Podcasts about kat anderson

You remember that time I forgot to plug my microphone in?

Parenting Styles Parenting Conflict Impact of Parenting in relationships Roles in Parenting (Today and in the past) Agreeing and working on parenting These are some of the things I discuss in this episode with licensed Therapist and Parenting Coach, Kat Anderson. She really gives a nice smooth breakdown into parenting and why its so important to learn and understand as much as we can about all the in and outs of parenting. This conversation is a must for all parents. We need these tips to undergo the necessary changes and conversation about parenting and where its working and where its not working. Then, and only then, can we start to parent "together". Links to find Kat: Kat, Licensed Counselor & Christian Parenting Coach (@thekatanderson) • Instagram photos and videos Email: Thekatandersoncoaching@gmail.com Website: Personal Christian Parent Coach (thekatanderson.com) Membership: Membership (thekatanderson.com)

Miles Pfitzner with a big edition of Fitzy's Form Lounge with his chats with Gab Nutt, Kat Anderson, Jack Watts, Shane Ciurleo and Terry Leighton. Learn more about your ad choices. Visit megaphone.fm/adchoices

Miles Pfitzner was joined by Gab Nutt from the Maher Eustace team, as well as their head of data, Kat Anderson. Terry Leighton - all things WA racing. Boys Get Paid's - Luke Kemeys. Hong Kong racing with Tom Inglis. Curly's Corner with Shane Ciurleo. Jack Watts from Punt123. Miles' best bets. Learn more about your ad choices. Visit megaphone.fm/adchoices

Miles Pfitzner was joined by Gab Nutt from the Maher Eustace team, as well as their head of data, Kat Anderson. Terry Leighton - all things WA racing, Rich from Wolfden. Hong Kong racing with Tom Inglis. Jack Watts from Punt123. Miles' best bets. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Kat Anderson, SBCA's new director of market development, comes from the architecture, engineering, and construction (AEC) industry. She shares her perspectives on the struggles AEC firms face in today's environment and the benefits component manufacturers can gain from building a more collaborative relationship with the AEC professionals in their market.

We're releasing a new yarn named Graze! Listen to an interview with Jenya Schneider, the co-owner and operator of Cuyama Lamb. She and her team raised the sheep whose wool is used to make Graze. Located in Santa Barbara, California, her sheep's role is to graze along the hillside to help with wildfire mitigation - an effort we are very happy to support. SHOW NOTES Cuyama Lamb is a six member team including Jenya, Jack, Anthony, Cristian, Alex, and Dani. They currently have a 1000 head of sheep, 3 herding dogs Willie, Rocco, and Tres, and 5 guardian dogs Lucy, Yoreh, Bruno, Aya and Lutu. Follow Cuyama Lamb on Instagram to learn more about their daily activities. Emily Tzeng of Local Color Farm and Fiber Studio is the person who contacted us to be part of this collaboration. She has a wonderful farm. We asked Jenya for a few recommendations… For literature that has shaped her current ecological and agricultural thinking:+ Tending the Wild by M. Kat Anderson–integral in decolonizing my perceptions of "conservation" and ecological stewardship+ The Unlikely Peace at Cuchumaquic by Martín Prechtel+ A Growing Culture - a website which publishes essays about food sovereignty. Places / programs about how people can learn to care for animals: + Quivira Coalition – find an apprenticeship with a holistic livestock operation aligned with your interests+ New Cowgirl Camp – hosted by Beth Robinette and Alex Machado. An excellent entry point for aspiring cowgirls and gender nonconforming cow-wranglers (and sheep and goat herders too).+ Aldersprings Ranch – summer apprenticeships working cattle on horseback The name of the family she works with in Ventura:“We are working in collaboration with Porfirio Gutierrez, and incredible Zapotec weaver based in Ventura. His website is https://porfiriogutierrez.com/ and IG handle is @porfirio_gutierrez_studio. He is working with our wool (the same yarn that you are working with) to make blankets and ponchos. His work is rooted in his family and culture's textile traditions while also utilizing novel techniques to explore ideas of migration, indigeneity, and so much more.” We hope you will knit with Graze! Thank you so much for following along.  ========================================================================= Transcript available on our blog. For more episodes visit: https://www.averbforkeepingwarm.com/pages/reverberate If you are a new listener to Reverberate, please subscribe and share with your friends! Also don't forget to rate and review on Apple Podcasts.  

Hi everyone and thank you for joining me on this episode of Val Talk's Pets.Today I have with me one of my favourite people and member of the NationalService Dog family. I met Kat Anderson a few years ago when I partnered withNational Service Dogs for fundraising and found that a working service dog was inmy area from NSD. Kat's son Atlas is on the autism spectrum and they had aservice dog named Harris who is a yellow lab. Kat's family's story with NSD andHarris is quite something and I will let her fill everyone in on that but moreimportantly, Harris had to retire so what happens then? Well Kat is here to sharewith us that journey.Thanks for listening!Please remember to follow or subscribe to ensure that you never miss an episode.You can support the podcast by purchasing a coffee, or two at our ko-fi page.  All proceeds go towards the running of Val Talks Pets.Please don't forget to Rate and Review each episode that you find helpful/educational.  By doing so you will help others find Val Talks Pets.Email me at: val@valtalkspets.com with topics you think would be of interest or with any questions you may have.Also, visit and be a part of my website at valtalkspets.com and help it grow!Thanks for all your support!

Visit Our Sponsor: Foraged.Market This episode begins with a history lesson on Natural Farming and the work of Masanobu Fukuoka and leads into a conversation comparing and contrasting that method and his ideas to Permaculture, delivered in the voice and words of someone who was present in both movements from their earliest days, the late Larry Korn. Resources The One-Straw Revolution The One-Straw Revolutionary Tending the Wild by M. Kat Anderson

In this bonus episode of Who Cares Wins, Lily Cole presents a blended, thought provoking audio journey on the topic of indigenous wisdom and what we can learn from these remaining cultures about climate change and how to protect the natural world. So in this episode, Lily speaks to 11 indigenous leaders and youth activists from across the globe by weaving together extracts from the pre recorded Listening Sessions hosted with Flourishing Diversity, during the COP 26 summit in late 2021. We also hear the responses of some of the listeners: John Burton, Prince Charles and Zac Goldsmith. Chief Ninawa Huni Kuin - spokesperson for the Huni Kuin people in Acre, Brazil. Agnes Leina - Samburu community, a subset of the Maasai peoples of Kenya. Mindahi Bastida - member of the Otomi-Toltec Nation, Mexico. Cristiane Julião - member of the Pankararu people, northeast Brazil.  Tom B.K. Goldtooth - member of the Navajo Nation, America. Eriel Tchekwie Deranger - member of the Athabasca Chipewyan First Nation, Canada. Sonia Guajajara - environmental and indigenous activist, born in Araribóia Indigenous Land, Brazil.  Gregorio Diaz Mirabal -  indigenous leader from Wakuenai Kurripako in the Venezuelan Amazon. Victoria Tauli-Corpuz - indigenous leader from the Kankana-ey Igorot people of the Cordillera Region in the Philippines.  Elizabeth Wahtuti - Kenyan environment and climate activist and founder of the Green Generation Initiative. Recommended reading: Robin Wall Kimmerer, Braiding Sweetgrass Davi Yanomami Kopenawa, The Falling Sky Ailton Krenak, Ideas to Postpone the End of the World Dina Gilio-Whitaker, As Long as Grass Grows: The Indigenous Fight for Environmental Justice, from Colonization to Standing Rock  M. Kat Anderson, Tending the Wild  Lewis Hyde, The Gift Marcel Mauss, The Gift James Suzman, Affluence without Abundance Julia Watson, Lo—TEK. Design by Radical Indigenism See acast.com/privacy for privacy and opt-out information. Music featured in the episode by Cosmo Sheldrake: Wriggle and Wake Up Calls, featuring recordings of endangered birds in Britain.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we discuss the 1995 summer camp classic Heavy Weights with special guest Kat Anderson.

Join us on the podcast where we discuss movies and series based on video games. Josh and Andrew control strangers with special guest Kat Anderson and make them go on murder sprees and eat bugs at dance clubs. This week they discuss the weird and bizarre movie about future gaming Gamer.

Join us on the podcast where we review movies and series based on video games. This week Josh and Andrew are joined by special guest Katherine Anderson. In this episode they deliver packages, hunt for fossils and get hit on by an overly sexualized wolf lady in the 2006 video game movie adaptation of Animal Crossing. Featured bands this week are: Family Jules Website: http://familyjules7x.com/ Joytastic Sarah YouTube: https://www.youtube.com/channel/UCbuTvF8Ja3nuUYe66Gwhtjg

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.ScreamersThis episode is based on a panel discussion with Chus Martínez, Quinn Latimer, Sonia Fernández Pan, Martina-Sofie Wildberger, and Barabara Casavecchia. Sonia Fernández Pan is a (in)dependent curator who researches and writes through art and, since 2011, is the author of esnorquel, a personal project in the form of an online archive with podcasts, texts, and written conversations. She currently hosts the podcast series Feminism Under Corona and Corona Under the Ocean produced by the Art Institute and TBA21–Academy.Martina-Sofie Wildberger is a performance artist working on the power of language, alternative ways of communicating, and the relationship between scribality and orality. Central to her practice is sound, the articulation of words, and the meanings constituted in the act of speaking as well as the poetic quality of language.Barbara Casavecchia is a writer, curator, and educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DreamersIn this episode Chus Martínez and Quinn Latimer are in conversation with Lynne Kouassi, a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Social ToolsIn this episode Chus Martínez and Quinn Latimer are in conversation with Isabel Lewis, Lynne Kouassi and Sadie Plant.Isabel Lewis is a Berlin-based artist born in Santo Domingo, Dominican Republic. Trained in literary criticism, dance, and philosophy, her work encompasses myriad forms, from lecture performances to workshops, music sessions, parties, hosted occasions, and large-scale artistic/programmatic works like the Institute for Embodied Creative Practices.Lynne Kouassi is a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration. Sadie Plant is a British philosopher, cultural theorist, and author based in Biel/Bienne. In her research and writings, she offers an alternative, feminist account of the history and nature of digital technology, and the influence of psychoactive substances on Western culture.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Alta EgoIn this episode Tessa Mars, a Haitian visual artist living and working in Port-au-Prince, talks about her practice as a performance that is not limited to the living body. The ancestors she is specifically referring to are those heroes of the Haitian Revolution, enslaved peoples who famously rose up against and defeated French colonial rule and the system of slavery there.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DancersThis episode is based on a lecture by Barbara Casavecchia, who is a writer, curator, educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy. She is advocating for an embodied and entangled art and politics as found in her recent experience working within a set of queer and trans-feminist archives and collectives in Milan.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.LoopIn this episode Mayra A. Rodríguez Castro gives her lecture “Hyena Days,” in which she considers ideas and forms of fragment, continuance, colonial violence, and archive in the work of her chosen ancestors, particularly the exemplary work and life of the Black American lesbian poet and activist Audre Lorde. Her contribution is followed by a conversation with Quinn Latimer, Chus Martínez, and Italian writer, curator and educator Barbara Casavecchia.

Erik Bakke is Menlo's Senior Director of Academic Support, where he leads the English as a Second Language (ESL) program and the Writing Center, among many other things. In this episode, Erik talks about what “rigor” means and how to apply rigor to your life and work. Erik shares some of his other hobbies - including writing and art - in depth as both examples and to expand upon how we find our voices through different methods. ➺ Machines Like Me by Ian McEwan ➺ The Companions by Katie M. Flynn ➺ A Confederacy of Dunces by John Kennedy Toole ➺ Exercise is Medicine: How Physical Activity Boosts Health and Slows Aging by Judy Foreman ➺ Tending the Wild: Native American Knowledge and the Management of California's Natural Resources by M. Kat Anderson

Episode #41 of the Ground Shots Podcast features a story documenting my visit with Michael Ridge of Walking with Western Wildflowers August 2019 in Kamiah, Idaho, Nimiipuu country.   In this episode with Michael we talk about:   the importance of ecological participation as a way to belong to place Michael's way of wild-tending nomadically on horseback across the west planting the seeds of wild food and medicine plants to diversify genetics some of the plants Michael tends like Sego Lilies, Biscuitroots, different stone-fruits, Camas, Yampah and more.    Links: Michael's instagram: https://www.instagram.com/walkingwithwesternwildflowers/?hl=en Michael's facebook page: https://www.facebook.com/walkingwithwesternwildflowers/ Michael's Paypal: http://www.paypal.me/MRidge711 Amanda's instagram page: https://www.instagram.com/mountain.manders/ ‘Tending the Wild' by Kat Anderson https://www.amazon.com/Tending-Wild-Knowledge-Management-Californias/dp/0520280431 The Native Seed Pod podcast https://www.nativeseedpod.org/ features some conversations about wild tending hosted by native folks interviewing native folks. A few links to learning about colonization in Nimipuu territory : Flight of the Nez Perce: https://isreview.org/issue/73/flight-nez-perce Nez Perce / Nimipuu tribal website https://www.nezperce.org/ book by Nimipuu elder: “A Little Bit of Wisdom: Conversations With a Nez Perce Elder” by Horace Axtell https://www.amazon.com/Little-Bit-Wisdom-Conversations-Perce/dp/0806132698 “A People's History of the United States” by Howard Zinn: https://www.amazon.com/Peoples-History-United-States/dp/0060838655 Support the podcast on Patreon to contribute to our grassroots self-funding of this project.  Support the Ground Shots Project with a one time donation via Paypal at: paypal.me/petitfawn    Our website with backlog of episodes, plant profiles, travelogue and more: http://www.ofsedgeandsalt.com  Our Instagram page @goldenberries Join the Ground Shots Podcast Facebook Group to discuss the episodes Subscribe to our newsletter for updates on the Ground Shots Project Theme music: 'Sweat and Splinters' by Mother Marrow Hosted by: Kelly Moody Produced by: Kelly Moody and Opia Creative

Episode #28 of the Ground Shots Podcast features a conversation with Tamara Wilder, who is based out of Ukiah, California. Tamara has been teaching various ancestral skills from wild foods preparation, primitive fire-making, hide tanning, cordage and more for several decades. She co-wrote the book 'Buckskin: The Ancient Art of Braintanning'' with Steven Edholm. She co-founded the organization Paleotechnics with Steven, who is a past podcast guest. Paleotechnics functions as an educational resource on the art of simple, ancient and universal ancestral technologies. Tamara tirelessly travels and teaches classes all over the west coast of Turtle Island every year with suitcases full of cordage samples, wild food preparations, fire-making supplies, and primitive tools to teach others how to use them, tons of books and pamphlets to share on permaculture, ancient living skills, craft and more. I've assisted her teaching before and she pays such great attention to detail and process. She cares deeply for sharing these skills as much as possible so others can feel empowered to participate more directly with our natural environment. She has a heart of gold and goes out of her way to help others and be in service to the land. She also facilitates conversations about IUD awareness. We sat down outside of her light clay straw infill cabin near Ukiah, California this past Spring to record this conversation for the podcast.       In this conversation with Tamara, we talk about:   defining 'ancient technologies' and how many are universal and how others are regionally specific the importance and abundance of wild foods in northern California bay nuts, madrone berries, manzanita berries, acorns how eating the wild foods around us connects us deeply to the land 'mast years' with certain wild foods, including this past year's huge bay nut crop the importance of acorn processing to the cultural identity of many indigenous folks in northern California how Tamara went from punk rock vegan to teaching about animal processing the ancestral relationship many folks have around the world historically to consuming animals legal issues around picking up roadkill, why there are laws making it illegal in some states how abalone is poached and over-harvested the historical wild management practices of indigenous folks in northern California like controlled burns, and the importance of these practices to ecological health how overpopulation affects the ability for humans to live in balance with the land Tamara's teachers: Jim Riggs, Margaret Mathewson, Melvin Beattie fiber and cordage as pandemic technologies and Dogbane's importance as a superior fiber plant that grows across turtle island   Links: Paleotechnics website: https://www.paleotechnics.com/ Paleotechnics on Patreon: https://www.patreon.com/paleotechnics/posts Paleotechnics on Facebook: https://www.facebook.com/Paleotechnics/ Paleotechnics Blog: https://paleotechnics.wordpress.com/ Tamara on Instagram: @wilder_tamara https://www.instagram.com/wilder_tamara/ Buckskin book by Tamara and Steven 'The Ancient Art of Brain-Tanning': https://www.amazon.com/Buckskin-Ancient-Braintanning-Steven-Edholm/dp/0965496554 ‘Tending the Wild: Native American Knowledge and the Management of California's Natural Resources' by Kat Anderson: https://www.amazon.com/Tending-Wild-Knowledge-Management-Californias/dp/0520280431   Support the podcast on Patreon to contribute to our grassroots self-funding of this project.  Support the Ground Shots Project with a one time donation:paypal.me/petitfawn  Our website with backlog of episodes, plant profiles, travelogue and more: http://www.ofsedgeandsalt.com Our Instagram page @goldenberries Join the Ground Shots Podcast Facebook Group to discuss the episodes Subscribe to our newsletter for updates on the Ground Shots Project Theme music: 'Sweat and Splinters' by Mother Marrow Music: ‘On my Knees' by Mother Marrow Produced by: Opia Creative  

Donate to The Permaculture Podcast Online: via PayPal Venmo: @permaculturepodcast My guest today is the adventurer, activist, and humanitarian Rob Greenfield. Rob joins me to talk about the Food Freedom project he launched in Orlando, Florida, where he is growing and foraging for all of his nutritional needs. Make a One Time Donation Become a Patreon Supporter Visit our Affiliate Partners During the conversation Rob shares what brought him to the project, some of his choices along the way, just how strict he is when he says he grows or forages all his food, and the potential to accomplish these goals, of a 100% self-procured local diet, in other climates. Find out more about Rob, his work and other projects, including those mentioned during his introduction, at RobGreenfield.TV.  In this conversation, I mentioned one of my favorite authors for growing our own food, Steve Solomon, and his book Gardening When it Counts. Because of the influence of that book on my views over the years, I'm giving away a copy over at Patreon.com/permaculturepodcast. That giveaway starts on May 8th and runs through May 18th, 2019, so head over there and leave a comment today to enter. As Rob also encourages us to forage, I'm also giving away a copy of Sam Thayer's The Forager's Harvest. Sam remains one of my favorite foraging authors and educators as his books stem from years of practice and refinement on the land and in the landscape. You'll also find that giveaway at Patreon.com/permaculturepodcast starting on May 18th and open for at least 10 days. Two things continue to resonate for me as I worked on editing this interview, and as I put the finishing touches on the show. The first is the project-based approach that Rob takes in these deep immersions, whether for this particular take on food, or when he wore all the trash he created as part of his bike journey, which you can see in the initial picture at his website RobGreenfield.TV. This project focused exploration is something all of us can use as a model to dive into a subject we're interested in, whatever that may be. We can pick one thing and see what we can learn about it, how far we can go, and the lessons we can pick up in a fixed amount of time. Maybe we want to spend the rainy season for our location learning to harvest water. Or to take a growing season to explore a particular plant from seed to harvest in different conditions in our garden. Or to take a year and see how little electricity or fossil fuels we can use. By creating conditions that test ourselves, we can learn more about our wants, needs, and limits, safely and productively that will, hopefully, lead us to better ways to honor the ethics of permaculture when our time with a given experiment comes to an end. The other side that sticks with me is from near the end where we talked about replicating this project in different climates. Given that humans populated the globe long before the prevalence of agriculture and subsisted through hunting, foraging, and, to borrow the language from M. Kat Anderson, tending the wild, why can't we procure all of our food from our local environment? Yes, if this were a full-time endeavor, as Rob is going through, it may mean we spend a lot more time on growing, gathering and preparing food, but what if we use that as an end goal and work our way back to where we are in the moment? To start by buying from our farmer's markets and co-ops while learning what we can about wild and forageable foods. To take the suggestions of Sara Bir and look for the abandoned fruit trees in our neighborhoods, or ask our neighbors if we can harvest from what they have. Each step brings us closer to a local, nutritious diet. If we find we cannot gain much of our food in this way, why not? What are the legal, environmental, or social factors keeping us from doing so? What can we do to change these limitations, personally and within our community? What are your thoughts on seeking 100% of your own food? Can you imagine doing this in your local environment? What skills or resources would you need to obtain to make these choices? Let me know by leaving a comment in the show notes or dropping a letter in the mail. The Permaculture Podcast The Permaculture Podcast From here the next episode is my interview with spoon carver and Christmas Tree coppice farmer, Emmet Van Dreische, about his work and new book Carving out a Living on the land. Resources Rob Greenfield Growing and Foraging 100% of My Food - Day 111 Update (YouTube) National Farmers Market Directory (USA) Trash Me Green Riders Free Ride Orlando Permaculture Meetup Group Shad Qudsi / Atitlan Organics  

Kat's main interest is in how changes in the physical environment alter biological interactions. My current research focuses specifically on how the addition carbon dioxide (ocean acidification) changes competition and herbivory in seaweed communities. Understanding the outcomes of anthropogenic climate change is one of the most pressing issues facing biologists today; while we expect that climate change will have large impacts on community structure and ecosystem function, we have only a minimal understanding of what those impacts will be. @KatMAnderson The BC Humanist Association was formed in 1984 and many of our members are not on Meetup. We have a regular attendance of about 30 people at our Sunday meetings (rather than the small number who RSVP on Meetup).

Donate to The Permaculture Podcast Online: via PayPal Venmo: @permaculturepodcast This episode is Joel Glanzberg's opening remarks recorded live at the Mid-Atlantic Permaculture Convergence. He shares with us his observations from 30 years practicing permaculutre, rooted in the earliest days when Bill Mollison still taught in United States. Along the way Joel shares with us his personal successes and failures, while keeping a focus on how we can use the teachings of permaculture to view the world through a lens that focuses on the patterns that lead to ever greater, intentional, design with biological systems in mind. You learn more about him and his work by visiting PatternMind.org or .com. While you are there you can also view his video 30 Years of Greening the Desert. In the notes below you'll find a transcript of Joel's talk. This is something I'd like to include in every episode of the show and to help that along have updated the Patreon page for the show to reflect that. We're over halfway to the goal of transcripts for every future episode so sign up today and help us reach that milestone! What I like about this conversation with Joel is how he continued to return to the power of biological forces in our systems. From Schrodinger's quote about neg-entropy to how he might build his son, to repairing cracks in a system, life begets life. The more we spend time designing with life in mind the more regenerative our systems become. The more they allow us to design ourselves out of the work. Even with what I'm doing here with the podcast, right now technology is how the stories are told, but over time and with the creation of new traditions, we can train new storytellers who collect and share the tales of others, to spread words and voices from mouth to ear in a perpetual way that isn't replaced with something, but by someone. Oh what a beautiful world it will be. How do patterns impact your work? Did you learn something new from what Joel shared? I'd love to hear from you. Email: Write: The Permaculture Podcast The Permaculture Podcast From here, the next episode is a permabyte about my experiences with Venom Immunotherapy, and after that is a follow up conversation with Joshua Cubista recorded by David Bilbrey. Until then, spend each day looking for the patterns that lead to the world you want to live in while taking care of Earth, yourself, and each other. Resources PatternMind.org - Joel's website Gregory Bateson (Wiki) Transcript Joel Glanzberg: Good morning. It's really wonderful for me to see all of you. As Scott was intimating I've been doing this for about thirty years, and thirty years ago there were no college programs, there were like three books, there were like sixty of us throughout the country. So to see all of your faces and all the work you guys are doing, it just makes me very grateful and so I want to thank you not only for being here, but for caring and all the work that you do. There's been a lot of discussion in the permaculture community about trying to certify people, create all of these various structures and ways of insuring that we don't lose all the things that were brought to permaculture from the beginning and throughout the years. Cause as you all know if you've ever played whisper down the lane, where if I were to whisper something in your ear and then you were to whisper it in her ear and it went all the way around by the time it came out to Scott it would be something completely different. So this model we have of teaching and then teachers teaching and teachers teaching, there are a lot of things that get added and there's also sometimes things that gets lost and missed. I had the opportunity to go and teach in Africa before the International Convergence there a number of years ago and all the social, economic, legal stuff, what we call the Invisible Structures had largely been dropped, right, partly because feeding people is so important and also simply because people run out of time. So one of the things I've really been interested in all along is the pattern aspect of things, and why patterns are important. If you help me out here for a minute, just close your eyes for a second, and watch your breath for a moment. Take two, three deep breaths. Watch yourself inhale and exhale. And maybe you can even feel your heart beating at the same time. So that is actually you living. As your diaphragm goes down and the atmosphere rushes into your lungs spreads out through the branching bronchi of your lungs so there's that large surface to volume and then that air goes into those little blood cells and those tiny little one cell-wide capillaries and goes branching through your whole circulatory system to every cell in your body, to every other little capillary so that it can drop off its oxygen and pick up carbon dioxide and go back to your lungs and go back out into the atmosphere. That is life. So because permaculture, we talk about as permaculture design and we think mostly about designing structures. Right? But, these structures aren't living, right? So, life is exchange. The moment you stop exchanging the atmosphere, you stop exchanging with the water and the food that jumps up out of the earth and into your mouth, you will stop living. Everything that is alive, these trees are here to exchange between the atmosphere and the earth. Taking sunlight turning into sugar, taking that down into the ground, building their bodies out of the carbon dioxide in the atmosphere, taking the water and mineral and nutrients out of the soil and putting it up into the air to seed the clouds to create the rain. Everything that's alive is creating exchange. You all know the general model, right, that pattern of exchange that we talk about in permaculture? That's important because life is exchange and that's the pattern of every exchange. So, I have three beautiful little children, and when my son, who is now 5, was a little boy, I was holding him while he slept. And he taught me a lot about life and design. And while I was holding him, I thought about how I would build his beautiful body. I've built stuff my whole life. Of course what I would do is build his structure first. I'd put all of his bones together with muscles and tendons and ligaments and then I would run his circulatory system and his nervous system and I'd install all his organs, hook em up, sheath him in skin, fill him with blood, water and food and start him up. And this is how we design and build everything that we make. We design it, we put it together, and it operated, whether it's a building, an organization, a curriculum, or a car. But nothing living is created in that way. His body was built by his body metabolising. The river was made by the water flowing. The tree was made by taking in sunlight and carbon dioxide and moving nutrients and water. So how do we as permaculture designers who are more interested in biology than in physics, that's the shift that permaculture makes. It's saying, sure, all the laws of physics hold true, and harnessing them we can be incredibly powerful. We can change landscapes, but this is a living reality that we are blessed with. If we understand how biology works, and as living beings imitate how biology works we'll come out with very different worlds. Very different effects. So how do we design processes instead of structures. Because life is processes of exchange. An example that I love from Haiti. After the earthquake they built a teaching hospital. And one of the things that was striking to me is that it was a pretty cool design, it was passive solar and they catch the water and all those good things. But they designed the process differently. So they hired Haitian workers to build it and they got to all these technical things they didn't have the skills to do: the electrical and the gas and the computer stuff and finishes and all the rest. They brought in union workers from the States, but every union worker had two apprentices so by the time the hospital was built they had people trained to build the next hospital as well as to maintain that one. We all know that one of the problems with so much of the aid that's given to the third world, right, is that it pretty soon it breaks down and people don't have the knowledge or spare parts to fix it and how to use it. So, the structural design of the building was the same. You wouldn't see anything different on the blueprints, but by redesigning the process for creating it you created all kinds of various things in the community. So this was really brought home to me a few years ago. I should probably have said this, not only have I been doing this for thirty years, my demonstration site Flowering Tree is one of the main examples in Gaia's Garden, Toby's first book, and I did a video of it a couple years that you can see at Pattern Mind. It's called Thirty Years Greening the Desert. When I was making that video I zoomed in on Google Earth. You can see the dry Southwest, dry Southwest, and here's this beautiful three-quarters of an acre food forest that's thirty years old. Full covered canopy, five stories, and I was really impressed with myself. And then in the middle of the night I woke up and I realized that it was a green island was a measure of my failure, because I was not aiming to create a demonstration site I was aiming to change how people lived in the place and if I had been successful it would have disappeared in a sea of food forest like the first tree in a forest. Or the first blade of grass in a meadow. But I hadn't designed the process to enable it, or to insure that it changed the larger system. And it made me realize I would rather just stay home with my family and play with my plants and make things, but we all know that we're in pretty dire circumstances on the planet as a culture, as a race, as a species and that what we learn in the garden, what we learn in the forest is how living systems function and the true power of permaculture is that everything on the planet is a living system whether it is an organism or an organization, an ecosystem or an economic system, all living systems follow the same pattern. And so our learnings in our gardens, our nice little sandboxes where we get to play with living systems and learn from them we can take those learnings and use them to shift all these other living systems that are in such dire need of shifting. Whether it is education or business or governance or large water systems. Whatever it is. And part of what I realized is why I tell that story about my son, is I am so focused on the stuff of the world, when the world is relationships and exchanges. At least the living world is the exchanges between us. It's the processes. And every structure is entropic. As soon as the structure was built it begins to fall apart. As soon as you drive your car off the lot it is worth less money because it falls apart. You gotta fix it, you gotta fix it, you gotta fix it. But my son's body, just like all of our bodies and all of these other living things bodies, get better and better, and better. They develop. There's a wonderful little book called What is Life by the physicist Shroedinger. You might of heard of his cat. And he said that life is neg-entropy. It is a counter entropic force. Systems become more developed and more complex. The trees grow up. The deer graze in the lowlands and they go up to the highlands to fertilize so it can all wash down again. The salmon spawn up in the uplands, go out to the sea, used to get as big as hogs, swim back up so they could take all those nutrients from the ocean and put them back at the highest point in the watershed to be spread out to fertilize the forest by people, and eagles and bears and wolves and all the rest. One of the problems with how we've been working as human beings is because we are so focused on structures including legal structures, economic structures, governance structures that are brittle and will fall apart. That is what is killing the world. That's because we are focused on dead things instead of focusing on patterns of processes to regenerate things. You guys all know the old Bill Mollison Permaculture Principles of the problem is the solution and the least change for the greatest effect. You guys all know those principles? And so, the way I came into permacutlure initially was I read The One-Straw Revolution by Fukuoka and his main things are, you know he had a near death experience, he had this sort of enlightenment experience after he had kind of collapsed in his life, and it changed how he thought and saw the world. And he said the most important thing was he asked different questions. Do you know what those questions were. Audience Member: “What don't I have to do?” JG: He said instead of asking, "What can I do?" I began to ask, "What can I stop doing? What can I not do," so he stopped weeding, he stopped fertilizing, and he stopped mostly watering, and he stopped doing all the things pretty much that we think that you need to do in agriculture. He called it Not Doing Farming. In chinese the phrase is Wu Wei, Not Doing. And that's the basis of permaculture. It's why we talk about Work is Pollution. Any needs that are not provided for any element of the system by the system is work we need to do and the unused resources is pollution. So we're trying to get away from working. So what is Fukuoka most known for? Seed balls and mulch. So even the man who developed Not Doing Farming is known for the little bits of doing he did. And it's one of the things that I think is the most important bit of permaculture. We're so focused on all the permaculture ways of doing. Mulching and sheet mulching and making swales and hugelkultur and aquaculture and, you know all this doing, when the whole point is to find that least change for the greatest effect. What is the appropriate acupuncture point where we can do a little thing that shifts the whole system. Do you all know who Terry Dobson was? Terry Dobson was a martial artist. He was the first American student of Ueshiba who started Aikido in Japan and he tells this story. Ueshiba was about this big, little guy, and Terry Dobson was this like 6' 4" 250lb American guy and he had been studying with Ueshiba for like three years, 22 years old, and Ueshiba kept saying you will not fight. You see tough guys on the street, go to the other side of the street. Someone tries to start a fight with you, don't fight with him. Terry Dobson was wanting to show his stuff and he was on the train going home one day and a drunk guy got on the train covered in vomit and shoved a pregnant lady down in the seat and is pushing people around and Terry is like, "This is it. Ueshiba can't say nothing. This is righteous." And he gets up and the guy sees him and yells at him and comes running, “YAAAAA!” and they hear this little voice say, "Hey" and there's this nicely dressed elderly Japanese man. He says, "Hey, do you like to drink?" The drunk man, "What's it to you?" "Well, you know, my wife and I have this lovely plum tree out back and we like to sit underneath it and drink sake and i thought you might have a lovely home and a lovely wife." "Oooohhhhh. My wife died and I lost my job. I lost my house. I'm poor and everything is terrible." Pretty soon it's Terry Dobson's stop and he gets off and the drunk guy is sitting with his head in the lap of the elderly man whose petting his head and speaking to him. Terry Dobson realized he'd learned the forms of Aikido and he had missed the patterns behind them. And so this elderly man had not been fooled by the surface presentation, the symptom of the drunk man being violent. He had seen behind to the pattern and had seen it to its source. And by a few words he got that to come out. What would have happened if Terry beat him up? Would it have made anything better? Probably would have made it worse. By seeing to that source and breaking that surface structure that man began the regeneration, hopefully, of that drunk human being whose one of our, part of our, community. And so that to me is what permaculture is all about. It's what tracking about. How do we see the patterns behind things to see the little changes that changes the pattern that creates a different presentation. Instead of trying to solve symptoms without solving the patterns behind them that are presenting as those symptoms, we're going to spend our lives putting out fires. And so to me that's the great value, the great blessing of having worked with plants and living communities so much is that we learn how living systems really work instead of our ideas of them. And so the main thing that I would like to ask of all of you is please always be asking yourself, "Am I working on a symptom? Am I trying to put out fires or put a bandaid on a problem?" When the problem is the solution. In structures, cracks are a problem. It's why we fix our oil pan, it's why we fix the leaks in our roof. We fix all these cracks. In living systems cracks are the opening to the next level. When a chick is in the egg and it runs out of food and room it doesn't go shopping and add an addition. It breaks the shell. And it enters a new world. And for a while its parents feed it until she and her siblings outgrow the nest and their parents ability to feed them, then they fledge and enter a new level of reality. So, reality is layered. Even here. Talk about it in the food forest. There are the plants under the ground the rooted ones, there's the ones on the surface, there's the trees and the understory and the shrubs and the vines. Here in the landscape there is the river and the semi-aquatic and the lowlands and the slopes and the uplands. Reality is layered and you all know this Einstein quote, Problems cannot be solved with the same level of thinking that created them. That's how nature solves her problems is by using them as opportunities and openings to evolve. We were talking last night about the wonderful work of Kat Anderson and all the people who have been looking at the chestnut / oak forest of this region. So you probably know when Europeans came here twenty percent of the forest were chestnuts. Another majority was oak and pecan and hickory and black walnuts and all these nut trees and fruit trees and shrubs. Let me backup a second, do you all know what ecological succession is? So it's a primary pattern in all living systems. You have bare soil. First thing that comes in is annual weeds or before that maybe lichens and mosses. Then after the weeds you start to get the grasses and then you start to get shrubs and pioneer trees and sub-climax and eventually you get to a climax hardwood forest system. You can even see succession occurring here. We're starting to get the grasses here and the shrubs underneath and eventually up to the trees. For a very long time we had this very hierarchical idea that climax was where everything was headed. It's the king. But what we found is that actually sub-climax is much more diverse and productive and it turns out that climax here is something like beech / maple, which are very thin barked. They don't produce so much and they don't feed so many other animals as all the nut trees. One of the things the native people saw was, oh, if I burn a beech / maple forest that is very thin barked I'm going to kill them off. I'm going to buffer the PH of the soil and I'm going to encourage all the nut trees that are going to feed the deer and the bears and the turkeys. Oh, and it's also going to buffer the PH of the water which are going to enable all the oysters to make the shells better. In the Chesapeake there were enough oysters to filter the bay in a day or two. One of the things the native peoples discovered was by doing cool burns, not canopy burns that take everything out, but cool burns, they are going to take out the sticks and the underbrush so you can stalk and hunt better. You can see people coming if you have to worry about that. You're going to create the trees that are going to feed you and feed the animals you're going to eat from. You are going to buffer the soils. You are going to buffer the PH of the waters. You are going to encourage the shellfish that you go and harvest and eat every summer. Oh, and guess what? Take out the ticks. And the fleas. And also all the weevils that are going to eat your nuts. The least change for the greatest effect. One of the problems with human beings is that most everything we do creates ecological disturbance. Put that driveway in we tore up a bunch of plants. To plow a field and grow our food we do a lot of disturbance. The problem is that we're not designing the disturbance. Throughout the world human beings being very intelligent figured out how they could use small disturbances to shift ecological succession to the most productive levels. That's what happened to Terry Dobson on that train. His structured idea of reality got disturbed by this experience. That's what happened to Fukuoka when he almost died. So our minds are ecological systems. They are living systems. Our communities are ecological systems. Our economic systems are ecological living systems and they follow the same stages of succession. You have a poor neighborhood and there's maybe a lot of crime and there's people from all over the world there and that's where people maybe are using drugs or whatever. That's where the artists move in because they can afford it. It's really cool and interesting and a little on the edge and creative things happen and then it becomes a little bit more established and it becomes where you have the yuppie wine bars and coffee shops and galleries. And then pretty soon it becomes gentrified and the art is really boring and everybody has to move out and you move to a climax ecosystem. And something has to come in, in to disturb it so it can become more creative and interesting again. It doesn't matter what the system is, it follows this pattern of succession. Every living thing, because life is so unstable, tries to move towards stability. But if we go for the stability of concrete there cannot be the exchanges that are necessary for living. To my mind what I would like to invite you all into is to learn to see behind what you see. See the patterns behind it. And you're not aware of this, but every time you read something, what are you seeing? You are seeing the movements of someone's mind. There are tracks on the page, but you are seeing behind that to patterns of processes. Patterns of thoughts. Patterns of ideas. You might even be seeing people doing things. It's just like a tracker. It's not to say deer, deer, deer. It's to see that animal moving to the clearing and pausing and turning its head and looking and going on. So lets see everything as a track so we can see the patterns of processes so we can find that acupuncture point. That little pebble we can drop into the pond to create those waves of change that we know we need because we don't have a lot of time. We don't have a lot of energy. There's not that many of us. We have to make sure that what we do is effective. This talk is meant to be a pebble dropped into a pond. This event is meant to be a small event that can have all these rippling effects. When we have a conversation, we're selling people plants, how do we use that as an opportunity to shift how people are thinking about things. When we write things. When we're implementing something how do we make that an educational experience for the community. How do we make that create jobs and businesses in the community? I was talking to Dale and he mentioned this Gregory Bateson story about the New College in Oxford. And the New College was started about the 1600s and there's a great big dining hall. 50-60 feet long and there were great big oak beams in it. And the maintenance man was up there because he saw some sawdust and he dug around in the beam with a knife and found it was riddle with beetles. He went to the next one and the next one and the next one and he was like, "Where are we going to find oak trees to replace these two foot square beams 60 foot long. They looked and looked and eventually the board called in the forester because they had forest land. The forester said, “Oh, I was wondering when you were going to ask about them oaks.” “What are you talking about?” “Oh, everybody knows oak beams get beetly in 500 years so when they built this college they planted the oaks and every forester told the next forester, don't you cut those oaks. Those are for the dining hall.” Gregory Bateson says that's the way you design a society. So what if before we designed the building we design the forest to provide the wood. And we design how we're going to produce the concrete. And we design how we're going to get the metal or recycle the metal so we're looking at the whole process instead of just this little blip in it. And every time we're doing something is an opportunity to begin to work on that. Please, if you are interested check out PatternMind.com or .org I think there's some interesting stuff on there. If you would please, hold up your fist. So, I've had the opportunity for fifteen years now to help co-teach a native american permaculture course in New Mexico where we've had people from all over the continent come. And we were in the Jicarilla pueblo and this old man had us all do this. And he said, "Hold up your fist. Look at the ridge of your knuckles. It goes up and down, up and down. Just like the mountain. Just like the river goes back and forth. Look at the edge of your fist. It spirals. Just like the water behind a rock where the trout stays. No square people here. We're all round." And his point was, if we keep telling ourselves the story that human beings are the problem, the bad part that needs to be repaired, replaced, or eliminated, which is how you fix structures, we can't help but destroy things. If you tell a little kid, "You're bad" they are going to be bad. If we tell one another we belong here, the creator placed us here for a reason to play a particular role and we have gotten confused about what our role is to use this incredible consciousness and awareness we were given. So if we could use this consciousness to track patterns. To find the least change for the greatest effect. To be designers of disturbance so we're actually focusing on designing the disturbance instead of designing the structure then we can be a blessing for the world We can actually be essential portions of all these living systems that we love so dearly. To hear the crickets and see the green leaves and the light through the leaves. All this beauty. Eat the food that comes from these plants. To feel alive is such a blessing. We only want to give back. For me, that's what permaculture is all about. It's not all the techniques, but how can I learn from those techniques to repattern and to find those least changes for the greatest effect.