening keynote Peter Diamandis join us. Check out that episode for just a taste of what's in store for RISKWORLD 2024. [3:22] Early registration rates are available through February 29th, 2024; yet another benefit brought to you by RIMS and leap year! [3:31] March is Women's History Month. March 22nd is World Water Day. Our guest today brings the best of both worlds. She is Sarah Mikolich, the Risk and Insurance Coordinator at the Ontario Clean Water Agency (OCWA). [3:51] Many of you know Sarah as a long-time and very visible member of ORIMS. We'll talk about her career, her work in water, and her perspective on how the risk profession is evolving to meet the needs of, and retain, women. [4:09] Sarah Mikolich, welcome to RIMScast! [4:49] Sarah started as a broker for a smaller brokerage and then for Aon in their large risk management sector. From there, she worked in risk management at a global medical company, and then at a global engineering firm. She learned what it's like to put together a global insurance program. Sarah has been involved with ORIMS. [5:25] Sarah has worked on the Canada Council's newspaper. She has worked on two conferences in Canada. For the second conference, in Toronto, she helped organize all the speakers and seminars. Over the last 20 years, Sarah has made good friends in the risk industry. [6:40] Sarah is coming up on three years with OCWA. She looks after the insurance program. OCWA is a Crown agency in Ontario. It reports to the Ministry of Environment, Conservation, and Parks. OCWA operates and maintains over 1,000 water and wastewater facilities in about 170 municipalities, for a population of about 4.5 million. [7:35] OCWA is one of the biggest operators in Canada. Sarah's department includes just herself. Her previous positions with the medical and engineering firms were also one-person shows. At OCWA, she reports to Legal, so she has support from her general counsel. She loves the responsibility of her positions, past and present. [8:49] Sarah's top priority is clean water. The next priority is the retention of their 600+ certified local water operators. Another high priority is cybersecurity. No cyber threats have bubbled up to Sarah's department. Everything has been dealt with by the IT department. [10:11] OCWA has an ERM department of one, not Sarah, but she is tuned into the ERM leader's work. She has recently been asked to help with some of the board materials and minute-taking so she has learned a lot more about what the ERM program looks like. [10:35] Because they are highly regulated, they lean conservative. They are fully supported by the Executive Management Team and the Board of Directors. The ERM department has done a top-down risk review and is rolling out a bottom-up look at risk, engaging the employees, and providing some ERM risk training, including for the board. [11:15] OCWA is not mandated to test for “forever chemicals” or PFAS. The main focus is going to be on infrastructure upgrades. This needs to be addressed by researchers, water industry professionals, and governments at all levels, in the years ahead. [12:01] OCWA has a partnership with First Nations in Ontario. First Nations face a lot of water risks, including some boil water advisories. OCWA is proud of this partnership, providing project management, capital management, emergency services, asset management, and improving the operation and maintenance of its infrastructure. [12:48] In 2021, OCWA established a First Nations Advisory Circle to gain a greater understanding of the broader water issues facing First Nations communities. The Circle, which reports through the First Nations Committee of the Board of Directors, are individuals who identify as indigenous from a variety of backgrounds and communities. [13:16] In 2022, OCWA created a First Nations Regional Hub that focuses exclusively on supporting water and wastewater sustainable operations and maintenance for First Nations communities. [13:48] OCWA's biggest client is in Mississauga, where its head office is. Sarah lives there and drinks the Ontario Clean Water Agency's maintained facility water. She has an appreciation of what goes into clean water. She participates in facility tours and inspections; she has never seen a facility so clean. The facilities are fascinating. [14:44] RIMS plug time! RIMS Virtual Workshops: Visit RIMS.org/virtualworkshops to see the full calendar. On March 6th and 7th, our friend Elise Farnham hosts Applying and Integrating ERM. On March 12th and 13th, former RIMS president Chris Mandel hosts, Captives as an Alternate Risk Financing Technique. [15:10] Information about these workshops and others is on the RIMS Virtual Workshops page and a link to the full calendar is in this episode's notes. [15:18] On February 29th, Hub International sponsors Ready for Tomorrow: Protecting Your Profits in the Property Market. On March 7th, in celebration of International Women's Day, Origami Risk leads the session Women of Risk & Compliance: Leading & Learning One Step at a Time. [15:39] Resolver returns on March 14th to deliver the session Maximizing Business Value: Top 5 Risk and Compliance Dashboards for Organizational Resilience. On March 21st, Zurich presents Fraud Attitude Shifts in the Industry. [15:54] On March 28th, our friends at TÜV SÜD GRC present Inflation and Property Valuation: Aligning Your Assets with Reality. Visit RIMS.org/Webinars to learn more about these webinars and to register! Links are in the show notes. Webinar registration is complimentary for RIMS members. [16:16] Quick shout-out to our friends at the Spencer Educational Foundation, which funds the education of next-generation risk management and insurance talent. Spencer's scholarship program is open but coming to a close on March 1st for Ph.D. applicants. [16:31] Students and risk management and insurance faculty with interest can visit Spencered.org for additional details. [16:40] Our friends at FERMA encourage you to participate in its inaugural International Risk Managers Survey, open through March 2024 to risk professionals from the U.S., Latin America, Asia-Pacific, and Africa. It is produced in partnership with PwC France. The results will be distributed in October 2024. A link is in this episode's show notes. [17:12] World Water Day is March 22nd, 2024. The theme this year is Water for Peace, which focuses on the critical role that water plays in the stability and prosperity of the world. Henk Ovink, Ambassador to the U.N. for Clean Water, has been on the show twice. Justin has had a lot of guests speaking of clean water. [17:48] Water can bring peace to the world. We all need clean water. It's so important. There's so much that needs to be done around the world to bring clean, fresh water to so many communities. If we all work toward doing that, in our capacity, providing water that's clean, fresh, and sustainable, will bring peace. [18:28] Sarah has been in the risk and insurance profession for 25 years. She reflects on how the risk and insurance profession has changed regarding gender equality. She believes it has changed quite a bit. She is meeting female risk managers, left, right, and center. She thinks it's a wonderful field. She loves working with clients and partners. [19:13] Being a woman is not as big an issue anymore. You're a worker on a career path. Sarah has had great managers who have given her ways to grow in her career. Her previous companies are also working to be diverse. She is supported by her peers and her managers. The playing field has gotten more level, in Sarah's experience. [20:33] Sarah has mentored a few women. She doesn't have many opportunities, being a sole specialist in a department of one. Working on the RIMS Canada Conference was a way she could promote her ideas and support other women to promote their careers. Justin emphasizes to listeners to get involved with RIMS to help others in their careers! [21:54] Sarah's tips for women entering the risk and insurance profession: “Education is the biggest one for me, learning as much as I could and picking up as many certificates as I could. Definitely, do your CRM, ARM, or the RIMS-CRMP. Network. Try to get a mentor or two. I've done a lot of networking at the global and Canadian conferences.” [22:39] “So, get out there! Go to your chapter meetings. There's a lot to learn; there are lots of great people out there to learn from. The risk management community is so giving. They'll drop anything to help you; any question you have! Education and networking would be the biggest points. We all want to see each other do well.” [23:41] Sarah Mikolich, it's been a pleasure to have you on RIMScast finally! I wish you a happy World Water Day, 2024 and beyond! [23:51] Special thanks again to Sarah Mikolich of the Ontario Clean Water Agency and also of ORIMS, for joining us. Links to her bio and work are in this episode's show notes as well as links to World Water Day and Women's History Month initiatives. [23:19] There's still time to get the early bird registration rate for RISKWORLD through February 29th. Visit RIMS.org/RISKWORLD and register there. Peter's opening Keynote is one of the many memorable presentations we'll be experiencing at RISKWORLD 2024. [24:10] Go to the App Store and download the RIMS App. This is an exclusive members-only benefit with all sorts of RIMS resources and coverage. Everybody loves the RIMS App! [24:35] You can sponsor a RIMScast episode for this, our weekly show, or a dedicated episode. Links to sponsored episodes are in our show notes. RIMScast has a global audience of risk professionals, legal professionals, students, business leaders, C-Suite executives, and more. Let's collaborate! Contact pd@rims.org for more information. [25:19] Become a RIMS member and get access to the tools, thought leadership, and network you need to succeed. Visit RIMS.org/membership or email membershipdept@RIMS.org for more information. [25:36] Risk Knowledge is the RIMS searchable content library that provides relevant information for today's risk professionals. Materials include RIMS executive reports, survey findings, contributed articles, industry research, benchmarking data, and more. [25:52] For the best reporting on the profession of risk management, read Risk Management Magazine at RMMagazine.com, and check out the blog at RiskManagementMonitor.com. Justin Smulison is Business Content Manager at RIMS. You can email Justin at Content@RIMS.org. [26:13] Thank you for your continued support and engagement on social media channels! We appreciate all your kind words. Listen every week! Stay safe!   Mentioned in this Episode: World Water Day 2024 Campaign Women's History Month RISKWORLD 2024 — San Diego, CA | May 5–8, 2024 NEW FOR MEMBERS! RIMS Mobile App Spencer Educational Foundation Spencer Educational Foundation — Grants Page RIMS-Certified Risk Management Professional (RIMS-CRMP) RIMS-CRMP Virtual Workshops 2024 International Risk Manager Survey conducted by FERMA in partnership with PwC FERMA Diamandis.com RIMS Webinars: Ready for Tomorrow: Protecting Your Profits in the Property Market | Sponsored by Hub International | Feb. 29, 2024 Women of Risk & Compliance: Leading & Learning One Step at a Time | Sponsored by Origami Risk | March 7, 2024 Maximizing Business Value: Top 5 Risk and Compliance Dashboards for Organizational Resilience | Sponsored by Resolver | March 14, 2024 Elevating ERM in Federal Agencies: The RIMS-CRMP-FED Explored by Deloitte & Touche LLP and RIMS | March 15, 2024 Recertification: Keep Your RIMS-CRMP Active | Presented by RIMS | March 20, 2024 Fraud Attitude Shifts in the Industry | Sponsored by Zurich | March 21, 2024 Inflation and Property Valuation: Aligning Your Assets with Reality | Sponsored by TUV SUD GRC | March 28, 2024 RIMS.org/Webinars Upcoming Virtual Workshops: See the full calendar of RIMS Virtual Workshops RIMS-CRMP Prep Workshops Related RIMScast Episodes: RISKWORLD 2023 Keynote Johnny C. Taylor, Jr., SHRM President and CEO “Diving in with RIMS 2024 President David Arick” “Kicking Off 2024 with RIMS CEO Gary LaBranche” “Scenario Planning with the RIMS SERMC in 2024” “Solving Wicked Problems with Dr. Gav Schneider” Sponsored RIMScast Episodes: “Alliant's P&C Outlook For 2024” | Sponsored by Alliant (New!) “Why Subrogation is the New Arbitration” | Sponsored by Fleet Response Cyclone Season: Proactive Preparation for Loss Minimization | Sponsored by Prudent Insurance Brokers Ltd. “Subrogation and the Competitive Advantage” | Sponsored by Fleet Response “Cyber risk Outlook 2023” | Sponsored by Alliant “Chemical Industry: How To Succeed Amid Emerging Risks and a Challenging Market” | Sponsored by TÜV SÜD “Insuring the Future of the Environment” | Sponsored by AXA XL “Insights into the Gig Economy and its Contractors” | Sponsored by Zurich “The Importance of Disaster Planning Relationships” | Sponsored by ServiceMaster   RIMS Publications, Content, and Links: RIMS Membership — Whether you are a new member or need to transition, be a part of the global risk management community! RIMS Virtual Workshops On-Demand Webinars Risk Management Magazine Risk Management Monitor RIMS-Certified Risk Management Professional (RIMS-CRMP) RIMS-CRMP Stories — New interview featuring Dr. Lianne Appelt! Spencer Educational Foundation RIMS DEI Council   RIMS Events, Education, and Services: RIMS Risk Maturity Model® RIMS Events App Apple | Google Play RIMS Buyers Guide   Sponsor RIMScast: Contact sales@rims.org or pd@rims.org for more information.   Want to Learn More? Keep up with the podcast on RIMS.org and listen on Spotify and Apple Podcasts.   Have a question or suggestion? Email: Content@rims.org.   Join the Conversation! Follow @RIMSorg on Facebook, Twitter, and LinkedIn.   About our guest Sarah Mikolich Risk & Insurance Coordinator at Ontario Clean Water Agency (OCWA)LinkedIn Sarah Mikolich Tweetables (Edited For Social Media Use): Ontario Clean Water Agency reports to the Ministry of Environment, Conservation, and Parks. We operate and maintain over 1,000 water and wastewater facilities in about 170 municipalities. One of our biggest clients is that sector. — Sarah Mikolich   No cyber threats have bubbled up to me. We've been able to deal with everything internally right now, with our IT department. Nothing's come through as a threat. — Sarah Mikolich   There's so much that needs to be done around the world to bring clean, fresh water to so many communities. If we all work toward doing that, in our capacity, water that's clean, fresh, and sustainable, will bring peace. — Sarah Mikolich   I am meeting female risk managers, left, right, and center. I think it's a wonderful field to be in. — Sarah Mikolich

Bev Pike is a Winnipeg artist known for gigantic immersive paintings of architectural utopias. She bases her current series on eccentric three hundred year-old subterranean grottos in England. Pike shows her work in major public art galleries across Canada, most recently at the Dunlop Art Gallery (Regina), Museum London (London), and St. Mary's University Art Gallery (Halifax). She is the recipient of many major grants from the Canada Council, Manitoba Arts Council and Winnipeg Arts Council. Pike also creates humorous, provocative and feminist Agony Aunt columns in artist books that are in international special collections such as the Victoria & Albert Museum, Tate Modern, University of Bristol and others in England, Canada, Iceland and the USA. She has been a guest speaker from coast to coast and in England. Finally, as a long-time community activist, Pike writes evidence-based satire for the Winnipeg Free Press, CBC, MSN, etc.In this episode, Bev Pike tells us more about the importance of taking up space.  From the scale of her paintings to her satirical writing, Pike's strong convictions as a Feminist means she's not afraid to make herself, or her work, stand out. Additionally, Pike gives some valuable advice for artists regarding grant writing in Canada. View more of Bev's work.  Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

EPISODE 318 - Paula Delgado-Kling - Leonor The Story of a Lost Childhood in ColombiaOur Guest: Paula Delgado-Kling holds degrees in comparative literature, French civilizations, international affairs, and creative writing from Brown, Columbia and the New School, respectively. This is her first book. It has been excerpted in Narrative Magazine (Winter 2008 issue), The Literary Review (Winter 2009 issue and reprinted in the 60th anniversary issue, fall 2017), Pacifica Literary Review (Winter 2017 issue), The Grief Diaries (February 2017 issue), and translated into Japanese for happano.org (January 2017 issue). For this book, she received two grants from the Canada Council for the Arts, and won the OneWorld Prize in nonfiction from the Pan African Literary Forum, for which she was awarded a trip to Accra, Ghana to share her work. Paula's website is pauladelgadokling.com. Her reportage, “El Diario de Maher Arar,” was anthologized in Las Mejores Crónicas de Gatopardo (Random House Mondadori, 2006). Since March 2005, she has been an assistant editor at Narrative Magazine. She lives in New York.The Book: Leonor: The Story of a Lost Childhood Paperback - Set in the author's homeland, Colombia, this is the heartbreaking story of Leonor, former child soldier of the FARC, a rural guerrilla group.Paula Delgado-Kling followed Leonor for nineteen years, from shortly after she was an active member of the FARC forced into sexual slavery by a commander thirty-four years her senior, through her rehabilitation and struggle with alcohol and drug addiction, to more recent days as the mother of two girls.Leonor's physical beauty, together with resourcefulness and imagination in the face of horrendous circumstances, helped her carve a space for herself in a male-dominated world. She never stopped believing that she was a woman of worth and importance. It took her many years of therapy to accept that she was also a victim.Throughout the story of Leonor, Delgado-Kling interweaves the experiences of her own family, involved with Colombian politics since the 19th century and deeply afflicted, too, by the decades of violence there.https://www.amazon.ca/Leonor-Story-Childhood-Paula-Delgado-Kling/dp/1682194477___https://livingthenextchapter.com/podcast produced by: https://truemediasolutions.ca/Finally a podcast app just for kids! KidsPod is founded on a simple idea:Every kid should have access to the power of audio.https://kidspod.app/Support the showhttps://livingthenextchapter.com/Want to support the show and get bonus content?https://www.buzzsprout.com/1927756/subscribe

A special episode of The Place of Sound podcast featuring highlights from a project I did in 2017 for Bivouac Recordings, in Hong Kong, called 60 minutes Cities Ottawa, a series of winter time field recordings of Ottawa.Note: This episode is also available in French.This is a special episode of The Place of Sound podcast. You'll hear highlights from a project I did in 2017 for Bivouac Recordings, a sound label based in Hong Kong, called 60 minutes Cities Ottawa - featuring winter sounds in Ottawa - curated by Terrence Lloren, which is a series of albums focused on an individual's genius loci or the ‘spirit of a place'.Each 60-minute cities album is a personal document of the recordists (re)discovery of their ‘city' through sound. The 60 minutes of recordings are taken from the recordist's own personal surroundings and include photos and text to describe the significance of these sounds to their own lives.The result is a document that reveals the deepest character of a place through a native resident's own experience so that (locals) and non-locals, as well as the recordist, can (re)connect with the city and (re)discover the beauty of their place.You'll hear excerpts from :Commemoration, recorded on November 11, 2016 at 10.58am at the National War Memorial on Elgin StreetRunning, recorded on New Year Day, 2017 at 11.28 am in Sandy HillProtest, recorded on January 21, 2017 at 11am at the corner of Elgin and Gloucester streetRiver, recorded on January 29th, 2017, at 1.34pm, on the Ottawa River west of downtownOffice, sound of office towers and entry and exits at 150 Elgin St.Skateway, the rideau canal skateway, on January 26th, 2017Parliament Hill on February 18, 2017, at 11.58amTRANSCRIPTION OF EPISODENote: below is my original script which I improvised from during the recording(Choir singing O Canada at Remembrance Day ceremony, November 11, 2016, Ottawa)Please stand for O Canada… (Fade to silence) My name is Claude Schryer. Welcome to a special episode of The Place of Sound, a radio show/podcast produced in Carleton University's Communication and Media Studies Program by Dr. Vincent Andrisani and airing on CKCU FM, campus radio. The Place of Sound explores the idea of ‘place' through the ears of students and sometimes, guest producers, like me. Check it out. I'm speaking to you from Ottawa, which is on the unceded and un-surrendered territory of the Algonquin-Anishinaabe nations, who are the customary keepers and defenders of the Ottawa River Watershed and its tributaries.What you'll hear today are highlights from a project I did for Bivouac Recordings a sound label based in Hong Kong. In 2017 I produced 60 minutes Cities Ottawa as part of Bivouac's 60-minute cities project, curated by Terrence Lloren, which are a series of albums focused on an individual's genius loci or the ‘spirit of a place', which is closely related to the objectives of this podcast. Each 60-minute cities album is a personal document of the recordists (re)discovery of their ‘city' through sound. The 60 minutes of recordings are taken from the recordist's own personal surroundings and include photos and text to describe the significance of these sounds to their own lives. The result is a document that reveals the deepest character of a place through a native resident's own experience so that (locals) and non-locals, as well as the recordist, can (re)connect with the city and (re)discover the beauty of their place.But first, who am I? Qui. Suis-je? Until September 2020 my day job was as a senior strategic arts advisor at the Canada Council for the Arts but then I decided to focus on the climate emergency and co-founded an art and climate organization called SCALE, the Sectoral Climate Arts Leadership for the Emergency, that I encourage you to check out. In 2020 I also started up a bilingual podcast called the conscient podcast, balado conscient en français, exploring art and the ecological crisis. I'm just completing season 4 now exploring the sounds of modernity which will take me to episode 153 on December 31, 2023. I invite you to check it out at conscient.ca. You'll find various subscription options, including a monthly blog where I share my learnings and more importantly my unlearnings and so on.However, today, I'm taking a break from the darker side of podcasting and invite you to listen to some soundscapes with me from Ottawa where I was born in 1959 and where my wife Sabrina and two children have lived since 1999. (fade in Remembrance Day recording)Let's pause for a minute of silence. This recording is called Commemoration and was recorded on November 11, 2016 at 10.58am at the National War Memorial on Elgin Street a few steps away from Parliament Hill. This is Remembrance Day, our national day to remember those who died in military service. (running sounds in Ottawa)Will you join me for a run? This sequence was recorded on New year day, 2017 at 11.28 am. Back then I was a marathon runner, so this sequence is me running at a good pace through Ottawa. Can you hear the slush? I love Ottawa in the wintertime. (Outdoor protests) There's always a lot going on and it being our capital city there are often protests, such as this one recorded on January 21, 2017 at 11am at the corner of Elgin and Gloucester street. On this day, all around the world, women (and some men) marched in solidarity with The Women's March on Washington: a grassroots effort to protest the Donald Trump Presidency, one day after his inauguration) and to stand together in solidarity and to recognize that vibrant and diverse communities are a strength.The sound of a public march has always been moving to me: inspirational chants, solidarity slogans, cries of anger, echoes of hope. In this Ottawa women's march, you hear the slogans ‘no limits for women', ‘the people united will never be divided' and ‘tiny hands, tiny feet, all Trump does is tweet-tweet-tweet'. Hopefully we won't have to protest again on January 21st, 2025.(Ottawa River)Now let's move now to the mighty Ottawa River or the Kichisìpi as it is known in the Algonquin language: This recording was captured on January 29th, 2017, at 1.34pm. Now the Ottawa river is very large: 1,271 kilometers in length with a drain area of 146,300 square kilometers. You're listening to a recording I made west of downtown. The current is strong here and the sound is a deep rumble of rushing water and breaking ice. The recording also includes the high-pitched sound of cross-country skiers along a path by the river. Shall we go inside?(Elevators and office sounds) Ottawa is many things, including a city of office towers and bureaucrats. I love office tower sounds: hums, clicks, echoes, voices, drones, rhythms, patterns, etc. This recording explores the spaces where people enter and exit the building. I love transitions like this. You hear going up and down stairs and elevators, which btw ‘talk' both French and English.(skating on rideau canal)How's about a skate on the infamous rideau canal skateway? It's January 26th, 2017, and we're skating at a rapid pace. Can you feel the wind on your face? Can you feel the rumble of the ice under your feet? The Rideau Canal Skateway is the largest skate way is 7.8 kilometers long). However last year it did not open due to warming temperatures in Ottawa, which is a sign of the times and the reason why I dedicated a lot of my time to promoting the role of art in the climate emergency. And I think deepening our listening can make a difference. Let's conclude this portrait of winter sounds in Ottawa back on parliament hill. (crowd on parliament hill)It's February 18, 2017, at 11.58am people gather here from across the country all the time to protest, mourn or celebrate. Tourists from all around the world also come to witness parliament hill and listen to…  (parliament hill bells)Thanks for listening to this special episode of The Place of Sound. Thanks to Vincent Andrisani for his support and congratulations to the students of Carleton University on their excellent programming and to CKCU for broadcasting them and being a good community partner. And thank you for listening. I encourage you to listen to the place of the sound where you live.I also encourage you to discover your own place of sound. *This episode was produced in October 2023 in my home studio. Thanks to Bivouac Records for permission to reuse some of the material from 60 minutes Cities Ottawa.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible). *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

I am super excited to share this episode with visual artist, Laura Payne.  Laura and I have an exciting discussion around ideas of multiple dimensions and how to express the feeling of these other dimensional spaces on a 2-D surface. We talk about her process and how important it is to just show up and get to work in the studio.  Laura touches upon how her way of understanding her work has changed a lot recently, especially in the wake of reading the book “The Creative Act: A Way Of Being” by Rick Rubin.  Laura and I also talk about the power of intuition and how hard it can be to embrace but how ultimately crucial it is.   ------------------------------ Laura Payne (b. 1987, Ottawa) is a visual artist based in Okotoks, Alberta, Canada. She received her BFA from the University of Western Ontario in 2010, and her MFA from the Maryland Institute College of Art. Her paintings and electronic media works have been exhibited at public galleries, commercial galleries, artist-run centres, festivals, and art fairs across North America -- in Toronto, Montreal, Los Angeles, San Francisco, New York, Baltimore, and Washington DC. Payne has received support from the Saskatchewan Arts Board, Ontario Arts Council, Calgary Arts Development, and Canada Council for the Arts. She was a finalist for the RBC Canadian Painting Competition in 2017, culminating in a finalist exhibition at the National Gallery of Canada. Payne is represented commercially by Galerie Robertson Ares (Montreal) and Slate Fine Art Gallery (Regina).INSTAGRAMhttps://www.instagram.com/alaurapayne/WEBSITEhttps://www.laurapayne.net/UPCOMING:-- November 2023"moments," group exhibition at Soft Times Gallery, San Francisco-- December 2023"Saturnalia", group exhibition at Slate Fine Art Gallery, Regina-- January-February 2024Artist in Residence program at the Residence Inn by Marriott, Calgary-- April 2024Solo exhibition at Galerie Robertson Ares, Montreal See More from Martin Benson *To stay up on releases and content surrounding the show check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠my instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ *To contribute to the creation of this show, along with access to other exclusive content, consider subscribing for $0.99/month on Instagram (Link above) Credits: Big Thanks to Matthew Blankenship of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Sometimes Island ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for the podcast theme music! --- Support this podcast: https://podcasters.spotify.com/pod/show/martin-l-benson/support

Corri-Lynn Tetz was born in Calgary, Alberta and lives and works in Montreal. She studied at Red Deer College, Emily Carr and graduated from the MFA program at Concordia University. Tetz has received project support from the Conseil des Art et des Lettres du Quebec, The Canada Council for the Arts, the Elizabeth Greenshields Foundation, and in 2016, was awarded the Brucebo Residency Fellowship. Her work was featured in the Magenta Foundations Carte Blanche: A Survey of Canadian Painting and in 2012, she was as a finalist in the RBC Painting Competition. Corri's paintings have been exhibited across Canada, Sweden and the United States. Most recently, her work was featured in a large-scale, solo exhibition at Contemporary Calgary, in Calgary, Alberta.

Spiders Song is a story about a quest to hear the greatest symphony on Earth: the music of evolution. Along the way, we get to know some of nature's most surprising musicians — the paradise jumping spiders.Part 1 is the Spiders.Headphones advised.— — —For credits and much more, visit futureecologies.net/listen/fe-5-1-spiders-songYou can listen to Part 2 right now — find it wherever you get your podcasts, or at futureecologies.net— — —Funding for this series was provided by the Canada Council for the Arts.But ongoing support for this podcast comes from listeners just like you. To keep this show going and growing, join our community at patreon.com/futureecologiesOur patrons get early episode releases, exclusive bonus audio content, access to a fantastic discord server, 50% discounts on all merch, and more

Spiders Song is a story about a quest to hear the greatest symphony on Earth: the music of evolution. Along the way, we get to know some of nature's most surprising musicians — the paradise jumping spiders.Part 2 is the SongHeadphones advised.— — —For credits and much more, visit futureecologies.net/listen/fe-5-1-spiders-songMissed Part 1? You can find it wherever you get your podcasts, or at futureecologies.net— — —But there's more to this story than just a couple podcast episodes!We're also releasing an open-source system which may be used to hear evolutionary patterns as music.As you'll hear in Part 2, data sonification, the sonic equivalent of data visualization, has found applications in many scientific fields, but never before in phylogenetics: the study of evolutionary relationships.This sonification system is intended as an experimental platform for evolutionary biologists to explore and communicate their data through sound, and for musicians to take inspiration from biodiversity. It is built in Max/MSP, and released under a GNU-GPLv3 license for customization and further development. Find a lovingly illustrated explanation of our sonification at futureecologies.net/listen/fe-5-1-spiders-song#explanation Listen to / download the full length sonification on its ownGet the source code and a detailed technical explanation, andWatch a video of the patch in action— — —Funding for this series was provided by the Canada Council for the Arts.But ongoing support for this podcast comes from listeners just like you. To keep this show going and growing, join our community at patreon.com/futureecologiesOur patrons get early episode releases, exclusive bonus audio content, access to a fantastic discord server, 50% discounts on all merch, and more (eg. a livestream tour of the sonification system that we built).