Podcast appearances and mentions of jason decaires taylor

This week (11/1 & 11/3) on ART ON THE AIR whole show features Jason DeCaires Taylor, who creates underwater sculptures and installations that help restore equilibrium to deteriorating marine ecosystems creating under whole sea museums of art throughout the world. Our Spotlight is on the 39th Annual Interwoven Expressions, a juried art market of all things created by Midwest textile artists coming November 9th to Sand Creek Country Club with its chair Lu Terock (Tee-Rock). And a spotlight extra: the Area Artists Association's exhibit “It's All About The Square” will run through November at the Chesterton Art Center with a reception, Saturday, November 9th 12-2pm. Tune in on Sunday at 7pm on Lakeshore Public Media 89.1FM for our hour long conversation with our special guests or listen at lakeshorepublicmedia.org/AOTA, and can also be heard Fridays at 11am and Mondays at 5pm on WVLP 103.1FM (WVLP.org) or listen live at Tune In. Listen to past ART ON THE AIR shows at lakeshorepublicmedia.org/AOTA or brech.com/aota. Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.org Send your questions about our show to AOTA@brech.com LIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: NPR, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR. https://www.lakeshorepublicmedia.org/show/art-on-the-air/2024-10-09/art-on-the-air-november-3-2024

In this year's travel special we go on FOUR individual journeys: a sort of deconstructed road trip. Kloe goes to sunny Spain, Liz takes her bike to the Rijks Museum, Jenny darts between museums in Sweden, and finally Phedra goes on a watery adventure in Cyprus. Don't miss the return of Cass Fino-Radin at the end of the episode, when they interview emerging conservation professionals at the recent AIC conference in Salt Lake City. Sit back and enjoy the journey! 00:00:36 What's a deconstructed road trip exactly? 00:04:06 Kloe excitedly explores Spain 00:21:44 Liz visits the Rijks Museum 00:34:40 Jenny wanders around Sweden 00:53:01 Phedra goes underwater in Cyprus 01:10:45 Cass interviews ECPs at AIC Show Notes: - S11E08 Manx Road Trip Special: https://thecword.show/2022/06/29/s11e08-manx-road-trip-special/ - Museo Arqueológico Nacional: https://www.esmadrid.com/en/tourist-information/museo-arqueologico-nacional - Fancy restaurant alert (Corral de la Morería Gastronómico): https://guide.michelin.com/gb/en/comunidad-de-madrid/madrid/restaurant/corral-de-la-moreria-gastronomico - Alcalá de Henares, Spain: https://artsandculture.google.com/story/agXhkBx8wyUD-w?hl=en - Rijks Museum: https://www.rijksmuseum.nl/en - Van Gogh Museum: https://www.vangoghmuseum.nl/en - Stedelijk Museum: https://www.stedelijk.nl/en - Operation Night Watch: https://www.rijksmuseum.nl/en/stories/operation-night-watch - Those Amsterdames tours: https://www.thoseamsterdames.com/ - Carl Larsson-gården, Sundborn: https://www.carllarsson.se/en/ - Dalarna in Sweden: https://www.visitdalarna.se/en - Falu Gruvmuseum: https://www.falugruva.se/en/ - Mining world heritage site of Falun: https://whc.unesco.org/en/list/1027/ - Christopher Polhem: https://en.wikipedia.org/wiki/Christopher_Polhem - Polhem B&B: https://polhembedandbreakfast.se/en/ - VRAK Museum of Wrecks: https://www.vrak.se/en/ - Paphos, Cyprus: https://en.wikipedia.org/wiki/Paphos - Tomb of the Kings: https://www.visitcyprus.com/index.php/en/discovercyprus/culture/sites-monuments/253-tombs-of-the-kings - MUSAN Museum of Underwater Sculpture Ayia Napa: https://musan.com.cy/ - Jason deCaires Taylor: https://underwatersculpture.com/ - Phedra's diving instructor: https://www.instagram.com/marishaa_cy - S13E07 Time-Based Media Conservation: https://thecword.show/2023/06/15/s13e07-time-based-media-conservation/ - Art and Obsolescence podcast: https://www.artandobsolescence.com/ - AIC 52nd Annual Meeting (Salt Lake City 2024): https://www.culturalheritage.org/events/annual-meeting/past-meetings/52nd-annual-meeting-in-salt-lake-city-(2024) Support us on Patreon! http://www.patreon.com/thecword Hosted by Jenny Mathiasson and Kloe Rumsey. Intro and outro music by DDmyzik, used under a Creative Commons Attribution license. Made available under a Creative Commons Attribution-NonCommercial 4.0 International license. A Wooden Dice production, 2024.

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"The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"It's always difficult to generalize about my work because obviously, they're very different in each location. Sometimes I'll witness some particular species has colonized the rocks in an area or producing certain types of forms that the light looks a certain way, but then other times I wanted to represent people from the local community and that also dictates how the installations are. And then there are messages that I wanted to bring forth regarding climate change. I think we've missed an opportunity where we've had so much science and so many facts and figures and warnings and conventions, but we've forgotten a part that has motivated us for millennia, and that is our emotions. And I think that's where art and that's where often religion comes to the fore."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."It's always difficult to generalize about my work because obviously, they're very different in each location. Sometimes I'll witness some particular species has colonized the rocks in an area or producing certain types of forms that the light looks a certain way, but then other times I wanted to represent people from the local community and that also dictates how the installations are. And then there are messages that I wanted to bring forth regarding climate change. I think we've missed an opportunity where we've had so much science and so many facts and figures and warnings and conventions, but we've forgotten a part that has motivated us for millennia, and that is our emotions. And I think that's where art and that's where often religion comes to the fore."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"It's always difficult to generalize about my work because obviously, they're very different in each location. Sometimes I'll witness some particular species has colonized the rocks in an area or producing certain types of forms that the light looks a certain way, but then other times I wanted to represent people from the local community and that also dictates how the installations are. And then there are messages that I wanted to bring forth regarding climate change. I think we've missed an opportunity where we've had so much science and so many facts and figures and warnings and conventions, but we've forgotten a part that has motivated us for millennia, and that is our emotions. And I think that's where art and that's where often religion comes to the fore."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

"We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color.From the beginning, it's always been one of my major concerns that I don't always like human intervention in natural landscapes. And it was something that I was really conscious of when I first started. So, first and foremost, I made attention to the fact that it needed to be made from materials that didn't pollute in any way, that were sustainable, and that would last for a very long time. It takes reefs hundreds of years to fully get established. So the materials had to live up to that. They also had to not be displaced by all the strong forces and energy that are prevalent underwater. And they also had to foster marine life. I also found out that, they were very good at actually controlling how tourists interact with our marine areas. So many of the projects are actually to draw visitors away from natural areas and to bring them to an area where there's a sandy substrate where their impact is lessened."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."I just think we need to protect these areas. We have to feel for them. We have to understand them. And we have to feel that connection. So I would certainly encourage as many people as possible to learn to dive, to learn to snorkel and to really be in the moment, be in the space, in order to foster that empathy for the marine world. For me, it's one of the most beautiful, spiritual, and diverse places on the planet. And it's so little understood, but it's changing.We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And they can be removed and then scanned. And all that data can then be downloaded to also monitor how the works are. I just completed a big project in Australia which just opened on World Ocean's Day. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."It's always difficult to generalize about my work because obviously, they're very different in each location. Sometimes I'll witness some particular species has colonized the rocks in an area or producing certain types of forms that the light looks a certain way, but then other times I wanted to represent people from the local community and that also dictates how the installations are. And then there are messages that I wanted to bring forth regarding climate change. I think we've missed an opportunity where we've had so much science and so many facts and figures and warnings and conventions, but we've forgotten a part that has motivated us for millennia, and that is our emotions. And I think that's where art and that's where often religion comes to the fore."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color.From the beginning, it's always been one of my major concerns that I don't always like human intervention in natural landscapes. And it was something that I was really conscious of when I first started. So, first and foremost, I made attention to the fact that it needed to be made from materials that didn't pollute in any way, that were sustainable, and that would last for a very long time. It takes reefs hundreds of years to fully get established. So the materials had to live up to that. They also had to not be displaced by all the strong forces and energy that are prevalent underwater. And they also had to foster marine life. I also found out that, they were very good at actually controlling how tourists interact with our marine areas. So many of the projects are actually to draw visitors away from natural areas and to bring them to an area where there's a sandy substrate where their impact is lessened."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."I just think we need to protect these areas. We have to feel for them. We have to understand them. And we have to feel that connection. So I would certainly encourage as many people as possible to learn to dive, to learn to snorkel and to really be in the moment, be in the space, in order to foster that empathy for the marine world. For me, it's one of the most beautiful, spiritual, and diverse places on the planet. And it's so little understood, but it's changing.We actually have some new works which have scientific monitoring devices in them. They actually have little sensors in them that monitor temperature and salinity and other factors. And they can be removed and then scanned. And all that data can then be downloaded to also monitor how the works are. I just completed a big project in Australia which just opened on World Ocean's Day. And one of the main pieces there is this piece called The Ocean Siren. And it is a young indigenous woman who is standing on the coastline, and she's actually attached to a weather station connected via a satellite link to a weather station out on the Great Barrier Reef. And that feeds data back to her. And then there's a solar array that changes a series of LEDs on her skin. So she changes red and orange color when there are prolonged spikes in temperature that could indicate coral bleaching. And then when the water is cooler, she obviously comes back down to a cooler blue or green color."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world."The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Happy World Oceans Month"The sculptures get claimed and almost owned by the sea. And the textures that form the patterns, all things that could never be reproduced by human hands. And it's entirely unpredictable in many cases. I go to some of the 'museums' expect to see this type of colonization or this type of growth, and it's nothing like how I've seen it envisaged it. It's completely different. Other times something has been made at its home, and there's an octopus that's built a house around it, or there's a school of fish that have nestled within the formations. There have been many, many different surprises along the way. I first started in the West Indies on an island called Grenada, which has a tropical reef system. And I expected the works to be sort of colonized. And I knew hard corals took a very long time to get established, to build their calcium skeletons, but actually, they were colonized within days. We saw white little calcareous worms, pink coraline algae, and green algae literally appeared sort of overnight.And then they had these incredible sponges. You know, you see a lot of sponges on the reefs and you don't really take a lot of notice, but actually, some of the formations and the patterns, they sort of blanketed the sculptures with a network of capillaries and veins, and these incredible sorts of scarlet reds and pinks. And it was something that I had no idea would colonize in such a way. And sponges are really interesting because they actually filter water, so they almost breathe the water in and then exhale it out once they've taken the nutrients. And, for me, that was when the work really became living and part of the ecosystem. And I thought it was a really nice metaphor that we are nature. We are part of the system and we're all connected. And I think we lose sight of that a lot."What if museums weren't confined to buildings but could be part of the natural world? What if sculptures could not only celebrate our oceans, but also provide habitats for marine life?Jason deCaires Taylor is a sculptor, environmentalist, and underwater photographer. His works are constructed using materials to instigate natural growth and the subsequent changes intended to explore the aesthetics of decay, rebirth, and metamorphosis. DeCaires Taylor's pioneering public art projects are not only examples of successful marine conservation but also works of art that seek to encourage environmental awareness and lead us to appreciate the breathtaking natural beauty of the underwater world.www.underwatersculpture.comwww.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

The exhibition “Ocean Sentinels” has opened in Townsville. The eight sculptures of the “Guardians of the Sea” were created by British artist and sculptor Jason deCaires Taylor. The sculptures pay homage to renowned marine scientists and conservationists. Among them is German researcher Katharina Fabricius, who is a coral expert at the Australian Institute of Marine Sciences. - In Townsville hat die Ausstellung „Ocean Sentinels“ eröffnet. Die acht Skulpturen der „Wächter des Meeres“ hat der britische Künstler und Bildhauer Jason deCaires Taylor geschaffen. Die Skulpturen sind eine Hommage an renommierte Meeresforscher und Naturschützer. Darunter ist auch die deutsche Forscherin Katharina Fabricius, sie ist Korallenexpertin am Australian Institute of Marine Sciences.

Max Pearson presents a collection of this week's Witness History episodes from the BBC World Service. Our guest is Dr Uta Rautenberg from the University of Warwick in the UK, an expert on homophobia in Nazi camps. Rudolf Brazda recounts his experience of being a gay man in a Nazi concentration camp, symbolised by the pink triangle he was forced to wear on his uniform. Then, we hear first-hand accounts of the Indigenous American protest at Wounded Knee 50 years ago, and the assassination of Serbia's Prime Minister, Zoran Djindjic, in 2003. We finish with two lighter stories: the world's most remote museum on the island of South Georgia and the first ever underwater sculpture park in the Caribbean. Contributors: Dr Uta Rautenberg - University of Warwick. Rudolf Brazda - Nazi concentration camp survivor. Russell Means - former National Director of the American Indian Movement. Gordana Matkovic - former Serbian cabinet minister. Jan Cheek - South Georgia Museum trustee. Jason deCaires Taylor - creator of Grenadian underwater sculpture park. (Photo: Marchers carry a pink triangle at a Gay Pride event in London. Credit: Steve Eason/Hulton Archive via Getty Images)

In 2004 Jason deCaires Taylor started building the world's first underwater gallery. He wanted to attract divers away from fragile coral reefs, so he submerged life-sized, human cement models in the Caribbean Sea. Within a few days the art was covered in purple and blue sponges, orange fire coral and green algae... and was even home to a few octopuses. Nineteen years later, Jason tells Anoushka Mutanda-Dougherty about his memories of building the park. Archive Credit: Grenada Broadcasting Network. (Photo: ‘Viscissitudes' - A sculpture installed in Grenada. Credit: Jason deCaires Taylor)

'We are all artists of the Anthropocene. We inherently are because this is the world that we're living in right now. There's no other world. We were down earlier at Robert's Creek (BC) and it's a salmon bearing stream. I think of it like we're artists in the Anthropocene, like fish would be in the ocean: the water is all around us and the Anthropocene is all around us. I think it may be what Ben Okri is tasking us with is: can you describe the water? It's all we know, but we need to be able to look from this moment now into the future and maybe that's the job of artists. We're the visionaries, we can see the future and we can envision it in different ways. I think he speaks to that too at the end of the article about saying part of why we need to talk about the times we're in now is in relationship to a future, whatever that future looks like. And I do spend a lot of time trying to negotiate my belief in the future.'Kendra Fanconi, Robert's Creek, BC 2021My 2nd conversation with theatre artist and art + climate activist Kendra Fanconi in Robert's Creek, BC about the ‘Artist Brigade', Ben Okri, eco-restoration, eco-grief & reauthoring the world, with excerpts from e43 haley, e30 maggs & é37 lebeau. Robert's Creek is on the ancient and unceded territory of the shishalh Nation.  The shishalh people call Robert's Creek xwesam.  I've known Kendra for many years, first through her work with Radix Theatre then as an arts and environment advocate in the community, notably through The Only Animal company, which she co-founded with Eric Rhys Miller in 2005 and which has created over 30 shows  that ‘take theatre places it has never gone before'. I've always admired Kendra's vision, her calm demeanour, her strategic mind, and deep commitment to environment issues, as you'll hear on our conversation, which recorded in her kitchen in Robert's Creek, BC. My goal with this series of second conversations is to go deeper into issues from our initial conversation, to hear updates on their work as well as their vision for the future. Kendra gave me an update on the ‘Artists Brigade' project, her perspectives Nigerian novelist and poet Ben Okri's call to action Artists must confront the climate crisis – we must write as if these are the last days article, ecological restoration, the work of death doula and climate grief advisor Corey Mathews (Hardeman), the impact of eco-anxiety and about reauthoring the world, including excerpts from e43 haley, e30 maggs & é37 lebeau.Links mentioned during our conversation :Jason DeCaires Taylor (coral reef work)Alana MitchellGreenhouse (two-day climate intensive for Artist Brigade)David Suzuki FoundationI was also moved by this quote from my conversation with Kendra:I think the climate movement is full of love and care. Those are the people who get involved. Even though we have this sort of vision of the angry activists. I think at the heart of it, it's about care and love. And so, I found that definition of climate grief and the link of love and loss to be very reassuring and to know that grieving in community, which may be is, I mentioned to you earlier, this sort of love that I have for this climate brethren, artists who care about climate, that I've found on how nourishing that is for me. Maybe we all do it together? We're locked in this love and loss and we're doing it as a community and versus doing it alone, which I feel like I did do for many years before I got involved in this way. It's just so much better.Excerpt from previous conscient episodes used in e87: David Haley (e43 haley):What I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it.David Maggs (e30 maggs):Complexity is the world built of relationships and it's a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we've been sort of under the thumb of the old world. We've always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don't have. What I've been trying to do with this report (Art and the World After This) is articulate the way in which these different disruptions are putting us in a very different reality and it's a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.Anne-Catherine Lebeau (é37 lebeau.):Note: translation from the FrenchFor me, it is certain that we need more collaboration. That's what's interesting. Moving from a 'Take Make Waste' model to 'Care Dare Share'. To me, that says a lot. I think we need to look at everything we have in the arts as a common good that we need to collectively take care of. Often, at the beginning, we talked in terms of doing as little harm as possible to the environment, not harming it, that's often how sustainable development was presented, then by doing research, and by being inspired, among other things, by what is done at the Ellen MacArthur Foundation in England, around circular economies, I realized that they talk about how to nourish a new reality. How do you create art that is regenerative? Art that feeds something.Ocean view at Robert's Creek, November 24, 2021Kendra Fanconi, eyes closed, in her Kitchen, Robert's Creek, BC. November 24, 2021Kendra (and cat) at bridge over the creek at her house, Robert's Creek, BC November 24, 2021 *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

As world leaders meet at COP26, we speak to writers, artists, and musicians helping us understand climate change. Presented by BBC Environment Correspondent Matt McGrath. Authors Amitav Ghosh and Diana McCaulay discuss turning climate fact into fiction. Ghosh grew up in India, Bangladesh, and Sri Lanka, and now lives in America. A leading voice on climate change, his books on the issue include novel Gun Island; the new Jungle Nama; and non-fiction The Great Derangement, and the new Nutmeg's Curse. McCaulay is a writer and environmental activist from Jamaica, and her latest novel, Daylight Come, is a work of climate fiction, set in 2084. Plus, Sebastiao Salgado's musical portrait of the Amazon. The acclaimed Brazilian photographer spent seven years documenting the rainforest and its indigenous peoples. Now he and Italian-Brazilian conductor Simone Menezes have set the images to music from composer Heitor Villa-Lobos's Floresta do Amazonas to create an Amazonia concert. They joined us to describe the work and climate change in the rainforest. An exhibition of Salgado's Amazonia photos is at the Science Museum in London. And a world underwater – the sculpture park below the waves. Sculptor Jason deCaires Taylor's unique installations can be seen around the world by divers, snorkellers, and the fish which swim around them, and tell a powerful story of climate change. He spoke to The Cultural Frontline about his latest work - an underwater forest off the coast of Cyprus. Producer: Emma Wallace, Lucy Collingwood (Photo: One of Jason deCaires Taylor's underwater sculptures. Credit: Jason deCaires Taylor)

Featuring: Jason deCaires Taylor and Steve Collins Jason deCaires Taylor is a sculptor, environmentalist and professional underwater photographer. His permanent, site-specific sculptural works span the world's oceans and seas and explore modern themes of conservation and environmental activism. Over the past 15 years, Taylor has been one of the first to consider the underwater realm as a public art space and has created numerous large-scale underwater “Museums” and “Sculpture Parks”. READ MORE HERE

Jason deCaires Taylor has been working in underwater art for 15 years. Today, he joins us to discuss his new museum Musan, built in the Mediterranean sea off the coast of Cyprus. The Answer Me This podcast began in 2007. Presenters Helen Zaltzman and Olly Mann have been answering questions from listeners about anything and everything over the subsequent 400 episodes. And now they've decided to call it a day. We find out how podcasting has evolved over the years. Fred D'Aguiar's book Year of Plagues: A Memoir of 2020 chronicles the year when he was diagnosed and treated for prostate cancer, when Covid 19 affected the whole world and when institutional racism in the US led to the establishment of the Black Lives Matter movement. Presenter: Tom Sutcliffe Producer: Hilary Dunn Image: Sculptures by Jason deCaires Taylor, at Musan, Ayia Napa, Cyprus Credit: @jasondecairestaylor / www.underwatersculpture.com

Hola from Cancún, Mexico In this episode, I visit one of the most visited and touristy places in Mexico: Cancún on the Caribbean coast of the country because, why not? Let's get into the fiesta spirit and kick off with a classic pub quiz question: what's closer to Cuba: Key West, Florida, or Cancún? If you look at a map, Cancún appears the closest to Cuba, right? Wrong. In fact, Key West is 151 km (94 miles) from the closest coast of Cuba, and Cancún comes in 2nd place at 206 km (128 miles). Now drink! After nearly missing my flight to Cancún due to the airport flight gate being in Spanish, I soon found myself in the air sipping on a travel-sized Cuba Libre to get into the vibe. After a little while, I looked out the window to see my next destination: a beautiful white sandy coastline with palm trees met with a crystal-clear ocean. The excitement was real. TOUCHDOWN IN CANCÚN The first two items on my list of things to do in Cancún were to visit a local art museum and go scuba diving. The only issue I had was to decide which to do first (#firstworldproblems). Being in complete holiday relax mode, I struggled to make up my mind so I decided to do both — at the same time. But first… 7 SURPRISING FACTS ABOUT CANCÚN You Won't Burn Your Feet on the Beach You know how you burn your feet when you walk on a tropical beach without sandals somewhere in the world? Well, not here in Cancún. The 14-mile-long shimmering white sand beach is actually not made out of sand as we know it. It's actually crushed coral, meaning it will naturally feel cool underneath bare feet – no matter how hot the weather. Only Three People Lived Here Cancún is a major tourist destination that attracts a whopping 700,000 people every year, which is almost as many people as locals. Today, Cancún has a population of around 888,797 people. But this has not always been the case. In 1970, the official population was only 3. Not 300 or 3,000. No, only 3 people, and they were the caretakers of a coconut plantation. Now, it's completely different. The city currently has 4,674 hotels and around 30,000 hotel rooms. Cancún Has a Huge Mexican Flag If you're in the buzzing hotel zone, you will notice an enormous Mexican flag – or as they call it here, gran Bandera Mexicana. It's made out of the same material used to make parachutes (probably to make it lighter, but it's still quite heavy). The flag itself weighs 228 kg (503 pounds) and took 40 soldiers to raise up a 105-meter (344ft) flagpole. This is something you can see in other places in Mexico, as it's part of a program which started in 1999, called “banderas monumentales”, Spanish for "monumental flags". They're a collection of tall flagpoles located throughout Mexico. The Beach Was Destroyed When Hurricane Wilma hit Cancún in 2005, it wrecked 8 miles of its beautiful beaches. And Cancún without a beach isn't really much of a tourist attraction, so it underwent a major beach restoration project from 2009 to 2010. They added 1.3 billion gallons of white sand – scooped up from the seabed to the coast at the cost of around $70 million U.S. dollars. Turtles Lay Eggs on the Beach Each May, thousands of turtles return to their original home here in Cancún to lay eggs on the beaches, and their nests are located right in the heart of the Hotel Zone. Thankfully, the hotel owners, employees, and even visitors help to ensure the eggs are protected and safe from harm. So, if you happen to go in May, areas of the beach are closed to tourists so that the turtles can go about their business in peace.  Swim with Tons of Whale Sharks Between May and September, literally tons of whale sharks visit waters just off Cancún. They are absolutely massive – some of them the size of a bus, but they're completely harmless and will happily let you join them for a swim. The World's Second Biggest Barrier Reef is Here We all know Australia's famous Great Barrier Reef as the biggest coral structure in the world. But number two is right here: the Maya Barrier Reef is the second-largest coral reef in the world, and one of Cancún's major attractions boasting stunning marine life, swaying corals, and crystal-clear turquoise waters. Great for snorkelling and scuba diving. CANCÚN'S UNDERWATER SCULPTURE MUSEUM And speaking of scuba diving, as soon as I arrived, I planned a scuba trip and combined it with a visit to a museum. It's really two birds, one stone type situation. Thanks to the hands of British sculptor Jason deCaires Taylor and five talented Mexican sculptors, the famous Cancún Underwater Museum displays a series of breathtaking sculptures in the ocean located between Cancún and Isla Mujeres. The underwater museum consists of over 500 life-size sculptures, making it one of the largest, and most incredible, underwater artificial art attractions in the world. While registering at the dive centre, I got a chance to chat with some of the other divers who are about to enjoy this incredible experience with me. Some of them hadn't done much research beforehand and didn't really know exactly what they were about to experience. The Cancún Underwater Museum holds an interesting blend of sculptures ranging from people standing in a circle looking at the sky and a group of men with their heads buried in the sand to two sculptures of actual VW Beetle cars. Perhaps the most impressive is a group of nearly 450 human-size statues standing together in a big group. It was so weird and almost eerie swimming around that.    Many of the sculptures have beautiful coral growing on them, and it was actually the objective of the project to save the nearby coral reefs by providing an alternative destination for divers. To place the sculptures on the ocean floor, they had a special lift made so none would be damaged during the move. A forty-ton crane was placed on a commercial ferry in order to lower the sculptures. Some are so heavy that they had to be lifted into the water using lift bags. The sculptures are created with pH-neutral marine concrete and are created above ground and cleaned before being taken underwater so they do not have any chemicals on them that may harm the water, marine life, or reef. It is truly remarkable and a must-see if you're a diver. If not, you can still see a lot from snorkelling or going on a glass-bottom boat tour. But scuba diving is the best way to experience the museum. As I was gliding through the water, I found myself deeply transfixed by the well-thought-out themes. The real-life-like sculptures made it the most surreal diving experience I've ever had. ISLA MUJERES Isla Mujeres (The Island of Women) is a wonderful place to visit when you're in Cancún. This sleepy but vibrant little island has become quite popular in the past few years, and it makes for a great day trip. It's only a 20-minute ferry ride from Cancún – over the Underwater Museum. A few days after my dive, I took the ferry to the island with a good friend of mine who flew in from Denmark to join me for a few days. And right off the ferry, we ran into one of the locals, José, who was trying to sell us a trip of two. And naturally at a ”special price for you, my friends”… After breakfast, we went back to José and bought one of his packages that took us snorkelling for a few hours that only cost $20 each (advertised for $35). You can do the same: get off the ferry and then just speak to José. If you can't find him in the crowd of people, just visit TripAdvisor to find a bunch of activities to do on the island. Isla Mujeres is a beautiful, peaceful paradise and is more laid-back and tranquil than Cancún. The island is only 8 km (5 miles) long and half a mile wide at its widest point. The colourful downtown area, known as ‘Centro' is four by six blocks – perfect for exploring by foot. It's small but that doesn't mean there isn't plenty to do. You can fill your day with water sports, shopping, exploring, and making new friends in the special atmosphere that is Isla Mujeres. CAR RENTAL FRUSTRATIONS After returning to Cancún, we planned a trip to visit another must-see site in the area. But before we could get going, I needed to rent a car. This is usually a straightforward process, but not here. I booked and paid for the car hire online and when I got to the rental agency there was some kind of mixup. Apparently, I had to pay more than what I had already paid online… They wanted about the same one more time for insurance that I didn't need or want. I was at the agency for almost an hour and a half, but finally, I succeeded and the next day we headed west to Chichen Itza with the wonderful sounds of Mexican radio commercials blasting on the radio. On the way, we were flagged over by a local entrepreneur who sold us a great package that included free parking, a buffet lunch, and tickets to the temples which allowed us to skip the queues.  VISITING MAYAN RUINS CHICHEN ITZA Chichen Itza is one of the most visited archaeological sites in Mexico and welcomes over 2.5 million visitors each year. You can reach it by car, bus, or on different tours. It's just 200km (120 miles) west of Cancún.  Chichen Itza translates to “At the brim of the well where the Wise Men of the Water Live” in Mayan and was regarded as one of the most important city-states in pre-Hispanic America. It's a well-known archaeological site and even more so after being selected as one of the New 7 Wonders of the World in 2007. Chichen Itza is divided into two parts, Old Chichen and Chichen Itza, where you can find a total of 26 Mayan Ruins to see on the Mayan Site. I met a Mayan descendant named Santos who can speak Mayan. He even taught me how to say ‘how much' in Mayan, which came in handy. Chichen Itza was a large pre-Columbian city built by the Maya people of the Terminal Classic period that dates back to years 600–900AD. It was one of the largest Maya cities and it may have had the most diverse population in the Maya world. And that's probably why you see so many different architectural styles at the site. The Big Pyramid or El Castillo is the most astonishing Mayan Ruin or building inside the Archaeological Site. This temple dominates the centre. Walking around the pyramid, I noticed the amazing way sound travels up and down the pyramid. If you clap in a specific direction, the sound travels back to you in an interesting way. Of course, I recorded it so remember to listen to the podcast – if you haven't already. General Admission to this UNESCO World Heritage site is $27 for adults and $4 for children. But it might be worth spending a bit more on a guided tour. Or you can do like I did: before you get to the site, stop your car and listen to what the salespeople have to say. It might just be a good deal. IS CANCÚN TOO AMERICANIZED? I've heard people say that Cancún isn't really Mexico and that it's too overrun by American tourists. And actually, also a lot of Europeans. Yes, Cancún is infamous for being “Americanized” but if you ask the locals, it's really just another face of Mexico. Mexico is a proud and very diverse country, so don't let people tell you that it is “not the real Mexico”, because it is. It's just as real as any other part of the country. I spent some time in Monterrey without that many tourists, and then I came here and saw a totally different side of the country. And I'm so glad I got to experience both. But there's so much more I want to see here, so I plan to return soon. Next, I'm heading to Naples. No, not Italy. I'm going to Naples, Florida and then I plan to visit Key West, Miami, and then Orlando. And maybe a few other places too. That's coming up in the final episode of this season... My name is Palle Bo, and I gotta keep moving. See ya.

Hola fra Cancún, Mexico I denne episode besøger jeg et af de mest turistede steder i Mexico: Cancún på den Caribiske kyst i landet. Lad os starte med svaret på et spørgsmål, du meget vel kan få stillet i en pub-quiz på et tidspunkt: Hvad er tættest på Cuba – Key West i Florida eller Cancún her i Mexico? Hvis du kigger på et kort, kan man forledes til at tro, at det er Cancún. Men det er faktisk ikke tilfældet. Key West er 151 km fra det tætteste punkt af Cuba, og Cancún er 206 km fra øen. Skål… og selv tak! Efter jeg næsten aldrig havde fundet ud til den rigtige gate i Monterrey. fordi alle skilte og højttalerudkald kun var på spansk, befandt jeg mig på flyet og sippede til en kølig Cuba Libre – for at komme i den rigtige stemning. Og kort derefter kunne jeg kigge ned på mit kommende hjem med hvide strande, palmer og et azurblåt hav. Og jeg kunne ikke vente med at komme ned på jorden og udforske stedet, der tiltrækker vildt mange amerikanere og efterhånden også en masse europæere. TOUCHDOWN I CANCÚN De to første ting, der var på min liste over ting at foretage mig i Cancún var at komme ud at dykke, og besøge et kunstmuseum. Mit største problem var, hvad jeg skulle foretage mig først (#firstworldproblems). Jeg kløede mig i nakken og besluttede mig for at gøre begge dele – på samme tid. Men først… 7 OVERRASKENDE FAKTA OM CANCÚN Du brænder ikke fødderne på strandsandet Du ved, hvordan man ofte brænder fødderne, når man går rundt på en tropisk sandstrand. Det kommer ikke til at ske her i Cancún. Sandet på den 20 km lange hvide sandstrand er faktisk ikke sand. Det er knuste koraller, som ikke bliver varme som sand – selv i høj solskin. Der boede kun tre mennesker her Cancún er en kæmpe turistmagnet, der tiltrækker hele 700.000 mennesker hvert år. Det er næsten lige så mange, som der bor her. I dag har Cancún et befolkningstal på 888.797 mennesker, men det har bestemt ikke været tilfældet altid. Så sent som 1979 var det officielle befolkningstal 3. Ikke 3000. Ikke 300. Nej kun tre mennesker. Nu er det altså ganske anderledes. Byen har 4674 hoteller og omkring 30.000 hotelværelser. Cancún har et kæmpe mexicansk flag Hvis du er i den pulserende hotel-zone, vil du bemærke et enormt stort mexicansk flag – eller som de kalder det her gran Bandera Mexicana. Det er fremstillet af det samme stof, der bruges til at lave faldskærme, nok for at gøre det lettere, men det er nu stadig ret tungt. Selve flaget vejer 228 kg og det krævede 40 bomstærke mexicanske soldater at trække det op i en 105 meter høj flagstang. Du kan opleve lignende kæmpeflag i andre mexicanske byer, som en del af et program, der blev startet i 1999, som de kalder “banderas monumentales”, spansk for ”monumentale flag”. Stranden forsvandt efter en orkan Da Orkanen Wilma ramte Cancún i 2005 blev 12 km af stranden helt ødelagt. Den forsvandt – og Cancún uden en strand er ikke helt den samme turistattraktion. Derfor blev der kastet meget tid og penge i at få den genskabt fra 2009-2010. De trak ubegribelige mængder sand op fra havbunden og det kostede næsten 450 millioner kroner at genskabe den smukke strand. Skildpadderne kommer hjem lægger æg på stranden Hvert år I maj vender tusindevis af skildpadder tilbage til, hvor de selv kom til verden, for at lægge æg på stranden i den populære hotelzone her i Cancún. Heldigvis gør både hotelejere, medarbejdere og selv turister en masse for at passe på at deres reder og æg ikke kommer noget til. Så hvis du kommer i maj, så vær forberedt på at store dele af stranden er spærret af, for at padderne kan få lidt privatliv. Svøm med tonsvis af hvalhajer Mellem maj og september har du muligheden for at opleve tonsvis af hvalhajer. Bogstaveligt. Nogle af dem er så store som busser, men de er ganske harmløse, og vil gerne lade dig tage på en svømmetur med dem. Verdens næststørste koralrev er her Vi kender jo alle Australiens berømte Great Barrier Reef som den største koralrev i verden. Men nummer to er lige her: Maya Barrier Reef er det næststørste koralrev i verden og en af Cancúns største attraktioner. Enestående marineliv, smukke koraller og krystalklart turkisblåt vand. Fantastisk til snorkling og dykning. CANCÚNS KUNSTMUSEUM PÅ HAVBUNDEN Apropos dykning, så er det noget, jeg nyder utroligt meget. Derfor gik jeg på jagt efter en dykkeoplevelse, kort efter jeg ankom. Jeg fandt en – som ovenikøbet samtidig er et besøg på et kunstmuseum. To fluer med ét smæk. Takket være den kreative britiske skulptør, Jason deCaires Taylor og fem dygtige mexicanske kunstnere, så det berømte Cancún Underwater Museum dagens lys – eller rettere havets bund mellem Cancún og Isla Mujeres. Det er en masse skulpturer, der får en til at gispe efter vejret, så det var godt, at jeg var udstyret med en tank på ryggen med rigelig luft. Museet består af mere end 500 skulpturer i naturlig størrelse, hvilket gør det til en af de største og mest imponerende undervands kunst-installationer i verden. Da jeg var blevet registreret på dykkercentret, fik jeg muligheden for at sludre lidt med de andre, jeg skulle dykke med. Mine ”diving-buddies”. Cancún Underwater Museum er en blanding af skulpturer, fra en gruppe personer, der står i en cirkel og kigger mod himlen, en gruppe mænd, der ligger på knæ med hovedet begravet i sandbunden, til to skulpturer med en ny og en gammel Boble-Folkevogn. Men måske det mest imponerende var en gruppe på næsten 450 beton-mennesker i naturlig størrelse, der stod sammen i en stor gruppe. Det var så syret og næsten uhyggeligt at svømme rundt om dem og over dem – sammen med farvestrålende fisk, søstjerner og skildpadder. Mange af skulpturerne har smuk koral voksende på dem, og faktisk var en af grundene til at de lavede det også for at beskytte koraller. Man ville lave et andet sted, at dykke, så det nærliggende koralrev bliv skånet en smule. For at få skulpturerne ned på havbunden uden, de kom noget til, måtte de have en 40 ton special-kran placeret på en færge. Herfra blev de langsomt sunket ned på havbunden og placeret de rigtige steder. Det hele er lavet i pH-neutral marine-cement, og efter de blev lavet på landjorden, blev de renset grundigt, så der ikke var kemikalier, der kunne skade vandet, dyrelivet eller korallerne. Der er tænkt på det hele, og det var virkelig imponerende – og er et ”must-see”, hvis du har dykkercertifikat. Og hvis ikke, så kan du stadig se en del på en snorkeltur eller fra en båd med glasbund. Men dykning er den bedste made at opleve det – og jeg var næsten i trance, mens jeg svømmede rundt dernede. Det er den mest surrealistiske dykkeoplevelse, jeg har haft til dato. ISLA MUJERES Isla Mujeres (kvinde-øen) er et andet fantastisk sted at besøge, hvis du er i Cancún. Den lille søvnige (men også livlige) ø, er blevet ret populær de seneste år. Perfekt for en dagstur. Den er blot en 20 minutters færgetur fra Cancún, hen over skulptur-parken. Et par dage efter mit dyk, sprang jeg på færgen sammen med en god ven, som var taget hertil fra Danmark for at opleve det sammen med mig. Straks da vi sætter fødderne øen løber vi på José. En af de lokale, som meget gerne vil sælge en oplevelse eller to til os. Og naturliglig vis er det ”special price for you, my friends”. Vi bed på og efter morgenmad, gik vi tilbage til José og købte en snorkeltur til 125 kr. pr. person. Prisen på skiltet var 220 kr. pr. person, så enten fik vi en god pris, eller også er de bare smarte og laver skilte med højere priser. Du kan gøre det samme: Hoppe af færgen og finde en José eller to. Eller også kan du kigge på denne TripAdvisor-liste med masser af forslag. Isla Mujeres er en smuk, stille tropeø, hvor tingene kører lidt langsommere end i Cancún. Øen er kun 8 km lang og 600 meter på det bredeste punkt. Selve byen, man ankommer til, er ganske lille (kun 4x6 gader) og nem at udforske til fods. Men selvom den er lille, er der masser at foretage sig. Du kan bruge dagen på aktiviteter i vandet, shopping, udforske og måske møde nye venner. BILLEJE FRISTRATIONER Efter at være kommet tilbage til Cancún, planlagde vi at besøge en anden populær seværdighed i området. Men da det er lidt udenfor byen, havde jeg besluttet at leje en bil. Det er noget, jeg gør ofte, og for det meste noget, der er meget nemt. Men ikke her. Jeg havde bestilt og betalt for billejen online, og da jeg kom for at hente den startede forvirringen. De ville have, at jeg skulle betale stort set det samme en gang mere for en forsikring, jeg ikke havde brug for. Jeg var der en et par timer, men til sidst lykkedes det, og dagen efter trillede vi vestpå mod de fantastiske Maya-ruiner ved Chichen Itza, med mexicansk radio i højttalerne. Inden vi kom helt derud, stoppede vi for at få en kop kaffe, og her lod vi os besnakke til at købe en pakkeløsning, som inkluderede parkering, frokost og billetter til templet – noget, der sparede os både penge og en masse tid i lange køer. BESØGER MAYA-RUINER VED CHICKEN ITZA Chichen Itza er et af de mest besøgte arkæologiske steder i Mexico – hvert år besøgt af 2,5 millioner. Du kan komme dertil fra Cancún med bil, bus eller ved at booke en tur-pakke. Det er bare 200 km vest for Cancún.   Du kan oversætte Chichen Itza fra mayasprog til ”Ved kanten af brønden, hvor de vise mænd fra havet bor”, og det blev betragtet som en af de vigtigste bystater i Amerika, i tiden før den spanske invasion. I dag er det meget kendt for et sted med velbevarede ruiner, og endnu mere kendt efter det blev valgt som et af de New 7 Wonders of the World i 2007. Chichen Itza er opdelt i to dele: Gamle Chichen og Chichen Itza, og du kan se i alt 26 maya ruiner. Jeg mødte en maya fyr ved navn Santos, som faktisk kunne tale sproget. Han lærte mig at sige ”hvad koster det” på mayasprog, hvilket var praktisk at vide i dette område med mange boder. Den store pyramide, som kaldes El Castillo, er den mest imponerende maya bygning her på stedet. Dette tempel dominerer midten af området. Mens jeg gik rundt om pyramiden bemærkede jeg en meget underlig lyd. Når man står et bestemt sted og klapper kommer der et meget besynderligt ekko tilbage. Naturligvis optog jeg det, så lyt nu til episoden, hvis du ikke allerede har gjort det. Det koster 170 kr. for voksne og 25 for børn, at komme ind i dette UNESCO World Heritage site. Måske er det en god investering at bruge en smule mere på at have en guide ved din side. Eller du kan gøre som jeg gjorde: Stoppe for at få en kop kaffe inden du ankommer, og lytte til, hvad de prøver at sælge dig. Måske er det en god løsning, de tilbyder dig. IS CANCÚN FOR AMERIKANISERET? Jeg har hørt folk sige, at Cancún er så overrendt af amerikanere, at det ikke er ”det rigtige Mexico”. Ja, Cancún er berygtet for at være ret ”amerikaniseret”, men hvis du spørger de lokale, siger det, at det blot er en anden side af Mexico. Mexico er et stolt og meget mangfoldigt land, så tag det med et gran salt, når folk siger, at ”Cancún ikke er det rigtige Mexico”, for det er det. Det er lige så rigtigt som andre dele af landet. Jeg har tilbragt noget tid i Monterrey uden mange turister, og så oplevet noget helt andet her i Cancún, og jeg er glad for at jeg fik oplevet begge sider af Mexico. Men jeg er slet ikke færdig med dette land, så jeg kommer tilbage. NEXT STOP: FLORIDA Nu tager jeg til Florida, hvor jeg vil besøge Key West, Miami, Naples, Orlando og et par andre steder. Det bliver i den sidste episode i denne sæson. Mit navn er Palle Bo og jeg skal videre. Vi ses.

Tous les jours de la semaine, Europe 1 vous livre le meilleur des initiatives qui changent le monde, sur le web et en régions ! Ce mardi, Régine Resbeut-Montanella, conseillère grand projet auprès du maire de Cannes, revient sur l'inauguration de l'écomusée sous-marin de l'artiste Jason deCaires Taylor, près de l'île Sainte-Marguerite.

如果你想看到泰勒（Jason deCaires Taylor）的艺术品，你必须潜入深海。这位英国艺术家将他的雕塑沉入水底，在水下孕育全新的生命力。

British artist Jason deCaires Taylor is famous for his stunning underwater sculptures. Now, he has installed six large artworks on the seabed just off Cannes.

Jason deCaires Taylor es conocido por sus instalaciones submarinas. El artista británico ha colocado seis grandes esculturas en el fondo del mar frente a la costa de la ciudad francesa de Cannes.

British artist Jason deCaires Taylor is famous for his stunning underwater sculptures. Now, he has installed six large artworks on the seabed just off Cannes.

Jason deCaires Taylor is a globally-known sculptor and environmentalist who first gained international attention in 2006 with the creation of the world’s first underwater sculpture park, situated in the West Indies. Now listed as one of the Top 25 Wonders of the World by National Geographic, the park was instrumental in the government declaring the site a National Marine Protected Area. His sculptures are submerged into the ocean where they act as artificial reefs and become habitats for marine life, helping underwater creatures and plants to thrive. By design, his works have a rough texture that encourages coral larvae to attach and thrive, while nooks and dark cubbyholes provide homes for fish and crustaceans. Some of Jason’s major projects include a collection of over three hundred submerged sculptures and architectural forms in Lanzarote, Spain. An underwater museum situated of the coast of Cannes in France and Ocean Atlas - a monumental 60-ton single sculpture in the Bahamas. Jason’s work has been featured in pretty much every major publication across the globe and has received numerous awards along the way. He’s also a member of The Royal Society of Sculptors, a featured TED speaker and in 2014 was awarded The Global Thinker by Foreign Policy.If you’d like to see some of Jason’s work, here are a few links to some of his projects:https://www.underwatersculpture.com/projects/molinere-underwater-sculpture-park/https://www.underwatersculpture.com/projects/musa-mexico/https://www.underwatersculpture.com/projects/museo-atlantico-lanzarote/And you can also check out some of his work on his Instagram: https://www.instagram.com/jasondecairestaylor/ and if you’re interested learning more about Green Canvas, you can find us on our website: https://www.greencanvaspodcast.com/We hope you enjoy the episode! See acast.com/privacy for privacy and opt-out information.

Jason deCaires Taylor is a British sculptor who has created numerous spectacular underwater sculpture parks and museums around the world. His first one off the Caribbean island of Grenada has been listed as one of the top 25 Wonders of the World by National Geographic. In our latest podcast, he talks about how his idea... Continue Reading →

Today, Lucy Branch talks to Jason deCaires Taylor, who is a sculptor, environmentalist, and professional underwater photographer. He has permanent site-specific work spanning several continents and predominantly explores submerged and tidal-marine environments. He's the only sculptor in the series who does not work in bronze, but I can't hold that against him because his work is utterly fascinating. He has a deep understanding of the crisis that humanity is facing with the damage that they're doing to the environment. The fact he enables expression of this through his underwater sculpture is well worth listening to. Join us and BE INSPIRED BY SCULPTURE. You can find images of Jason deCaires Taylor's work and a transcription of the interview at the Sculpture Vulture Blog - SCULPTURE VULTURE If you are looking for a new book, the novel mentioned in this interview is currently available free from Sculpture Vulture. This podcast was brought to you by Antique Bronze, Specialists in the Conservation and Restoration of Sculptural and Architectural Features Snippet from the interview: Lucy: Have you always been creative? Jason: No, not necessarily. No, I actually started my art career much, much later on in life. I studied sculpture at university, but then, after that, I sort of did a whole range of different professions, none of which were particularly creative. But it was only later on in life that I managed to, you know, make it a full-time profession. Lucy: What sent you off to art school then? Jason: Oh, yeah, certainly. I mean I come from a family that...you know, there's many, many painters and sculptors and, generally we've always been involved, in some way, in the creative arts. But yeah, I think it was a really, sort of, natural choice for me to go to university. You know, when you're at that age and you're, sort of, weighing up all the different options of what to do in life, I kind of just went with what I enjoyed the most and what I loved doing, and it was certainly art. Lucy: So, a family, being artistic, who were quite happy for you to do that. That's not always the case. Jason: No, I was very lucky. You know, I had parents that really encouraged me to, sort of, follow my own vocation. Yeah, some people are not as fortunate but, for me, it kind of really worked out. Lucy: What did you do after you left university? Jason: Many different things. It was quite, sort of, an interesting path. I mean I studied sculpture and ceramics at Camberwell College of Arts. And after that, I actually had that dreaded feeling, like, "Oh my god, you know, how am I going to make a living out of this?" I actually found it quite... you know, the equation of taking on jobs maybe that I didn't like too much but they paid the bills. I always wanted the creative part to be free and not constrained in any way, which, I suppose, everybody does. But, practically speaking, it's not always possible. So, I really turned against that and I thought, "I'm just going to try some other different types of jobs and see what I enjoy doing."

This week on the Top Artist Podcast, we talk with sculptor Jason deCaires Taylor about his incredible work and the impact his pieces have on their local environment. Trained at the London Institute of Art, deCaires Taylor uses his sculptures to rebuilt natural habitats and mitigate damage caused by tourism to at-risk underwater areas. His large body of work spans from additions to the Great Barrier Reef to entire underwater museums carefully considered to benefit the local ecology. See some of the artwork we discuss on the Top Artist Instagram Follow Jason deCaires Taylor’s work on his website, Instagram, and Facebook. And read more about some of the projects we discuss during our chat: Dramatic New Underwater Statues by Jason deCaires Taylor Jason deCaires Taylor’s New Coral Winged Sculpture Lifelike Human Sculptures Are Submerged in Underwater Museum at the Great Barrier Reef [Interview] World’s First Inter Tidal Art Gallery Opens in the Maldives

Welcome to the World news. World news keeps you updated news around the nations. Today's topic is "Museum of Underwater Art Opens in Australia" The new Museum of Underwater Art is now open in Australia's Great Barrier Reef. The museum is two hours by boat from Townsville, Queensland, and is 18 meters below the ocean's surface. The museum features sculptures from British artist Jason deCaires Taylor. Taylor created the world's first underwater sculpture park in Grenada in 2006, and has made other underwater museums in Mexico and Spain. The new museum hopes to get people thinking about climate change and protecting coral reefs. It is made out of material that helps new coral grow, and also provides a home for underwater wildlife. The largest sculpture, Coral Greenhouse, weighs more than 58 metric tons and is the first underwater building by the artist. Inside, there are places for fish and other wildlife to live and hide, as well as 20 sculptures of children. Doorways allow divers to swim into the building. Another sculpture, Ocean Siren, is just 30 meters from the Townsville coast. It is of an indigenous girl from the local community, and is the only sculpture in the museum that can be seen above the surface. Lights on the sculpture change color depending on the water temperature, showing the rising sea temperatures in the area. The museum will create 182 jobs for the local community, and is expected to bring 50,000 visitors to Townsville each year. Several more sculptures will be added in 2021.

British artist Jason deCaires Taylor is a sub-aquatic artist with a growing list of extraordinary works. His seabed creations, often featuring realistic human figures based on local people, become living works of art as they get colonised by sea life. His most recent piece, a submerged art and sculpture installation off the Queensland coast, is designed to help regenerate the Great Barrier Reef and to continuously monitor its health.

Artist Emma Critchley meets filmmakers, photographers, sculptors and painters who are drawn beneath the sea to create underwater art. Julie Gautier performs a graceful, lyrical ballet on the floor of the deepest pool in the world. Without a tank of air or mask, she dances magically through crystal-clear waters across a sunken stage. In the azure waters of the world, sculptor Jason deCaires Taylor uses the seabed as his canvas. He has installed hundreds of life-sized, concrete people on the sea floor. Fish weave through his couple playing on sea-saw, tourists taking photographs or migrants huddling in a raft. As Jason works towards the opening of his first cold water installation, Emma asks what draws him to the sea, the meaning of his work and how audiences can engage with underwater art. She explores the unpredictability of working with the sea, hearing stories of storms, seasickness and near drowning. Suzi Winstanley is petrified of the deep, but her passion for documenting wildlife has taken her to the remotest and coldest places in the world. With fellow artist Olly Williams, they collaborate to paint, lightning-fast, their experience of encountering white shark and leopard sea. Emma braves the wintery British waters to talk concentration, boundaries and time with artist Peter Matthews who immerses himself in the ocean for hours, sometimes days, floating with his drawing board and paper. Sunlight dances on the twisting fabrics of headless bodies in photographer Estabrak’s pictures. For her, working in Oman, underwater is the only safe space to tell stories. For some the pull of the sea is political, for others environmental, but all the artists find extraordinary freedom in this huge untapped underwater world. Producer: Sarah Bowen

Anna and Marissa talk about the role that art plays in raising our climate consciousness. They review several specific artists including Xavier Cortada, Jason deCaires Taylor, the Storm King Art Center and many more. They also talk about how and why art can play an important part in climate action. The last link below, for artistsandclimatechange.com, has a really great list of lots of other arts and climate projects and groups. http://stormking.org/ https://www.ted.com/talks/jason_decaires_taylor_an_underwater_art_museum_teeming_with_life https://www.youtube.com/watch?v=_0Q_uWDTVWw https://artistsandclimatechange.com/2018/06/24/90n-north-pole-installations/ https://gulfnews.com/culture/arts/artists-on-climate-change-1.2243041 https://artistsandclimatechange.com/writers/

A FutureHero Meditation: The You Beneath Waves Narrated by Jonathan Livingston Baxter Music by Stratosphere (https://soundcloud.com/stratospheremusic) Photo by: "The Listener" by Jason Decaires Taylor

Para el escultor Jason de Caires Taylor, el océano es más que una musa, es un espacio de exposición y un museo. Taylor crea esculturas con formas humanas y de la vida mundana en la tierra y las sumerge en el fondo del océano, donde son subsumidas por el mar transformando la piedra inerte en hábitats vibrantes para corales, crustáceos y otras criaturas. El resultado: comentarios enigmáticos, inquietantes y coloridos sobre nuestra existencia transitoria, sobre la sacralidad del océano y su impresionante poder de regeneración.

Pour le sculpteur Jason deCaires Taylor, l'océan est plus qu'une inspiration -- c'est un lieu d'exposition et un musée. Taylor crée des sculptures de forme humaine représentant des scènes de la vie quotidienne sur terre et les plongent dans l'océan, où elles sont englouties et transformées en une habitation vivante pour coraux, crustacés et autres créatures. Le résultat : des commentaires énigmatiques, envoûtants et des plus colorés sur nos existences éphémères, le sacré de l'océan et sa stupéfiante puissance de régénération.

Para o escultor Jason deCaires Taylor, o oceano é mais do que uma musa - é um espaço para exposições e um museu. Taylor cria em terra esculturas de formas humanas e vida mundana e as mergulha no fundo do oceano, onde elas são abrigadas pelo mar e se transformam de pedra sem vida em habitats vibrantes para os corais, crustáceos e outras criaturas. O resultado: comentários enigmáticos, assombrosos e coloridos sobre a nossa existência passageira, a sacralidade do oceano e seu poder de regeneração de tirar o fôlego.

Der Ozean ist für den Bildhauer Jason deCaires Taylor mehr als nur eine Muse – er ist ein Ausstellungsort und Museum. Taylor kreiert Skulpturen von Menschen und alltäglichen Gegenständen an Land und versenkt sie dann auf den Meeresgrund. Dort werden sie vom Meer aufgenommen und verwandeln sich von leblosem Gestein zu einem pulsierenden Lebensraum für Korallen, Krustentiere und andere Lebewesen. Das Ergebnis: ein mysteriöser, eindringlicher und farbenfroher Kommentar zu unserer flüchtigen Existenz, der Heiligkeit der Ozeane und ihrer atemberaubenden Regenerationskraft.

조각가인 제이슨 디케리스 테일러에게 바다는 뮤즈 그 이상입니다. 전시 공간이자 박물관입니다. 테일러는 인간의 형상과 육지에서의 일상적인 모습을 조각하여 바다 밑으로 침몰시킵니다. 바다의 일부가 된 조각상은 생명력 없는 돌에서 산호와 갑각류, 그리고 다른 생물들의 활력 넘치는 서식지로 변합니다. 결과는 우리의 짧은 생에 대한 수수께끼 같으면서도 잊혀지지 않는, 다채로운 회고를 남기면서 바다의 신성함과 재생의 놀라운 힘을 보여줍니다.

For sculptor Jason deCaires Taylor, the ocean is more than a muse -- it's an exhibition space and museum. Taylor creates sculptures of human forms and mundane life on land and sinks them to the ocean floor, where they are subsumed by the sea and transformed from lifeless stone into vibrant habitats for corals, crustaceans and other creatures. The result: Enigmatic, haunting and colorful commentaries about our transient existence, the sacredness of the ocean and its breathtaking power of regeneration.

Art meets science this month on Naked Oceans as we meet artists who bust myths about the dark, scary, monster-filled depths. We find out from sculptor Jason deCaires Taylor about how his work transforms into artificial reefs. We chat with National Geographic photographer Brian Skerry who blends the beauty of the oceans with the problems they face today. And we hear about a man who brought the beauty of the underwater realm to the masses before the invention of underwater cameras. Plus, our critter of the month is a curious beastie that can't see light, but can see heat. For information regarding your data privacy, visit acast.com/privacy

Art meets science this month on Naked Oceans as we meet artists who bust myths about the dark, scary, monster-filled depths. We find out from sculptor Jason deCaires Taylor about how his work transforms into artificial reefs. We chat with National Geographic photographer Brian Skerry who blends the beauty of the oceans with the problems they face today. And we hear about a man who brought the beauty of the underwater realm to the masses before the invention of underwater cameras. Plus, our critter of the month is a curious beastie that can't see light, but can see heat. See acast.com/privacy for privacy and opt-out information.