Podcasts about dreamings

Send us a textWe're excited to celebrate our 200th episode of Art Wank with the incredible Idris Murphy During our visit to Idris' home studio, we had a captivating conversation about his journey as an artist and his thought-provoking philosophies on art and painting. Idris is a bold, well-read artist who constantly pushes the limits of his practice, and our discussion was truly inspiring. A big thank you to Idris for his time.Idris is represented by King Street on William  in Sydney‘Idris Murphy is a contemporary figurative landscape painter born in 1949, Sydney. He graduated from National Art School with a diploma in Painting in 1971, and then became the institution's Head of Drawing in 1997.Idris completed a Doctor of Creative Arts at the University of Wollongong in NSW and a Graduate Diploma (Education), SCAE, in Sydney whilst he was Head of Painting at the College of Fine Art from 1988-2007. In 1982, Murphy was a lecturer at the University of Wollongong, NSW, and was instrumental in establishing the printmaking department of the newly founded School of Creative Arts.From 1976-1977, Idris completed his Postgraduate studies in painting & printmaking at Winchester College of Art, UK. To date, Murphy has had 40 solo exhibitions across Australia and internationally. Idris' survey show I & Thou: Survey Exhibition 1986-2008 was exhibited at King Street Gallery in Sydney, Hazlehurst Regional Art Gallery and Broken Hill Regional Art Gallery, NSW. In 2022, a major retrospective of Idris' work Backblocks was exhibited at the ANU Drill Hall Gallery from August 16, 2022 which then travelled to Orange Regional Art Gallery and the National Trust S.H. Ervin Gallery, in 2023.Idris has been represented by King Street Gallery since 1993.Intrinsic to Murphy's art making process is an engagement with the environment which surrounds him, and by extension, his en plein air practice. Murphy explains that his ‘expeditions' through the Australian bush ‘offer him enough to last a lifetime'. (Catalogue Essay, 2017, Gregor Sloss) His work aims to ‘transform an already imagined landscape' (Sloss, 2017). Murphy's practice attempts to mirror Indigenous respect for the Australian landscape. Murphy suggests that an Indigenous Australian landscape painting is a reinvigoration of the landscape and is sustained by its Dreamings.Murphy's work can be found in a number of public, state and corporate collections such as the ANU University Drill Hall Collection, Art Gallery of New South Wales, State Library NSW, Artbank, Allens Collection, and the Westpac Collection.Idris' studio is located in Kurnell, Sydney.' - King st Gallery website 

Former First U staff member and now minister Beth Elliot preaches on our dreams for the future of First Unitarian.  Music: Chalice Choir, directed by Susan Peck and accompanied by Nicia Rae on piano.

Let's be crateful let's be happy let's be apprecia the moment of life and let's be have a swarm of butterflies aber mind and dreams

Like a cowled and squalling newborn, freshly freed from its' mother's womb, Dark Mysteries emerges into the world with power. My undying gratitude goes out to the six people who spent their time and Energy helping me put this episode together. You six truly made this as special as it has become. I love it so much. They are truly wonderful people, each and every one of them. Please take the time to listen to their tales, and a double please to check out the links below to find more of their awesomely creative selves. Goblin's Henchman: author of Goblin's Henchman blog https://goblinshenchman.wordpress.com host of the Goblin's Henchmen's podcast https://open.spotify.com/show/4qkSrppmU26RvyiTKasQ9C?si=xFghw5GySxuJDkXOemffUA&dl_branch=1Logan Howard: Logan Howard: author of the Sword Breaker zine https://www.drivethrurpg.com/product/206544/Sword-Breaker-Issue-No-1--The-Tyrant-Machine host of the Sword Breaker podcast https://podcasts.apple.com/us/podcast/sword-breaker/id1439182270 Safer: host of the Safer Fantasy craftin podcast https://open.spotify.com/show/4mmXfxG4qvb4X8dVpMWcs0?si=pf3mHLA0QVK6kXsH8rMaTQ&dl_branch=1 B.J.: host of the Arcane Alientist podcast https://podcasts.apple.com/us/podcast/the-arcane-alienist/id1552084924 Julia Burgisser: professional NZ Dungeon Master https://www.questbook.nz/storytellers/julz host of the Julz from NZ podcast https://open.spotify.com/show/7AaIdPXsTndTPVfW5E4n3J?si=N-4b5nC8RuesCsCMW5e_yw&dl_branch=1 TJ: singer, songwriter & editor extraordinaire

Today's podcast is from a worship service live streamed on November 1, 2020. During this deeply anxious period in history, Senior Minister Rev. Alan Taylor reflects on the importance of invoking the love of those who have gone before us and how we can navigate this uncertain time.    The theme for November is what it means to be a people of healing. To read about our theme-based ministry, please visit http://www.unitytemple.org/faith-development/soul-connections on our website. For the safety of all in light of the COVID-19 pandemic, UTUUC will NOT be holding in–person worship until further notice. We have also cancelled or postponed any congregational events that would have taken place. To see a video of this service, click HERE. For information about how to join our Sunday morning livestream worship service on YouTube and our virtual fellowship hour on Zoom after the live stream, please visit our website at http://www.unitytemple.org.

A new exhibition has opened at Tandanya National Aboriginal Cultural Institute that takes audiences full circle from the first exhibition there in 1989, to its 30th birthday celebrations and reopening after a six-and-a-half-month temporary closure due to COVID-19 this year.Tandanya first opened its doors to the public in 1989 with an exhibition of batik artwork on silk by women from Utopia community in the NT. This year, the Gallery will be celebrating its 30th birthday (a little late, due to COVID-19) with artwork by some of the same women from the same region again gracing the walls.‘Atnwengerrp – Our Apmere, Our Place’ present works by four generations of artists from the small community of Atnwengerrp, 270kms North-East of Alice Springs within the region of Utopia.The collection of monochromatic artwork is inspired by Country and showcases the entire community of approximately 100 people. It features work from artists such as 97-year-old Emily Pwerle, who featured in that opening exhibition at Tandanya, and her sisters. The siblings began developing expressions of their Dreamings, passed down from generation to generation, through painting, when a painting workshop was organised for them by their niece, artist Barbara Weir, who’s work also features in the show.The exhibition, which is open to the public until December 21, also serves as a celebratory reopening after a forced temporary closure in late March due to COVID-19.‘Atnwengerrp – Our Apmere, Our Place’ is presented in collaboration with Pwerle Gallery, a 100% Aboriginal, family owned company, founded in 2015 by Jade Torres, daughter of art dealer Fred Torres and granddaughter of Barbara Weir (Emily Pwerle’s niece).“Atnwengerrp – Our Apmere, Our Place” runs until December 21, 2020Tandanya open: Mon – Sat from 10am to 5pm except Thurs 12th and Fri 13th Nov.

This week kicks off a series of episodes using field recordings in creative ways to revel in the sonic details that emerge through some old-fashioned analogue processing techniques drawn from the early days of electroacoustic music. To start, a composed sonic dream through an imaginary winter's landscape, arranged to create an imaginary listening environment right in your headphones. Composed by your host, Renée T. Coulombe, with field recordings from Radio Aporee (www.aporee.org/maps): John Grzinich "Wind and creaking trees" Emajōe Suursoo, Tartu maakond, Estonia OR poiesis "path of seasons, winder meadow, snow, Piramida (Slovenia) alas23 "Utena, Lithuania, snowflakes on dried reed" Utena, Lithuania OR poiesis "river Drava, Loka" "stone, water, void" (Slovenia) palkovich.sgt "Zvonkohra/carillon" Prague 7, Czech Republic Matthes "Rundgang über den mittelalterlichen Weichnachtsmarkt/Stroll through the medieval Christmas market" Siegburg, Deutschland "Wind Chimes at Ulm Christmas Market" Ulm, Germany Richard Bentley "Snow Walking Meditation" Woodcote, UK

In this episode of Chaos and Creativity , Lou interviews Kimi about her band ( DREAMINGS), how she got started in music, and what advice she has to give to aspiring artists.

How do indigenous cultures like the Shipibo of the Amazon preserve their traditions in a rapidly globalizing world? Writer-filmmaker Athena Gam is spearheading the 'Song of the Amazon' project in alliance with the Shipibo to anchor their art and stories–their world myths, into an upcoming animated feature film. The Shipibo tapestries anchor the "vibrational songs" (or icaros, as seen on ayahuasca), and these circuitry-like patterns are fast becoming an icon of the hip Global Village. But their culture goes much deeper than ayahuasca… And even so, can a cultural transplant such as theirs preserve wisdom, and memeticaly infect the West even as it is commodified? Can that spiritual energy inherent in their worldview kickstart a remembrance of spirit, changing one cultural dreaming for another? In the mashup of the 21st century world, are we all future Global Shipibo? Support the animated film 'Song of the Amazon', a visionary animated film based on the cosmology, art and wisdom of the Shipibo people of Peru by contributing to their Indiegogo campaign here: https://www.indiegogo.com/projects/song-of-the-amazon Step up and join the Awakening! Join author Rak Razam in Peru on an ongoing series of intensive ayahausca retreats with curandero Percy Garcia. This is the time, you are the ONE: http://www.aya-awakenings.com/retreats SUPPORTING ARTISTS SEED THE FUTURE IS VERY SEXY. IF YOU LIKE WHAT YOU HEAR, HOW IT MAKES YOU THINK, WHO IT MAKES YOU FEEL, THEN DONATE RIGHT HERE, BUSTER! This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.

The specific geometric designs that are the hallmark of Tiwi art are usually applied to a dark background. In a bold move around 1997 Kutuwulumi reversed this aesthetic and began to produce paintings of delicately painted dots and lines on white. The white background helped give the paintings a light, ethereal quality and marked a strong contrast with her previous works painted on black such as the three works in the Art Gallery of New South Wales collection, acquired in 1995. The decorative motif mulypinyini amintiya pwanga (lines and dots) forms a common basis for many of the abstract designs that are said to have no specific meaning. The imagery in these paintings, like that of most Tiwi art, is derived from the jilimara or ceremonial body painting and the decoration applied to Pukamani funeral poles and associated ritual objects made for the Pukamani ceremony. Traditionally the participants in funeral ceremonies decorate themselves with a rich variety of ochre designs so as to conceal their true identity from harm by malevolent mapurtiti (spirits of the dead). Thus Tiwi art generally avoids reference to totems, Dreamings, or stories connected with the palaneri or Creation Period. Kutuwulumi is the oldest and most renowned artist working at Jilimara and is reputedly the only artist to still paint in the old style. She is still dynamically exploring possibilities and innovations in her art. Australian Art Department, Art Gallery of New South Wales, 2002

The specific geometric designs that are the hallmark of Tiwi art are usually applied to a dark background. In a bold move around 1997 Kutuwulumi reversed this aesthetic and began to produce paintings of delicately painted dots and lines on white. The white background helped give the paintings a light, ethereal quality and marked a strong contrast with her previous works painted on black such as the three works in the Art Gallery of New South Wales collection, acquired in 1995. The decorative motif mulypinyini amintiya pwanga (lines and dots) forms a common basis for many of the abstract designs that are said to have no specific meaning. The imagery in these paintings, like that of most Tiwi art, is derived from the jilimara or ceremonial body painting and the decoration applied to Pukamani funeral poles and associated ritual objects made for the Pukamani ceremony. Traditionally the participants in funeral ceremonies decorate themselves with a rich variety of ochre designs so as to conceal their true identity from harm by malevolent mapurtiti (spirits of the dead). Thus Tiwi art generally avoids reference to totems, Dreamings, or stories connected with the palaneri or Creation Period. Kutuwulumi is the oldest and most renowned artist working at Jilimara and is reputedly the only artist to still paint in the old style. She is still dynamically exploring possibilities and innovations in her art. Australian Art Department, Art Gallery of New South Wales, 2002

In which experiential journalist Rak Razam chats with Jeremiah Abrams, a Jungian psychotherapist and dream analyst, and co-producer of the in-production documentary "Eschaton" on the coming End Times, the inter-tribal understanding of the world ages, global awakening and the best approach to planetary survival... All conducted in the main streets of Mullumbimby, NSW in the Greek peripatetic-style of wandering discourses, with ambient street noises and passing cars in a hyperreal mashup of low-tech podcasting... This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.

In which the podcast author and "experiential journalist" explains to his seven-year-old daughter why he records audio and where the magic is. What he does not explain is that these series of podcasts, "In a Perfect World" will chart his meetings, musings and collective dreamings amongst the cultural creatives of the global tribe,the Ultraculture of the 21st century. These recordings are raw snatches of Beatnikian immediatism, unedited downloads from the tribal journey of remembering... Come anchor the vision and spark the new paradigm alight... This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 Unported License.