Podcast appearances and mentions of marina abramovich

Unmasking the Storm: Prophecy, Politics, and the Spiritual Battle Welcome to another riveting episode of Right On Radio with your host Jeff. This episode, packed with an incredible range of information, aims to connect various dots between biblical prophecies, current events, and spiritual warfare. Jeff begins by referencing his recent discussion on Matthew 24, highlighting Jesus' predictions about the end times, and continues to delve into related scriptural insights from 2 Timothy Chapter 3. Jeff explores the concept of the Heyoka from the Sioux Indian culture, drawing parallels between this sacred clown and contemporary figures like Donald Trump. He then delves into the controversial writings of Albert Pike, a 33rd degree Freemason, and his predictions about the three world wars, which were eerily written in 1871. Jeff ties these historical perspectives to current geopolitical tensions, particularly focusing on the potential for a Third World War involving political Zionists and Islamic leaders. The discussion takes a fascinating turn as Jeff examines the infamous Illuminati card game, which many believe has predicted major events such as the 9/11 attacks. He meticulously reviews several cards, including those depicting Bill and Hillary Clinton, terrorism, and even predictive censorship, drawing connections to our current societal landscape. In an intriguing segment, Jeff plays a clip of a conversation between Tucker Carlson and Jack Posobiec, discussing how historical communist revolutions have consistently targeted Christians. This leads to a deeper reflection on the spiritual battle between good and evil, highlighting how the prayers of the saints can counteract demonic influences. Jeff also discusses Alice Bailey's writings, particularly her prediction that significant changes will occur by 2025, aligning with the externalization of the demonic hierarchy. He warns listeners about the deceptive nature of fallen angels and their influence on human affairs, urging vigilance and prayer. The episode features a clip of high witch Marina Abramovich praising Donald Trump as a "magician of the highest order," adding another layer to the complex portrayal of Trump in Jeff's analysis. Jeff also highlights Trump's recent statements at a Bitcoin conference and his controversial remarks about Christians not needing to vote after his re-election. Jeff concludes with a thought-provoking clip from MSNBC, suggesting bizarre familial connections between Trump and historical figures like General Patton and the Kennedy family. He leaves listeners with much to ponder about the intersection of prophecy, politics, and spiritual warfare. Join Jeff on this enlightening journey as he encourages you to seek your own conclusions and remain steadfast in faith. Remember to love your God, love your family, love your neighbor as yourself, and make a difference in your community. Prayerfully consider supporting Right on Radio. NEW! Super easy Support Right on Radio | Right on Radio (Powered by Donorbox) donorbox.org/support-right-on-radio-1 Support Right on Radiohttps://patron.podbean.com/RightonRadio (Patron is billed by "The Speakers Company" PayPal for Jeff paypal.me/JeffRamsperger Mushrooms click here and check it out PetClub 247 ror.petclub247.com copy and paste for healing mushrooms. Click Here:https://www.empshield.com/?coupon=rorSave $50 on each unit with coupon code ROR Join the movement, make the switch My Liberty Stand – Taking back our country or email rightonjeff@gmail.com Web Site: Right on Radio | a podcast by Right on Radio (podbean.com) New Rumble Channel Right on Radio (rumble.com) Subscribe Back up Video Channel on Odyseehttps://lbry.tv/@RightonRadio:9 Right on U Link:https://rightonU.com -Real Estate Investing, use code SAVE800 -Creating Wealth USE Coupon Code SAVE20 -STAR Achievement System Purchase for $17 use coupon "STAR" Get Swagwww.rightonmerch.com Follow on Twitter X@JeffRighton Subscribe:https://rightonradio.podbean.com/​ Follow:https://gab.com/ Right on Radio​ Telegram:https://t.me/right_on_radio[Main Channel] Digshttps://t.me/RightonRadioDIGS Chathttps://t.me/RightonRadioCHAT Live Right in the Real World! We talk God and Politics, Faith Based Broadcast News, views, Opinions and Attitudes We are Your News Now. Keep the Faith

Artistic Lifeyness: Exploring Place, Body, Art and Identity Across Cultures   In this conversation, three artists based in the Jacksonville area, Jennifer, Shameera, and Thorne, share their unique perspectives on place, embodiment, and art. Based in Jacksonville, Florida, these women discuss how their work is influenced by their identities and their sense of location, both in a physical and spiritual sense. They talk about the dual experiences of feeling embodied and disembodied as artists, referring to the process of bringing ideas from the abstract world of imagination into the physical reality through their art. The artists also touch upon the idea of home and the importance of creating cultural bridges through art.  What are the pros and cons of living in Jacksonville as a creative soul? And how do you become more embodied as an artist? Listen up and find out! _________________________________________________________________________________________________ Connect with host Professor Sarah @book_of_lifeyness on TikTok and Instagram Thorn works in graphic design, jewelry making, theater and screen acting, origami and more. See her work and connect with her here: The Urban Atelier Shameera Din Wiest is a digital artist, poet, sculptor, weaver, former diplomat and political analyst. See her work here on Instagram:  @shameerawt Jennifer Chase is a storyteller, musician, professor, producer, and playwright. See more here: jennchase.com   A special thanks to the Community Foundation of Northeast Florida whose Ignite program first brought these artists together! https://www.jaxcf.org/     Episode Outline: Part I: Introduction inspired by birds, Jacksonville, and the words of Rick Rubin Part II: Art and Place--We can smell you from here, Jax. Part III: Embodiment--Make a body for your idea! Part IV: Take from the spirit world and bring it down to Jacksonville Part V: Identity--How your own prism informs your work...and pajama party :-) Part VI: Disembodiment and Embodied Art Part VII: Taking up space in Northeast FL   And here's an AI-created Timestamp Outline: 00:00 Introduction: The Search for Self 00:21 The Power of Acceptance 00:55 Finding Home in Unfamiliar Places 02:34 Exploring Northeast Florida 03:23 The Role of Artists in Society 03:59 The Struggles of Living in Jacksonville, Florida 04:55 The Journey of Self-Discovery 05:33 The Power of Art and Creativity 06:07 The Connection Between Place and Art 07:01 The Importance of Being Present 07:06 Art as a Form of Self-Expression 07:34 Interview with Three Talented Women Artists 10:54 The Influence of Geography on Art 11:46 The Role of Motherhood and Womanhood in Art 12:45 The Power of Listening and Being Present 16:54 The Impact of Jacksonville on Personal Growth 18:18 The Role of Spirituality in Art 20:02 The Importance of Nurturing in Art 25:36 The Connection Between Art and Embodiment 33:51 The Power of Conversation in Art 35:07 The Power of Listening and Connecting 35:43 The Journey of Self-Reflection 36:17 Shamaya's Artistic Journey and Cultural Heritage 38:19 The Struggles and Triumphs of Shamaya's Life 39:21 The Intersection of Femininity and Art 40:53 The Power of Personal Stories 42:57 The Influence of Identity on Art 46:34 The Power of Art in Public Spaces 49:51 The Role of Art in Society 56:46 The Importance of Embracing Failure 01:06:20 The Power of Art in Building Cultural Bridges     Full script below, generated by Descript   What I've been learning is that everywhere I go, there I am, I am a home, you know, you're, we're always looking outside of ourselves. I think it was Wayne Dyer that, um, said something along the lines of, we're always looking, we've lost our keys and we're looking for our keys outside the house when the keys were sitting there at the front door.  You know, you have to decide that you're going to leave this behind and say just no to it, or you have to kind of change your space. Or, you know, you. Acceptance. You, you have to accept it. Yeah. You have to fully accept it. Mm-Hmm. . And once you do that, then all of that energy that you, that took up your spirit saying, well, I don't really like this town. Like this isn't, you know, where are all the people,  and all of that. Yeah. The people, it goes to another place and you start building it yourself. Yeah. I definitely feel that, like  I'm going through that whole.  I don't belong here. There's no one that looks like me there. I can't find my food Like I mean, it's just yeah, it's hard But I am trying to find ways to and no one's telling me to leave this time. So that's also hard  Yeah   And this will be your place in some way, you know, because it was the place where you decided to take care of your people.  It feels like  comfortable  skin,  not just confident, but also pain free, healthy.  Think about the most robust version of your own childhood.  This is what Lifeyness feels like, a joyful spirit and a vibrant physical state of being.  I'm your guide professor, Sarah storyteller, teacher and wellness enthusiast.  Reach into the vitality of your own  to supercharge your grownup life.  So I think I'm being kind when I say I live in a slightly dysfunctional city, marked with a lot of cultural blanks.  It's this place where.  We all just kind of landed somehow or another.  It's not really even designed like a typical American city.  They say it's a city of neighborhoods, which really means it's a giant, sprawling suburb.  But stay with me. I love this place.  And today, on this episode of Lifeyness, I'm going to be exploring Northeast Florida.  It is a home for many of us, and we've made it sacred by filling it with our children,  artwork, our classes, our educations. Our activities.  Like any body, we adorn it and try to keep it healthy,  but more than anything, we live inside of it day in and day out,  and that is what makes a city a city.  It's what makes a human life have meaning.  So welcome back to Lifeyness.  This is Professor Sarah, and I'm super excited about this episode and the next, which will conclude the first season.  Today, we're talking about place, body, and art.  Specifically, how do artists find embodiment both in their work and in their geography?  If you've listened to any of this podcast, you know that staying grounded in your body, staying playful in your space and in your work,  and accepting the moment in front of you with a whole heart,  these are some of the keys to living the good life  and to finding joy.  So I'm going to give you a little bit of insight into the place that I live.  I always thought that Jacksonville, Florida lacked a sense of the sacred.  And I think to a certain degree, it still kind of does. It doesn't have that ritualized admiration that you see in cities like New York and Toronto and San Francisco, like where tourists go, they know where to go, they know what to love and how to dress.  Northeast Florida in general can feel like a cultural wasteland at first.  In fact, not long after moving here in 2007, I wrote a short story about a young woman who had gone mad from the cultural void.  Flintstoning her way through the same desolate strip mall freeways, the backdrop always the same tire shop, Best Buy, Walmart, Michaels, and Winn Dixie.  It was not far off from how I was actually feeling about this weird town.  To be clear, I hated it.  And yet, I managed well enough to get permanently stuck here by way of marriage, children, divorce. Later,  I would learn that many of my friends and colleagues have had similar experiences.  Jacksonville, the present place, is a liminal space for some, an in between.  Perhaps what we're feeling is that we haven't yet made Jacksonville as sacred as we could. We haven't worshipped it enough,  or worked our fingers over it like a sculptor works clay.  Rick Rubin, the producer of countless music artists, says that the reason we're alive is to express ourselves in the world, and that creating art might be the most effective way of doing so.  So the quote I'm about to share with you from his book, which is called The Creative Act, it makes me think of  the artists that are on the show today.  He says, the artwork is the point where all the elements come together, the universe, the prism of self, the magic and discipline of transmuting idea to flesh.  What I didn't expect to hear from these artists today is how a sense of place and their particular sense of place is so entangled with their art and also with this feeling of embodiment or disembodiment.  Years ago, I remember a veterinarian who specializes in birds told me that when they are singing or calling to one another, that the gist of what they're saying is simply, I am here.  And then calling to others, asking, are you there?  And then of course the reply is, I am here. Are you there?  And so on and so forth. And to some degree, I feel like this is what humans are doing all the time. This is all we're saying to one another. Whether it's through a book or a TikTok video or, or whether you're just reaching across the couch to your loved one,  it can all be boiled down to this.  I'm here. Look at me.  Are you there?  Art is the embodiment of a moment in our energetic human experience. It is that emotion and energy of life that's captured in an artwork, whether it's a collection of words, a pattern of music, or a painting.  It's basically the artist saying,  I am here, just like the birds do,  but they're saying it through paint or piano or an arrangement of flowers.  To discuss this idea of art as embodiment and self expression, I'm speaking with three talented women from northeast Florida.  Thorne is a passionate activist. She's a graphic designer by training. She's a jewelry maker. She's a community organizer.  My name is Tracy and I work under the moniker Thorne. I grew up here in Jacksonville, um, and I do realize that being from here has It's really made a huge impact on the work that I do. Um, I do a number of different media. I actually went to school for graphic design and printmaking.  I started making jewelry because I wasn't finding what I wanted to wear. And at that point in time, I had just come back from Peace Corps  when I first started. And a lot of the things that influenced me at that point. And her  family's been rooted in this town for many generations.  Jennifer Chase is a playwright, a musician, uh, she's a writer and college professor. And her latest book, I Can Smell You From Here, explores her relationship with the city of Jacksonville. But  I grew up in Cape Cod, Massachusetts, and have been most of my adult life in Jacksonville. And went back to college as a non traditional, um, adult single mother right here in Jacksonville at FSCJ, where I now teach.  Yeah. Like Thorne, um, I did. Adopt a, a pen name has  Shaina. Um, so some of my work is under.  And then in contrast we have Shaira Dean Weist, um, she's a mixed media artist. She's a sculptor and a weaver. Um, and she's been here less than  three years. And I'm an Indian American artist. I came, I'm an immigrant and I moved to the U. S. in 1982 when I was 12 years old, so you can do the math. I create visual performance, poetry, photography, and digital art, and I feel like each of these are embodied in some way with the female, where my choice of imagery in the tapestries, sculptures that I create have elements of woman. I use my body as a vehicle in performance art. Um, I write poetry that, um, touches on elements of being an Indian woman. And I worked in Washington, um, as a political analyst. Um, I traveled overseas as a diplomat.  Today  we're having a conversation in person. In the flesh, at my dining room table together, in downtown Jacksonville,  um, in my well loved historic home built in 1911.  So we all gathered here on a winter day, when even in Florida it was chilly outside and cozy inside.  Thorne and Jennifer and Shamira are from diverse backgrounds, but they all show up in their art with the bravery it takes to say, I am here. Are you there?  Welcome to our conversation about being an artist www. artistrenjitha. com In a body, in a city, don't forget to connect with me at Book of Lifiness on TikTok, where you can see images and videos of this wonderful conversation and these amazing artists.  Let's start with place because I am invited you here to talk about embodiment, embodied art. Right. But I think, you know, like we're sitting here in Jacksonville, Florida. All together in the same space, which I think is so special considering, like I said before, a lot of my interviews I do virtually today, you know, but you know, we all met at Ignite, right? And that was such a special morning, you know, where we all came together. And, um, so I want to ask each of you kind of how do you use your geography in your art? Where does it show up in your art? And we'll start with Jen because she had the show the other night. Your story felt so parallel to mine  and it made me feel, when I looked around the audience, I was like, how many people here feel this way? And part of that is.  Motherhood. I think part of that is being a woman. Part of that is not feeling at home in Jacksonville because I, I'm not from here either. You know, and I think a lot of us are not from here. Um, but there were so many different like touch points that I was like, Oh, wait a minute. Not only did I feel like now I know you and you were able to tell your story, but I feel known. Even more. And a lot of that had to do with that, this antagonistic relationship that I've had with Jacksonville, where I feel kind of stuck here. But also this is where I do my nurturing and raise my children and make my, my own art. So tell us a little bit about that.   Well, I think first we have to be sure that we're telling ourselves the truth.  Um, and I had to take a look at sifting through the excuses, the fears, the, um, empowerment of all the experiences that I've had here. Um, I think it's a complicated question because  James Baldwin, for example, talked about this idea of cultural assumptions, and the idea that, um,  we don't realize the assumptions that we're living under until we live under another set of assumptions, and I bet Shamira has a lot. To add about that, I'm sure Thorne, too. Ironically, a lot of the, the empowerment and the appreciation of the present in Jacksonville involves the concept of time,  which I learned a lot more about in places like Senegal, living in Senegal and living in France for shorter periods of time, but enough that I thought, oh,  There's a different way, and it's not related to money, it's not related to earning money. There's a different way of appreciating the present and a meal and a conversation.  And  every time I come back from  another place where the concept of time involves shutting everything down at two o'clock and having a two and a half hour lunch with your family, I come home. gung ho to adopt that. And I have varying degrees of success with that, but I find that  for my artistic expression, for happiness, for real connection and feeling  a sense of place, it involves being aware of the present. being aware of the ability to get outside of the assumptions I've lived under and look back into them and I can see myself in my life a lot more objectively when I'm able to look at it from the outside. And then you come back and you feel differently about your surroundings and you look at things. and yourself differently. So it can be a painful experience sometimes. Um, when I looked back over 30 years at raising children,  one of the lines of my song says, um, these are the days that will be memories someday. And the whole song is just about hanging clothes on the line and watching my little girl who was then three dancing around to a Beatles song. And the whole song is about that. Yeah. It's called Mundane. Yeah. And now I'm, I just finished re recording that song and I thought, that's funny because these are now gonna be someday the moments that I think That was nice when your husband made you a coffee after work and just looked you in the eye and asked about,  you know, and got you a special cloth napkin and a little, the way you put out,  it's more about the present and how we view it. So I think that's my,  my thing. And it resonated. It really did. Thank you. It was beautiful. Thanks. Shamira, do you want to say something about kind of the way that geography informs your art? Yeah,  that's um, I mean, having a fact that I've been moving  for, you know, since, since I first moved as an immigrant, almost every three to four years I've moved for the last 34 years of my life, I think.  There is no specific place for me. I mean, I know I think the place that I most connect to is the place I was born and everything is always trying to pull me back to that. You know, having my mother live with me definitely brings that back every day. Um, so It's like I'm not connected to any place and yet I try to make the most of the opportunities that are in that place. Um, the last place I lived before moving to Florida was China and I was there for three years and I was a complete outsider. Not only, you know, it was either the western community or the Chinese community and then there's me, brown, you know, and they're not sure whether I'm Mexican or where I'm from but, and then having Not having the language, um, and not having, not being able to, or allowed to work because these are the laws of the diplomatic community where you're not, the spouse doesn't work on the local economy. So either you work in the embassy much lower than your education level, or you. Um, and then I decided to become an artist. So that's what I did.  Yeah.  Yeah. So that's when I started making art is when I started moving. But so as far as place, I mean, I don't have, I don't feel a strong connection to a geography, but I feel like the personality that I bring to each place taken from another place connects me to everyone new. And yet keeps me in contact with all my old contacts. And so I keep building these relationships with new people and keeping old people. Yeah.  I don't know how that works out,  but we're certainly happy to have you in our community now.  How about you,  Thorne?  I think it's funny. I'm the only one that's from here. Yeah. And so, but I have, I've traveled away from here, um, a number of times. I've lived in San Francisco and I've lived in Philadelphia. And then of course, as I mentioned earlier, I was in the Peace Corps. And so, So having grown up in the Bible Belt, spirituality, spirit, gospel music, all the things that you would stereotypically connect to the South are a huge part of my work, huge part of what makes me, me. I was singing a gospel song with my mom this morning  and we were just reminiscing about a church we used to go to. Music is such a huge part of my life, like, Jen, and I just actually got through, not just got through, but recently read The Power of Now by Eckhart Tolle. And so understanding, right, really good. I'm a fan. Yeah. And so understanding that where we are now in this moment is the most important place we're ever going to be. As opposed to leaving pieces of ourself out in the future, you know, where Shamira's going to a new place, or anticipating going to a new place, and thinking about the places where we've been. And what I have realized is Jacksonville,  for me and for, I think, a lot of other people, is this type of place  that's kind of metaphor for  Where people have a really hard time being, but know that that's where they need to be at the given point in time that they're there. So, you have your reasons for being in this area, Shamira, Jen, you have your reasons. You have your reasons for staying and being here. I came back here, um,  to regroup. I was in San Francisco where I was more of like a she she homeless. I was moving around from hotel to hotel and I also used, um, hostels. I was looking for a place to stay. I was going out there to live my artist dream, believing that you had to be in this specific place to have a life of an artist. And so once again, connecting back to this.  whole idea of being in a specific place at a specific time and I really thought that that was where I was supposed to be. And, um, It wasn't. It wasn't. And I realized it not too long after and this is just, uh, another part of my background, um, that has also fed into my work. I got back here, if you want to say air quotes, just in time for my mom to be, uh, diagnosed with breast cancer. And so I was right where I needed to be in order to support her in the best way that I could. And a lot of the work that I did When I was taking care of her as well as work I was doing, you know, in the home as well as outside the home comes back to,  you know, who I am at this point in time, which is someone who's had to learn to be a nurturer, someone who gets hired, you know, as an actress, because she's seen as a nurturer. So this space, this place at that point in time, totally shaped, you know, who I've become as an artist, especially as an actress, I'd say.  I never saw myself as a caregiver, um, even though I took care of my brother growing up, but I just, I never saw myself as that type of person. And it manifests. in my work as an actress, for sure. Because that is what people see in me when I'm cast. It's,  yeah, we see you as a mom. And it's like, I don't have kids.  I love them. I think they're great. And I love the energy they bring to any room, any space. Yeah, uh, just that I didn't really ever think of myself specifically as a nurturer. I feel like Being a nurturer is such a higher evolution beyond just I babysit my brother or, you know, I was helping out at my grandmother's house. It's not the same thing. Being a nurturer and a caregiver is a totally different level of connection with another person where you're really focusing in on What their needs are at a given point in time and to be cast as a nurturer or to be thought of as a mom when people see me, it's really quite flattering, um, to be thought of, or that my spirit gives off that type of energy. So, um, and it's so funny to think about my, my work in that way as well.  Because once again, I don't think that that's necessarily something that comes across, but if we think of a lot of the work that I do is. Um, I see a lot of my artwork as spiritual practice, and so I could imagine that that's something that comes across as well. Yeah.  You give birth and you nurture your artwork. Oh my God.  Absolutely. What a wonderful way to put it. Yes. You are birthing. You are bringing into world. You are manifesting. And so that's really important to me to make sure I'm looking at my work clearly, but also Before I'm even taking into consideration the way somebody else is looking at it, I want to understand what I'm doing and what my own personal intention is.  But basically, like, you know, if you want to release that energy, you have to either, you know, you have to decide that you're going to leave this behind and say, just no to it, or you have to kind of change your space or, you know, you have to accept it. Yeah. You have to fully accept it. And once you do that. Then all of that energy that you, that took up your spirit saying, well, I don't really like this town. Like this isn't, you know, where are all the people  and all of that, yeah, it goes to another place and you start building it yourself. Yeah. I definitely feel that.  Like I'm going through that whole, I don't belong here. There's no one that looks like me there. I can't find my food. Like, I mean, it's just, yeah, it's hard, but I am trying to find ways to, and no one's telling me to leave this time. So that's also hard. Mm-Hmm. And it's your choice. Yeah. . Wow. You're like,  yeah. But then we have these commitments that, you know, we have to stick to and take care of the elders that are in our life and not just kind of dump 'em off in a home somewhere. So  yeah, it's hard, but,  and the truth is you don't have these moments back, you know? Yeah. Like Jen was saying, like this, these are special moments. Like, it's just like when your children are small. You know, they're really hard. It's really hard to take care of people, whether they're really, you know, young or really old and you won't have these moments. And then, and this will be your place in some way, you know, because it was the place where you decided to take care  of your people. Right. Jacksonville is a quiet in between, honestly, like it's not necessarily the place where people visualize.  coming to. It's not necessarily the sexy place with, you know, it's not, it's just not, it's like very much a Southern town, you know, people aren't thinking in terms of being cosmopolitan, but it very much is a place where you can find yourself. I think, I think it's. Quiet enough where you can make decisions there's so there there's a lot of things to do very much nature based But once again, it's the space where you can hear yourself Think if you stop resisting for a minute, yeah, you can hear yourself Think yeah, you can hear the waves crashing on the shore or the leaves the leaves being rustled by the breeze you know, however you choose to To take a moment, and that could be anywhere, and what I've been learning is that everywhere I go, there I am. I am my home. You know, we're always looking outside of ourselves. I think it was Wayne Dyer that um, said something along the lines of we're always looking, we've lost our keys and we're looking for our keys outside the house. When the keys were sitting there at the front door all the time. Yeah. So, we're always looking outside of ourselves. For the meaning and for home, when we carry home with us, wherever we go. Yeah. Or the  possibility of it. And it sounds like you're saying we can really take up space here, right? Like we can take up space. So what I want to do is just kind of go around and ask you, you know, what does embodiment mean to each of you? My podcast, I call it joyful embodiment, but I know that embodiment is not always. Fun or joyful. Um, and so kind of with both of these concepts in mind, geography and art, like where does embodiment come in? What does embodiment mean to you, Jen?   Well, completely and literally for me, the performative aspect of the expression, the artistic expression is present, vital, urgent.  It's not really rehearsed. It's not going to be the same ever. Um, so I would say the process and the performative aspect of my process involves complete utter immersion in the present experience and reaction to,  reaction to an audience, reaction to collaborators. Um,  so this is flash round, so I won't go there. Flash round. Ha ha  ha. So I, with me, I mean, the primary art that I make is that I weave plastic. And a lot of my work is very chaotic and messy and raw, like strings hanging out all over the place, the knots are wrong. I used, uh, materials that don't look good together. They're not like pretty little things to put on the wall. These are like me and everything that I've been through in my life. All the struggles, the losses, everything. So, um, I think that's the embodiment is me connecting with this piece that I'm making. That's all me and all my mistakes or struggles or victories.   I was thinking about this, you know, when you mentioned it, um,  and really what the definition of embodiment is to me, uh, it's an idea or something. abstract that is manifest. So we have these ideas and then it's taking something from our mind and bringing it into the world. Um, in some cases, I do believe it's part of the artist's purpose. to be or to help bring to life the manifestation or incarnation of certain abstract ideas.  I feel like that's part of the work that I do is to, um, to help people who've been thinking about certain things, you know, that don't necessarily see themselves as an artist. I believe everybody's a creative, but not everybody's an artist and, you know, and has the lexicon and vocabulary or the dexterity to necessarily bring those things to life. And I think that's the difference between being a creative. and an actual artist that manifests things. Um, and sometimes artists themselves are perception personified, you know, and so it's our idea to perceive and to look and to bring to life. Um,  and sometimes we're translators or guides to offer a better understanding of something. And, you know, for myself, spiritually, Um, you know, human connection figures so heavily into my work, you know, maybe for me it's that I can possibly help others, uh, see more clearly in that regard in terms of once again, taking the abstract idea of, you know, spirituality and what is that and what does it look like? And, and bringing that into some, some place in this world, whether it be visual art, whether it be me as an actress, whether it's adornment, whether it's even origami or any type of sculptural work I may do.  That's interesting. Cause it sounds like all of you are talking about taking something from the spirit world in a way and making a body for it in the real world, in the physical world. And when I think of embodiment kind of like through a wellness lens or a health lens, I think of  getting grounded in your body and kind of trying not to get caught up in your mind, not get caught up in the, you know, the, the thoughts that kind of keep churning. And that can be a really good. I don't know, like, uh, a practice to stay mentally well, right? I know, like, the background of this podcast, the whole reason I started it is because my daughter had issues with addiction. And one of the predecessors of the problem was this disembodiment,  this feeling of, like, not being connected, right?  And so I wonder, like, taking the idea of, like, you know, bringing art from the spirit world down to our physical world, but also. You know, being a healthy body and soul, being kind of connected together, um, I wonder how like the being a female artist plays into this, right? Like we are these bodies that can generate new bodies, right? Like we are, we have to be embodied sometimes, whether we want to or not. Like I wonder how this plays into that, um, feeling of being able to take from the spirit world and create.  I think it's not a choice. Yeah, it's definitely not a choice regarding  being informed by this maternal,  um, whether we are literally parents of children or not. We have these, as artists, I think, and women, maternal instincts of caring, caring, nurturing for each other. Um, I also think that while we are all creatives,  I think being an artist is rarely a choice. It's something we have to do.  Um, we don't sit and wonder, I mean, we, against all odds, right? Grant or no grant, money or no money, time or no time, collaborative partners or not, it's just this, you have to, it's a force.  A while ago I did an experiment called Words Matter, in which I was really influenced by Marina Abramovich and her. Mm-Hmm. . Um, I was gonna ask  you about her artist present piece. I'm glad  you brought her up. Um, I was an artist at Cork for 10 years. I had a space and every year they have cork open studios and artist, two things in the gallery. And I'm not a painter or a performer, so I thought, I'm gonna do something. Marina Abramovich inspired. But it's going to involve allowing the other person to talk and to practice really giving my body, my attention, my soul to each person.  For many, that maybe is  Just easy to do. Um, so I admire people that are great listeners, but for me, I thought this is a practice I need to, I'm older and I need to get better at truly being present for someone in this. And I thought to myself. that people, I had a very over inflated idea of how much people would want to hear my wise,  sage response. And no one asked. Some sat across from me in Cork  and I had a little piece of paper that said, your words matter. I'll listen and you can tell me whatever you want.  And I concentrated on listening and people talked for sometimes 45 minutes. Oh, wow. And never said, what do you think? I know you're not supposed to.  Nothing. They were perfectly satisfied. And through that performance art, truly, um, they were the performers and I was the audience. And I learned. That through restricting myself to not,  um, say something back, that my mind was totally with them because I wasn't thinking ahead about something clever. Absolutely. Something clever I could say. Yeah. Some solution. That's where we spend our time. Thinking about what we want to say. We spend our mind thinking like, I'm going to tell them, and I think this is great advice, or I'll tell them this story that relates. I didn't have that. So true. So I was able to really give them and embody that  space. Yeah.  Wonderful. Well, it shows just how in alignment we all are here because my project for, um, my grant was TalkTalk Convo. And so in this, in the same realm, Except in post height of the pandemic, post lockdown, where we've all been so disconnected and in our own little individual silos, trying to encourage people to authentically.  And intentionally speak and, you know, I felt like I needed to give people prompts to give, to get conversation going because people really were, have been very scared, you know, also taking into consideration, um, where we've been politically, you know, just speaking about this country, not even going around, which is, you know, a whole other bag of chips, but, um, just where we are here. And people are scared to share their opinions. And there's, we spend a lot of time in fear in general. And so it felt so important to me. And it actually got the idea pre pandemic. Same artist inspired me.  She didn't inspire me. She's, she's not in the same way. I loved the way, um, Maria Bravonomic. I always mispronounce her last name. But, um, the way she was there for people and she. held space for them to just be as opposed to, well, I need to say this, you know, just as you were saying. A lot of our time with other people is spent thinking about what we are going to say next. And it's not about listening and truly, you know, tapping into this other person and their energy and what they're sharing. And so, once again, I was, I was, uh, moved to do the same thing and truly connect with others. And that was why I had started that project. But I was looking at an old bio this morning. And when the project was in development, it was called Good Advice because I thought, Oh, I have all this stuff that I want to share with people and I have such really great insight. It was so funny. I was like, Oh my God, look at me thinking about myself.  Save your complex. Once again, you know, we were talking about that earlier. And so same thing, you know, when you move yourself out of the way, it's a clearer path to another person. It really is.   What about you, Shamaya? What about being a woman in the  world of sculpture? I'm so caught up with what you guys are saying that I've not been thinking about what to say. That's perfect.  I like what was the first question. Um, so I'll just talk about my most recent. solo exhibition, um, which was funded not by that grant, by another grant, but I got this computer, which I did a lot of work. Um, it was called The Veil of Maya, and in the Indian culture, Maya is the word in the Bhagavad Gita for illusion. So, like, I've made all these sculptures, um, that are like these white, Fluttery things and nobody really knows what it's from but it's actually like this insidious material that's like choking our planet which is waste plastic and um, somewhere in there is that woman of me as a savior trying to save the plastic but there's also the weaving that I picked up which my grandmother in rural India was um, spinning cotton to earn a living for the family while my grandfather was a prisoner of war in Singapore during World War II. He, he had, um,  so this is India with like, he had five daughters and this is the country where, you know, girls are thrown away because the girl child is not needed. Uh, it's the male that needs to take care of the family. So my grandfather with these five girls didn't have enough money,  went to war. Um, and was taken prisoner, but my grandmother earned the, was actually the one sitting at home earning a living weaving. So I wanted to connect with her in some way with my mother now living with me and my father recently passed away, um, from a lung disease. So all this is happening like while we just moved back to America. And so I just picked up what was right there in front of me, which is the grocery bags. And I'm like, what can I make with this? And the first thing I made was an Ivy bag because my dad was in the hospital at the time and I couldn't go because it was COVID, you know, and he was in Washington.  So, um,  yeah, I think that was the time of. Making the art, you know, being a caregiver for my mother, and then I did end up going to the hospital and caregiving for him for a couple of weeks before he left and,  um,  all these are there, like my grandmother, my stories of my history, um, culture that I'm far from, uh, and I, as I've told you, like, our culture is very quiet. You know, we don't make big issues about the political things that are going on in our country or the poverty that we come from. Like I grew up Very poor. I mean, we all slept in one room. We all slept on one bed. We had an outhouse toilet, you know, so there's all these things that I've lived through and I just don't talk about it. I keep moving forward. I educate myself. I get these jobs. I have a good life, but it's all the things that make me and I guess I'm weaving them  like my grandmother was weaving cotton. So I think that's where the female is.   Yeah. Yeah. Yeah. It's a very feminine craft  that you're doing.  But I'm trying to also make it masculine because I'm putting in this hard plastic in some of my works to make them into sculptures, which is why I call them tapestry sculptures, um,  because I'm sort of like in a world with my jobs as an engineer, as a political analyst, a male. Dominated fields, which I mean, I never felt that I was lesser. In fact, I felt better than most of them. So that's not a concern for me, but, um  Because I, I mean, you know, you educate yourself and you can put yourself in front of people if you know what you're talking about. And, um, I wasn't concerned about that, but  yeah. yeah. That's  wonderful.  Yeah. I, um, so we're talking about, you know, identity and identifying as a woman Yeah. But we identify in all these different ways, which you've mentioned. Mm-Hmm. , you know, your background. Yeah. Um, how, how else does your identity, any one of you. Your different, you know, ways of seeing the self inform your work beyond the feminine.  I think we're a matrilineal society. The whole time that Shamira was talking, I was just thinking about,  I don't think there's anything more metaphorical and straightforward truth of the stories that you're literally weaving  and carrying this.  I think, gosh, let me, I'm going to write a play about it.  I think that's a  beautiful movie. Watch out, she will definitely write a play about  that. I'm just, I'm completely captivated by people and their own stories. I would never, I can't act, I don't want to act,  but I would. I would encourage you to, oh gosh, I can't stand it. That's such a beautiful story, and I think, That's only a little part of it. I'm sure. Yeah. But that's a thread. Like, that's a really important, I think it could be so cool to stage that in a, Yeah. In a solo storytelling format. My father was an  actor, so he did, Hm. Yeah. Oh, wow. Probably why I'm drawn to you.   And it brings us all together. Mm hmm. But. You know, we identify on a global level, I think, as women with each other, and I don't know that men  do that as much, but I think there's a certain, um,  well, there's a certain empathy and understanding and love that women just normally have for each other, regardless of religion, and that's why it's so important to have these solo.  Stories have, because I think the, the hatred that  happens in the world happens when we do big broad strokes across individuals and we clump them into faceless, nameless people where we would never do that,  um, to some of the historic stories that we've lifted up. And so that's why I think, um, first of all, I think the art that doesn't involve words.  Um, is fascinating to me that the story that you're telling,  um, through your art. I think is, it's breathtaking and the visual of it as you're in the process is part of the storytelling, which I think is so cool. Um, so yeah, it's maternal for  sure. Yeah. Yeah. I know. It's beautiful. Thank you for sharing that.  Um, Thorne, you have identified as coming from the Bible Belt, which I think is interesting. And I think, I think is it probably brings something very different from say like Shamira's background to your art and also being a Black woman in Jacksonville, you know, multi generational Jacksonville. How are these identities shaping or how have they shaped your art?  I'll probably say I felt even more motivated and, um,  just moved to.  Be me, as opposed to following through on other people's expectations based on the fact that I am of the African diaspora, based on the fact that I am a female. You know, it's forced me to not necessarily do the opposite, just to  antagonize other people, but just to, because it's been me, like, I grew up in between two brothers, so I read comic books, which was just kind of outside of the norm. You know, when I was growing up, I think now it's a lot more People talk about, you know, women who, you know, work in the comic book world or who work in that world. You know, I grew up doing printmaking. I've been doing printmaking since I was in high school. You know, when  that type of work was also seen as male dominated. And so, um, it was so funny. I had One of my printmaking teachers in college, he could not remember my name. I had been in, like, four years of classes, and I was a major. Could not remember my name. But once again, it was because he didn't necessarily see me as someone he needed to take into consideration. And that's fine. You know, I don't necessarily shape myself by other people's um, expectations of me. Uh, and that's what I've just had to learn. You know, whether it had anything to do with race, or whether it had anything to do with me being a woman. And that's fine. Um, because I think so often we look at the lack or what we don't have as women or what we're not allowed to have or what's been taken away. And I feel like there's a whole bunch of people around to, you know, study those statistics and all the demographics. And I think that's very important, but what has helped to shape me more often than not is what I've done in spite of the lack or what I've done in spite of the things that haven't been. available to me as a woman, because I was really thinking about what is it that I haven't had, or what is it that I haven't? known about because I was a woman or because I am, you know, a brown person. It's because I don't know what I didn't know.  Exactly. I don't know. Nobody told me.  And sometimes, you know, you don't find about it until afterward. So is it, you know, taking once again into consideration the whole idea of the power of now? Is it? Really serving me to be upset about something that I didn't even know about. And I probably came out on the other end of things a whole lot better having made my way through. Not being given a thing, you know, and so I mean, because I can probably look back a number of times, whether it be, um, you know, grants or whether it be different sets of circumstances where I've asked for resources, and I know that maybe it did have an, you know, Whether it was race or me being a woman and not being taken seriously, definitely had an impact. But unless people are fully authentic and honest with you, which. A lot of the time, they're not, they, they feel ashamed of those things that really influence their opinions. So, they're not going to tell me, well, I made this decision to not give you this because women aren't good with money. You know? And so, I mean, you know, we found that a lot of female artists just aren't good with money. So, we have a tendency not to give them the larger grants. Like, you know, and people so often aren't even aware of what their prejudices and their biases are.  probably even more proud of myself, um, for whatever accomplishments I've, I've had or made, um, in spite of the lack and, and for the ignorance of, you know, not knowing what was not given to me and what. Yeah. And what was taken away from me before I even realized it was available.   That's interesting. Cause we talk a lot about privilege now and the privileges that we're not even aware of, you know, and, and kind of like becoming aware of them. It's so important, but it's, I think you're talking about almost the flip side of that, which I think I've experienced this as well, too. Like not knowing what I didn't have.  Not being, cause I'm the same way. I have two brothers. Right. And it's like, when you compare yourself to your siblings, you're like, well, he got this and I didn't get that. So you're like aware of that, but there are some, sometimes you don't even know what's available to you. You don't know how unprivileged maybe you were and you were just kind of like working through that. Like, you know, Shamira, it sounds like your background, you just kept on moving forward and you kept going. But I think it is important to be aware of, you know, the privileges we have and obstacles also that we've kind of come across. It's  usually after it's usually, you know, someone else's. You know, um, view of a situation, which is why connecting with other people is so important. And have, and talking to people about your story, and people can enlighten you. You know, as opposed to us being in these silos where we never share our story, which is one reason why Jen and storytelling, I think all of us are storytellers, you know, sitting here today. Um, that's why it's so important, you know, to find out, you know, though it's not necessarily my focus, because I'm telling you, if I spent, time really getting into the things that I wasn't given. I would do that all day, y'all. I mean, I don't know what else I'd do.  Yeah, I would just cry. I mean, I don't know what else I would spend time doing. And so, it's important to know and to be aware. Um,  I'm not gonna say that ignorance is bliss because it's not necessarily bliss. It's simply, once again, I've been made stronger. By having to work harder. And I've had to be grateful for that. Not that I wouldn't have loved for it to the road to have been a little bit easier and a whole lot less bumpy. And at the same time, I'm so grateful for the person I am today and what these experiences have made me. Um, I wouldn't give it back. Yeah. I want to know once again, I do want to know. And at the same time, I love me. And I'm so grateful for the type of artist I am right now in this moment that I otherwise would not have been if I didn't have this story to share. Yeah.  It occurs to me that there are so many similarities  among the three of you as we're talking about just kind of this, you know, this being in the feminine space. It's interesting how many challenges are, are the same, you know, even as diverse backgrounds as we have. But yeah, I mean, I definitely, cause I, I don't rem, I don't know if you guys saw this. Question because I kind of put it in the body of one of the emails, but I did want to know if any of you have felt  a particular time when you felt really disembodied, like really disconnected and maybe if that informed your art or the opposite, like you felt really embodied, like really kind of like moved by the spirit. So if you have, you know, an anecdote, um, I'd love for you to share that because it seems like those are where. You have some similarities, you know, through the process, you know, you say the process is everything is more, much more than the product.   Um, so I actually, um, I guess I can think of any time when I felt really embodied was I had to do a performance piece, um, at the U S or the Swiss embassy in China,  and, um, it was me and another. Chinese feminist artist who's a performance artist and a professor, and we barely can connect, like we, she doesn't speak much English, my Chinese is very Yi Dian Dian, and like, um, we, we were in the embassy and we put out this long scroll on the grounds, took off our shoes, and she brought this bowl of ink, and we held a thread between the two of us on opposite sides of the scroll and started painting. And there are all these, like, Swiss ambassador, American ambassador, all these diplomats around us. And here we are, like, on the floor, rolling around with the ink. And then we started tying each other up with ink and, like, put it in our teeth. And she was guiding me because I'm, I wasn't as free as her. She's, she's done performance art where she's, like, You know, uh, gone into a tank full of water or a tank and then they poured water over her and she stayed under because her themes are about like, uh, the women's issues in China. So she was guiding me through this process, but here we are like talking about environmental issues, women's rights, human rights in China. At the feet of all these diplomats and as nervous and scared as I was, you know, it was just, it was, I think, a moment of complete embodiment as these two women taking on these like senior figures and, you know, world politics or whatever, and it was pretty cool. Yeah.  That's really cool. Do you have footage of that? I have. Yeah.  Oh yeah, I've got it. It's on my, it's on the Instagram, but I have a lot more pictures as  well.  Can I say both?  I feel a lot of the time, like the work that I do. Um, it's something working through me and it's so there's disembodiment and a disconnection because I feel as if I'm seeing myself from the outside and manifesting this because that is my purpose. Um, and connection when. I'm still here, grounded, and really working to connect with somebody as opposed to letting it happen. So, once again, my project Talk Talk Convo that I finished over the summer, um, I was in those spaces. I created a space. Uh, made from recycled, uh, retail bags, made from probably about 500 or more, I stopped counting, of, of recycled, uh, retail bags. And I went from library to library, building, building these walls and taking these walls down. I didn't even realize how symbolic it was in that moment. Um, but building these walls, putting walls up and taking walls down and creating this space that was intentionally to interact with other people. And that was their space. For two minutes, and that was why we were there. That was the only reason we were there. That's the only reason those walls were there. And I wanted to do it in a space that was accessible. Um, you were talking about diplomats and I was at the other end of the spectrum, you know, where it was anybody that wanted to come into this space, uh, was able to come into this space and try to connect if that was what they wanted to do. And so it was in those moments that I felt more embodied and more. Connected and grounded.  And once again, it's, it's usually when I fully released and I let down and let go of the resistance of trying to control things is. So many of us artists are, we are always trying to control the outcome as opposed to letting things happen and we want to know what it's going to look like and we try and plan it. But I feel like we all have, I think being disembodied might. Get a bad rap, you know, like being freed from and being untethered in being allowed to just Let things be and let things go like what shamira. It sounds like that was what you were doing for sure You were just letting go of what your expectation is and I feel like I feel like a better creative overall. I feel you know just  More connected to the work when I let myself go, not, not in some, you know, erratic way or totally like mentally untethered way, but in this way where you're fully allowing. I see it as spirit working through me in that way. Like I said, I do see art as a spiritual practice and I think that's part of what my purpose is. So I think both of them. And I think both can be good, you know, depending on how you receive it and how you see it.  That's  why we're called creators.  Artists are creators.  Yeah, absolutely. Creating worlds and spaces. Absolutely.  And you work in the imagination which has, is boundless, right? And that's the point of it, you know, it doesn't have a body. But then you have to pull it into, and I think I, I was sharing that Rick Rubin quote with you guys because I just watched his documentary, I read his book, and I loved how he talked about how it's not so much about the product, it's about the process, and we do create these little artifacts here and there. And those are kind of like the body part of our vast imagination, right? So when you create, even if it's a beautiful, wonderful, amazing, you know, play. Or book, or novel, or sculpture. It's really just a little piece of your vast imagination. You know, there's so much else going on in there. And your  capability. And, you know, all that you are capable of doing. Yeah.   Jen? Wild thorn. You want to have a pajama party now? Let's do it. And just stay up all night. Yeah. Let's do it. Let's do this conversation.  Well. Yeah, for sure. It, it sounds like if I can paraphrase for what Thorne, what I heard Thorne saying about the disembodiment part and how it gets a bad rap, which isn't a paraphrase. Um, well, I think about failure. I did a presentation for students last year called Finding Freedom and Fun in Failure.  It connects. to I think what we've, what I've talked about as far as listening, it connects to the sense of place where  if I had been a single mother writing my first album, In New York, well, it wouldn't have happened. I didn't have the space and the place to fail and try stuff. It wouldn't have been possible. So, here we have,  um, the opportunity to try stuff that works, try different ways, collaborate. Some partners that you're working with might disappear at some point. For some things, not. Um, and, and I do, what I do involves, Solitary work and collaboration often,  um, on one project. And I was thinking back to when I got my Rotary ambassadorial scholar, ambassadorial scholarship to go to Senegal.  When I went to the doorway of no return on Goree Island,  I saw,  well, I'm a white person, um,  that carries a healthy degree of.  Sadness for hatred and, um, a lot of the periods of, um, of our world history as people who have been incredibly cruel and  disgusting to each other. And so standing at the doorway of no return, where thousands of Enslaved people from the continent of Africa were loaded onto slave ships. Um,  that moment, I had heard about a little 13 year old girl who was taken from Senegal and, uh, gone through the doorway of no return and ended up here in Spanish owned Florida named Anna Kingsley.  And I just, at that time, there was a tiny little monograph about her that someone sent me. He said, I've heard you're going to this place, Senegal. Guess what? I think this person, and at the time, no one knew the story in Senegal or here, very few people.  And when I went home to my host families, and so I cried for her.  And it was profound. My daughter was lonely, kind of, you know, learning the language. She was in a French school here, which everybody thought I was crazy to put her in Johnny Ford Public Magnet, immersed in French, but, so she could get by fine in French, but, um, you know, she was the only, sometimes we saw, Dakar is a major city, but we went to lots of villages where no one had ever seen a white person before. And when I wrote the song, I cried for Anta Majigunjai, this little girl, and I thought about my daughter on the beach that day meeting another little  girl, a little Senegalese girl, and it brought me back to my best friend. Who we are celebrating 49 years of friendship that I met on a beach when I was 10 and um, and so I connected those two stories and it felt real. It felt, this is my purpose. I didn't question at all the song that I wrote and brought it to a Senegalese group. And they had tears streaming down their faces, and we collaborated and recorded the song. And I had no doubts. It's when doubt comes in. It's when you say, maybe I don't have a right to tell this story. I don't, I'm not in it. Or, when those things come in, then, um, I would say you feel disembodied. And the disembodiment is the business of art. It's always the business of art that I, that you question and doubt. And it's so painful because money,  When, once money gets involved and you're in charge of it, or you have to promote was  very abstract compared to being in the physical living of world, like of the world, you know, it's like now we have to put a number to everything that we do and that we imagine, but, but yeah, I'm just thinking about the other night at your show. It was a very embodied audience because. Of the smells, so she passed around the different smells from different like eras of her life where she remembers it, you know, remember there were good smells there, but in little jars, I've been wondering about that, in little jars, yeah, there were mostly, um, and so to me that felt like a way of you pulling the audience into, into their bodies, you know, into their senses. That was wonderful. Totally taken in there. Yeah. So I guess what we, the way we can wrap up really is let's kind of touch back on the themes of geography and embodiment and taking up space in the city. Like, where do you see? Yourself and your own art and maybe any other organizations that you're connected to, how do you see your, yourself taking up space in? Yes, I can start.  Um, well, you know, we were just having this conversation about, um, me and my role. With art in public places, and I really did see my role as helping people to understand that everybody deserves art, and it should be everywhere. It shouldn't just be in certain neighborhoods with certain, you know, income demographics and certain, you know, um, housing, you know, being 200, 000 and up. And those are the people that deserve art. And a lot of the time when I work with art in public places, and I was essentially, you know, we can say lobbying advocate or whatever. Yeah. That I harassed a lot of a lot of, um, you know, people that work with the city, including city council members at the time that I was first appointed, um, to understand that  there is a space, there's a huge gap, there's a chasm  in between where You know, people have access to art there where art is made and then people have access to it. So much of the time things are in a gallery or in other spaces and maybe in a theater where a lot of people don't even feel comfortable, you know, and I'm not saying that everything should just be, you know, in a grocery store. And at the same time I say, sure, why not? You know, like, why not try, you know, doing art, you know, in, in unexpected spaces. But for, for this specific, um, goal that I had with Art in Public Places, it was about making the process of art going into the community, one that was a consistent, process and one that was facilitated, you know, by a system because they understood that this w this is a need. And so I, I feel so much of the time that we don't all fully understand. I think artists, of course, because we're artists, we feel that art is essential, but so much of the time people don't fully understand that art is essential. Like. You know, art that challenges us, art that's pretty, art that, you know, is not only amazing to look at, but art that teaches us. And I feel like that's a huge part of what my work is here. Not just the work that I create, but also advocating for that type of work as well, supporting other people that do that type of work. And, um,  And always working to, to push the idea of arts access forward is a huge part of my purpose.   That's wonderful. I can definitely see that.   I don't have any grandiose  plans. I mean, I think I'm just going to keep picking up everyone's trash and just making my work. That's a part of it, yes.  And if there's an opportunity to work with a group setting to like weep together, that would be fun. And have, you know, like, sort of like a weaving circle.  We've, we've sculpt with the waste, I think, I mean, that's, I don't have big plans because I'm also going to try to educate myself some more, so.  Those  are big plans, by the way. Changing something that was seen as trash into something. Yeah. Different and useful and giving it a second chance. Yes. Absolutely.  Yeah. I'm uplifting it. I mean, I'm aware of all the, uh, metaphors and themes that go into the work, but I'm just doing, you know, a few pieces at a time. Trying to do, do my part for  society, so. Yeah,  makes me think of mushrooms, because I don't know if you've seen the, it's Fantastic Fungi. They talk about how mushrooms, if we didn't have, um, life forms like that, they'd eat dead wood. That eat, you know, old things and discarded things, then they would just pile up. It was something I'd never thought about before, but that's almost what you're  doing. You're a little mushroom. You're a cute little  mushroom. Mushrooms are great and have many wonderful uses. Absolutely.  Lion's Mane is great. It is. It's  beautiful. What  about  you, Jen? So, um  I was listening to a, um, a guy named Jim Carrick, I, on,  uh, First Coast Connect the other morning, and I hadn't thought about him in a long time. I lived in St. Augustine a long time ago. He's a guitarist that knew, The legendary folk  artist, Gamble Rogers,  and he was doing all these kind of gamble isms, quoting Gamble Rogers, and I already knew this one, that Gamble Rogers said, life is what happens while you're busy making plants. I love that, but I heard a new one that I hadn't heard before, and um,  experience is what happens when you don't get what you want.  And I love that. So true. Um, And so I would say my, the geography of my presence and my art and the connection between goes back to those early days where I was instructed as an ambassadorial scholar to create a cultural bridge between Dakar and Jacksonville. And I had no idea. I wasn't inspired at all until I immersed myself there and heard a story. And so I thought, Okay, you're good at that. You're good at finding connections between people, whether it's I felt like it hurt me to hear you can't find your food  because culinary art is so important. Whenever I do an artistic or a performance, I try to include the elements of the senses, the smells and the tastes and the feel, um, and the sounds of a, of a moment or of a story. And so to me, um, Um, I, I just want to keep creating those cultural bridges that come naturally to me. There's a lot of things that don't, but that's my language and  from their home, right? And a lot of what we're talking about is home,  right? And what home, how do we bring whatever that home is, or, and then you talked about how you carry home with you, you know, you wear it, right? Um, all these things. So to me, um. It's all about that. Just finding what our language is and continuing to do it and build those bridges.   That's so important. Yeah, I do cuckoo a lot.  I'm coming over   because my mother's there and she can  guide.  Thank you so much, Jen and Shamira and Thorne. Thanks for being on the show and gathering here. It was so special that you were here. Speaking of home, like in my home, what  a great conversation. Thank you, sir.  Absolutely. Thank you for even thinking of bringing us together. 

AlabamaBill by Congressman Moore passes US House re: deporting illegals with DUIsSen. Tuberville hates the border security package being negotiated in SenateState lawmaker pre-files bill to deal with artificial intelligence and Child pornRegions Bank to layoff less than 3% of its workforce of 20 thousandRadio Icons Rick and Bubba to wrap up 30 years on air at end of 2024NationalFederal reserve met this week, declined to cut interest ratesJoe Biden finally decides to visit E. Palestine Ohio - during an election yearHouse Oversight demands docs from National Archives re: Joe Biden speechTX Military hangs flag at HQ - Come and Take It- beneath American FlagFL Governor to send 1,000 national guardsmen to help Texas with borderSCOTUS to consider first ever case on bump stocks and firearmsSage Journal study makes direct link between myocarditis and Covid mRNA jabBiden's new appointment of John Podesta to WH is a chance for Americans to review his art collection and association with Marina Abramovich and WAKE UP!

#diepodcastin erklärt Demokratie: Isabel Rohner & Regula Stämpfli über die Freude der Woche: Männer solidarisieren sich mit #IranRevolution in Paris, über Frauenverachtung des designierten Queer-Beauftragten in Berlin, den überall beworbenen Männerroman über BILD, über "Left is not Woke" und die grosse Marina Abramovich.laStaempfli fährt weiter mit dem BILD-Buch "Noch wach" , doch die Rohnerin verteilt die Schrumpelgurke : "Gab es jemals so eine Omnipräsenz auf Cover, Titelseiten, Feuilletons jemals bei einer Autorin? Nein. Das erzählt uns leider viel über die Medien- und Verlagswelt 2023."

Welcome to Dev Game Club, where this week we continue our mini theme of the flexibility of text. We examine the Infocom era by playing a late title, Plundered Hearts. We discuss some of the rougher aspects of the game and the mechanics of text adventures, including the facilities of the language and some of its modern descendants. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Tim (all), Brett (the first section) Issues covered: setting the game in its time, graphic adventures in the time, the death of Infocom, the variety of Infocom's game, Tim pulling his hair out, the cinematic nature of the game, some digressions on Deadline, extending the play through difficulty, saving the game, puzzles and wordplay, exploring the parser, accommodating the player, playing with tropes, Tim misses the boat, a bit of description of the parser and virtual machine, rooms and inventory, fore and aft vs north and south, abstraction and flexibility, restrictions, great graphics via visualization, the perfect run and the perfect score, the modern text adventure market, trigger warning for adult themes, a female protagonist, failure states, "a fate worse than death," a commentary about the dangers for women in the world, a game that she wanted to play, the context of the medium and the inherent danger of the world, having an impactful victory, Vermin's SL1 of Dark Souls, Pippin Barr and experimental games, Break Out and performance art, from Rogue to Diablo. Games, people, and influences mentioned or discussed: Rogue, Calamity Nolan, Reed Knight, TIE Fighter, Aaron Reed, Maniac Mansion, Sierra Online, Space Quest 2, Police Quest, Leisure Suit Larry, Nintendo/NES, Punch-Out, Final Fantasy, Sid Meier's Pirates!, Metroid, Legend of Zelda, Day of the Tentacle, Cornerstone, Zork, Deadline, Deathloop, The Lurking Horror, Ballyhoo, Moonmist, Leather Goddesses of Phobos, Hitchhiker's Guide to the Galaxy, Activision, Sea of Thieves, Amy Briggs, Agatha Christie, Murder She Wrote, Sleep No More, Colossal Cave Adventure, Apple ][, Volkswagon, Tim Schafer, Dave Grossman, Dark Souls, Tomb Raider, Choose Your Own Adventure, Fighting Fantasy, Sir Ian Livingstone, Ink/Inkle, Around the World in 80 Days, Sorcery (series), Heaven's Vault, I Have No Mouth and I Must Scream, Suspended, Brian Moriarty, A Mind Forever Voyaging, Dark Souls, Emily Short, Elsinore, Pirates of the Caribbean, verminthewepper, Pippin Barr, David Wolinsky, Marina Abramovich, The Artist Is Present, Kill.Screen, GameThing, Breakout, don't die, Father Beast, Diablo, Ragnarok Valhalla, Glenn Wichman, The Eggplant Show, Dave Brevik, Moria, Nethack, Oliver Uv, Brogue, Caves of Qud, Cogmind, Rogue Legacy 2, Mark Garcia, Kirk Hamilton, Aaron Evers. Next time: A bit of a bonus and takeaways! Errata: It's a babelfish, I can't believe I couldn't remember that Brett confused Astrologaster with Heaven's Vault (he was referring to the latter) Links: Interactive Fiction Database GameThing podcast! Pippin Barr's site Don't Die by David Wolinsky Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com

Estou rouca, mas não queria deixar de ter esta conversa que me trouxe autores que deixam imensa vontade de ler, espero que vos aconteça o mesmo. A Mariana é uma empresária original e de força, apelidada de "empreendedora underground" e que vem de uma família onde todos são leitores acérrimos. Os livros que trouxe: O livro tibetano da vida e da morte, Sogyal Rinpoche; As doenças do Brasil, Valter Hugo Mãe; Memórias de Adriano, Marguerite Yourcenar; O restaurante da saudade, Anne Tyler; Stoner, John Williams; O quarto do Giovani, James Baldwin; Little life, Hanya Yanagihara (não havia tradução mas vem em Novembro!) A morte do pai, Karl Ove; Julian Barnes, Elisabeth Finch; A vida mentirosa dos adultos, Elena Ferrante; Elena Ferrante com a Marina Abramovich no Finantial Times que publicou a correspondência entre elas; Elisabeth Strout, Olive Kitteridge; O que ofereci: 10 anos depois, Liane Moriarty; A Mariana ofereceu-me: Os pés não têm céu, livro de poemas de Pedro Pires, que criou a editora Poets and Painters.

Llega ya el sábado y vuelve “Un buen día para viajar” a Rpa con esas dos horas de viaje radiofonico imperdibles, porque os proponemos en la primera hora visitar el Museo de Bellas Artes con los paseos deliciosos que Sara Moro nos trae cada fin de semana, en esta ocasión con la exposición de Marina Abramovich. Victor Guerra es nuestro especialista en camineria y nos lleva por la zona entre Llanes y Ribadedeva en una zona cargada de lugares con auténtica magia. Francisco Borge nos traslada al reino de Asturias a través del arte y nos mete en su narración a San Salvador de Oviedo. El gran divulgador histórico y escritor Mario Agudo nos lleva de viaje a través del tiempo para conocer la mítica Palmira. El cronista oficial de Parres Francisco José Rozada nos cuenta interesantes historias sobre los indianos del concejo oriental. Y cerramos con de Calle a Calle hablando con el profesor universitario Juan Díaz que nos versa la vida y obra de Juan Llano Ponte. Dos magníficas horas de viaje a través de la Radio del Principado de Asturias.

Llega ya el sábado y vuelve “Un buen día para viajar” a Rpa con esas dos horas de viaje radiofonico imperdibles, porque os proponemos en la primera hora visitar el Museo de Bellas Artes con los paseos deliciosos que Sara Moro nos trae cada fin de semana, en esta ocasión con la exposición de Marina Abramovich. Victor Guerra es nuestro especialista en camineria y nos lleva por la zona entre Llanes y Ribadedeva en una zona cargada de lugares con auténtica magia. Francisco Borge nos traslada al reino de Asturias a través del arte y nos mete en su narración a San Salvador de Oviedo. El gran divulgador histórico y escritor Mario Agudo nos lleva de viaje a través del tiempo para conocer la mítica Palmira. El cronista oficial de Parres Francisco José Rozada nos cuenta interesantes historias sobre los indianos del concejo oriental. Y cerramos con de Calle a Calle hablando con el profesor universitario Juan Díaz que nos versa la vida y obra de Juan Llano Ponte. Dos magníficas horas de viaje a través de la Radio del Principado de Asturias.

Llega ya el sábado y vuelve “Un buen día para viajar” a Rpa con esas dos horas de viaje radiofonico imperdibles, porque os proponemos en la primera hora visitar el Museo de Bellas Artes con los paseos deliciosos que Sara Moro nos trae cada fin de semana, en esta ocasión con la exposición de Marina Abramovich. Victor Guerra es nuestro especialista en camineria y nos lleva por la zona entre Llanes y Ribadedeva en una zona cargada de lugares con auténtica magia. Francisco Borge nos traslada al reino de Asturias a través del arte y nos mete en su narración a San Salvador de Oviedo. El gran divulgador histórico y escritor Mario Agudo nos lleva de viaje a través del tiempo para conocer la mítica Palmira. El cronista oficial de Parres Francisco José Rozada nos cuenta interesantes historias sobre los indianos del concejo oriental. Y cerramos con de Calle a Calle hablando con el profesor universitario Juan Díaz que nos versa la vida y obra de Juan Llano Ponte. Dos magníficas horas de viaje a través de la Radio del Principado de Asturias.

Kayla joins me on a special Friday night interview. We discuss Marina Abramovich, Ghislaine Maxwell, Golem's, Jack Parson's, Aliester Crowley, Covid, and much more.

Thursday on the Stew Peters Show, Biblical & Constitutional scholar David Jose talks about the deep-rooted, Jesuit infested, history of Globalism. Dr. Stella Immanuel joins Stew to spread the word of God, and to offer advice to those who have regrets taking the COVID-19 vaccine. The Venom Theory has surged all over the world! And, National File's Patrick Howley blasts the Trump endorsement of Doctor Oz, who has been buddy-buddy with the likes of Oprah, Marina Abramovich, and Jeffery Epstein. Don't miss a moment of Thursday's edition of the Stew Peters Show, live on StewPeters.com Get Dr. Zelenko's Anti-Shedding Treatment, NOW AVAILABLE FOR KIDS: http://zStackProtocol.com Go Ad-Free, Get Exclusive Content, Become a Premium user: https://redvoicemedia.com/premium Follow Stew on Gab: https://gab.com/RealStewPeters See all of Stew's content at https://StewPeters.TV Watch full episodes here: https://redvoicemedia.net/stew-full-shows Check out Stew's store: http://StewPeters.shop Support our efforts to keep truth alive: https://www.redvoicemedia.com/support-red-voice-media/

Grim and James are joined by Jerry Cthulhu, ThatGuy, Nickie the Dude, Zac Hawkins, Gary Taters, Seralina, and Suzanne. Enjoy the chat! Support us financially at https://www.patreon.com/cruzinwithsteak or cruzinwithsteak.com/donate Check out our anime review show Shonen Dump www.shonendump.com Join our Discord ChatRoom https://discord.gg/PmdJaJY || James Cruz Twitch: https://www.twitch.tv/cruz_controllin Send us hatemail or love mail at grimsteak@gmail.com Live Show Every Tuesday at 9pm est on CwS Radio https://s3.radio.co/s230f698de/listen Check out Jerry's show "Nox Mente' at https://noxmente.simplecast.com/ thanks go out to Sir Felix Ortega II for providing all the jingles and outtro music. Check out and support felix's work at https://sirfelix.bandcamp.com/ https://www.patreon.com/jinglemoney/ Check out our website at https://www.cruzinwithsteak.com Follow us on Twitter @cruzinwithsteak @gromsteak @jamesCruz_cle

Partendo da una rapida analisi archetipica della raffigurazione dell'Arcano XIII dei Tarocchi storici di Marsiglia, oggi facciamo una riflessione sulla morte, sul concetto e sulla raffigurazione che centinaia di anni fa, prima ancora che la psicanalisi fosse una risorsa a disposizione di tutti, è stata attribuita ad uno degli argomenti più complessi e misteriosi che esistano. Lo facciamo con l'aiuto insostituibile di Alejandro Jodorowsky e Marina Abramovich. Iscriviti al #podcast, commenta e condividi con i tuoi amici le #puntate di #thebigfatvoice, seguiti sui #social, rimani in contatto e buon ascolto! Visita il sito http://www.mbgvoice.com (www.mbgvoice.com)  Segui la pagina Facebook https://www.facebook.com/thebigfatvoice (https://www.facebook.com/thebigfatvoice)  Segui il profilo Instagram https://www.instagram.com/thebigfatvoice (https://www.instagram.com/thebigfatvoice) Puoi metterti in contatto con Massimiliano scrivendo a info@mbgvoice.com Fai girare la voce… o meglio… fai girare #thebigfatvoice Musica originale by #audiio @helloaudiio www.audiio.com

Bu hafta Marina Abramovich ve onun 1974 yılında gerçekleştirdiği Ritim 0 perfomansı üzerine konuştuk.

We get into the Bill and Melinda Gates divorce! We'll go over the monies, the Foundation, its connection to the virus, and some conspiracies about why they REALLY are getting divorced! Microchips, viruses, Epstein and even Marina Abramovich are part of the fun!Links:Get that free jabbie-stabbie book here: https://gumroad.com/isaacw Get bonus content AND go commercial free + other perks with 3 options:1. VIP: Due to the threat of censorship, I set up a Patreon-type system through MY OWN website! It’s the VIP section of illuminatiwatcher.com! It’s even setup the same: FREE ebooks, Kubrick’s Code video, Tier 2+ shoutouts, Tier 3 Livestreams! Sign up at: https://illuminatiwatcher.com/members-section/2. Patreon: Get free ebooks, bonus content, no commercials at Patreon.com/IlluminatiWatcher! 3. ROKFIN: Check out my new PRIVATE show! I’m now on the Rokfin network! Check out all the premium bonus content of Conspiracy Theories & Unpopular Culture podcast AND an exclusive new podcast “INSIDE THE MIND OF A CONSPIRACY THEORIST” (*one subscription gets you all my bonus content as well as all other creators like Tin Foil Hat’s Sam Tripoli, Mike Cernovich, Whitney Webb and more!): https://www.rokfin.com/creator/isaac [**Rokfin also gets the uncensored version and commercial free version of my third podcast- “BREAKING SOCIAL NORMS” with Mrs. Weishaupt (we talk about trending topics, marriage and self-help with a dash of conspiracy!)]More from Isaac- special offers:1. Check out another free podcast I make with my wife called the BREAKING SOCIAL NORMS podcast! You can get it free wherever you listen to podcasts (e.g. Apple: https://podcasts.apple.com/us/podcast/breaking-social-norms/id1557527024?uo=4). You can get the Uncensored and commercial-free option available at https://www.rokfin.com/creator/isaac3. Signed paperbacks, coffee mugs, shirts, FREE copy of The V@cc1ne Controversy & other merch: Gumroad.com/IsaacW4. Get 4 books for $5: https://illuminatiwatcher.com/how-to-get-free-books/5. ALIENS, UFOS & THE OCCULT IS NOW UP ON AMAZON! (Audible version is now up!): https://amzn.to/33IBMRA6. Enjoy some audiobooks and support the show! Go to Audible.com/Illuminati or text “Illuminati” to 500-500 to start your free 30 day FREE trial7. If you want to hear more from me AND also want to support the show, search for "Isaac Weishaupt" on Audible and pick up my narrated audiobooks! My most popular book- THE DARK PATH! https://www.audible.com/pd/B0759MN23F/?source_code=AUDFPWS0223189MWT-BK-ACX0-095441&ref=acx_bty_BK_ACX0_095441_rh_us AND8. The popular alien book USE YOUR ILLUSION I is also on Audible: https://www.audible.com/pd/B08NRXFNDM/?source_code=AUDFPWS0223189MWT-BK-ACX0-223105&ref=acx_bty_BK_ACX0_223105_rh_us9. My show’s sponsors- get discounts while you support the show and do a little self improvement! Get 10% off your first month of starting your happier life at BetterHelp.com/IlluminatiWatcher AND get free 30 day trial to great audiobooks at Audible.com/Illuminati (or text “illuminati” to 500-500)*Want to advertise/sponsor our show?
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This week, we invite you to join us in holding space for one another as we let ourselves float on the often unpredictable tides of self-love; where Junauda Petrus prompts us to discuss our own relationship with Nature, from its stress-absorbing powers all the way to conversing with the wind, while Dr. Micha Cardenas leads us along the intimate journey to reconnecting to herself and (re)defining her worth. Later, the inspiring Amita Swadhin reaches into our hearts by allowing us into her road to survival recovery and pleasure reclamation. Finally, we witness the beautiful Alana Devich Cyril’s nearly unshakable commitment to pleasure, while Leah Lakshmi Piepzna-Samarasinha reminds us of the importance of joy at the intersection of disability justice, care and pleasure. And, all the way through, we love and hold each other between the bursts of laughter and the waves of raw emotions. Trigger warning: As usual, we invite you to enjoy the ride but most importantly to be kind to yourself; feel free to opt out of this one if need be as some of the topics discussed could be triggering. With love always. Your devoted hosts, Mayis & Lucie Referenced in this episode: · Marina Abramovich’s video series titled “Balkan Erotic Epic Series” · Alana Devich Cyril “My Life Interrupted” available on Vimeo · Text by Maisha Kai on theglowup.theroot.com · Leah Lakshmi Piepzna-Samarasinha “Care Work: Dreaming Disability Justice” + “A Modest Proposal For a Fair Trade Emotional Labor Economy Centered By Disabled Femme of Color Working Class/Poor Genius” (bitchmedia.org) ✨ You can find us on Instagram @softedgespodcast ✨ ✨ Our beautiful music is by the amazing Patrick Walinga and our gorgeous graphic design is by the wonderful Yuri Sato. ✨

Con Adolfo Scotto di Luzio sul saggio "Nel groviglio degli anni '80" (Einaudi); il critico dell'arte e neo presidente della Scuola del Patrimonio del MiBact Vincenzo Trione a partire dalle mostre "non autorizzate" di Marina Abramovich al Castel...

On this episode of Declare Your Independence with Earnest Hancock, Tim and Earnest talk about the deleted Microsoft commercial featuring Marina Abramovich and the detriment it did to Bill Gate's reputation. Warren Buffet buys gold, and the USPS filed a patent for a block chain voting system. Tim gives his take on presidential candidates and who will take the election. Small businesses get hosed by lockdown mandates while the richest get richer. Tim breaks down how the FED uses Blackrock to purchase corporate bonds, and who benefits. And more on this episode of DYI.   For more from Tim Picciott please use the links below: Itunes: https://bit.ly/libertyadvisor  More Podcasts: www.thelibertyadvisorshow.com  Lbry.tv https://lbry.tv/@Thelibertyadvisor:0 Bitchute https://www.bitchute.com/accounts/referral/thelibertyadvisor/  Learn more about Tim's services: www.thelibertyadvisor.com  Free 15 min Investing Consultation www.bit.ly/booktimp  Subscribe to our emergency text list and receive a free ebook “How it's Rigged – The Economy” Text LibertyAdvisor (one word, no spaces) to 71441

Josh and Caroline discuss satanism in Hollywood, among the elites, and popular culture, the Occultic influence in the music industry, pedophile rings, Marina Abramovich, Aleister Crowley, subliminal messages in videos and more....

Spirit cooking by Marina Abramovich which was started by Alistair Crowley. A book was written for recipes used which trigger as an aphrodisiac.  Spirit cooking dinner parties (by doing it...

This week on The Wedge with Sara Cream and Sweet Jenny Sauce, the girls chat about the secret and elite Illuminati. The girls discuss many rumours surrounding secret societies of the rich and powerful including The Rothschild's, Jeffrey Epstein, the royals, the CIA, Bohemian Grove, Satan worship, Marina Abramovich, John Podesta, Hillary Clinton and so many more. Don't miss this enthralling episode of the Wedge with Sara Cream and Sweet Jenny Sauce.

Tornano i Libri a Colacione, la rubrica di Tutto Esaurito su Radio 105! Questa settimana: La stagione della strega di James Leo Herlihy e Marina Abramovich di Valeria Spallino. → Leggi? Ti aspetto su BookBlister! http://www.bookblister.com → Scrivi? Ti aspetto su https://www.berettamazzotta.it

Tornano i Libri a Colacione, la rubrica di Tutto Esaurito su Radio 105! Questa settimana: La stagione della strega di James Leo Herlihy e Marina Abramovich di Valeria Spallino. → Leggi? Ti aspetto su BookBlister! http://www.bookblister.com → Scrivi? Ti aspetto su https://www.berettamazzotta.it

Tornano i Libri a Colacione, la rubrica di Tutto Esaurito su Radio 105! Questa settimana: La stagione della strega di James Leo Herlihy e Marina Abramovich di Valeria Spallino. → Leggi? Ti aspetto su BookBlister! http://www.bookblister.com → Scrivi? Ti aspetto su https://www.berettamazzotta.it

My guest this week is artist Will Huxley. Along with his partner in art and life,  Garett, he forms one half of The Huxleys, which is a 'performance art experience' allowing him to play in the space of experimental theatre, costume design, photography and video. The Huxley's two of the most recognisable artists in the country - mainly due to their larger-than-life costumes and colourful performance that are as layered with meaning as they are widely accessible. They have been guests of every major art event and profiled by every major media outlet in the country.You may have seen them turn up to a functions in giant inflatable costumes and their glitter infused mock-glam-rock act Style Over Substance in which they perform as a band without music. Will and I came up alongside each other at film school. Since graduating in the middle of the 2000s have faced the disillusionment of trying to work out where we fit in ever-narrowing film and TV industry. We discuss the way Will has forged a path towards making work that he really believes in - and turned it into a career. This is a great chat for anyone feeling discouraged by the lack of opportunity within their dream industry, or for those who are unsure about how to make the bridge from they work they are doing to the work they want to be doing. It's great to be reminded that for Will this has been the journey of fifteen years, with every step along the way equipping him with another tool for making work that unlike anyone else. 

Í Víðsjá dagsins hugum við að sýningu Marinu Abramovich í Konunglega bókasafninu í Kaupmannahöfn. Gyrðir Elíasson les úr bók vikunnar, sem að þessu sinni er skáldsagan Hvernig ég kynntist fiskunum eftir Ota Pavel í þýðingu Gyrðis. Við lítum á sýninguna Taugasalöt sem opnaði um liðna helgi í Gallerí Berg Contemporary, og ræðum þar við listamanninn Björn Roth. Myndlistarrýnir Víðsjár, Starkaður Sigurðarson, fjallar um sýninguna Innrás í Ásmundarsafni þar sem verk Guðmundar Thoroddsen eru í samtali við verk Ásmundar. Umsjón: Guðni Tómasson og Halla Harðardóttir.

Jedna z nejzásadnějších umělkyň současnosti Marina Abramovich se loni nechala slyšet s otevřeným prohlášením, že podstoupila tři potraty. Pro německý Tagesspiegel A...

Growth Hacker Marketing and The Obstacle Is The Way. Ryan’s an expert on media manipulation, resilience and growth - and his new book Ego Is The Enemy is due out soon. Tune in to hear why ‘fake it til you make it’ is terrible advice, why Donald Trump won’t last long, and what you can learn about business from Angela Merkel, Marina Abramovich, and Kanye West.     Time Stamped Show Notes: 01:12 – Nathan’s introduction 01:40 – “I’m fascinated with the accumulation of wisdom over the last thousand years” 02:25 – Ryan dropped out of college, and assisted Tucker Max and Robert Green 02:40 – Ryan was the director of marketing at American Apparel and has since authored 4 books 03:50 – He had a $250k advance on his first book, Trust Me, I'm Lying 05:35 – The economics of books - the advance might not be high, but sales can build 07:42 – The Obstacle is the Way has been used by the NFL, the military, and other competitive areas 09:06 – “If you can build multiple income streams, you can take more creative risks” 10:10 – Why write another book? 10:33 – “Writing is what I love...it’s what makes me feel fulfilled” 11:05 – Ryan’s latest book is Ego is the Enemy 11:55 – “You want a book to provoke a discussion” 12:30 – Almost every business book is based on the idea that “you’re doing great” - Ryan wanted to take that idea down 13:31 – “There’s a difference between confidence and ego. Ego is when you lose self-awareness and start living in illusions” 14:54 – “If you start believing in your own greatness, it’s the death of creativity” - Marina Abramovich 16:00 – It isn’t ego if you have a realistic confidence in your abilities - based on your own track record 16:40 – When ego becomes dangerous is when you act as though you’ve already accomplished the things that you’re really only starting to work on 17:50 – The problem with social media is that you can get credit for things that you haven’t yet done 18:43 – “If you tell a kid that they’ve done well because they’re smart, they’ll do worse than if you praise them for working hard” 19:28 – What about brainwashing yourself? Nathan: “Sometimes you can only achieve things by convincing yourself that you’re better than you are” 21:10 – Kanye West’s fashion line has failed because he didn’t apply the same work to it that he applied to his music. He made the mistake of thinking that he was successful because of who he was - not the work he put in 23:03 – Successful people aren’t successful because of their ego - sometimes it’s in spite of their ego 24:29 – “Passion is not a substitute for knowledge, it’s not a substitute for a plan or knowing what you’re doing” 27:15 – “You can’t build a reputation on what you’re going to do.” Would you want your doctor faking it until he makes it? Would you want a firefighter faking it until she makes it? 28:33 – “As a marketing tactic, talking about things before they happen is great - but don’t buy into your own crap” 29:39 – “Fear is a bad adviser” - Angela Merkel 30:58 – Fear of missing out and fear of risk are both bad advisers - focus on the data and you’ll make better decisions 32:08 – Donald Trump? “Demigods are successful in the short term - they’re very rarely successful in the long term”     3 Key Points: Confidence is great - but once you start believing your own hype, you’ll stop working effectively. Don’t let fear or ego make your decisions. Look at the data. You can’t build a reputation on what you’re going to do. There’s no substitute for sitting down and doing the work. Resources Mentioned: Host Gator – The site Nathan uses to buy his domain names and hosting for cheapest price possible. Freshbooks - The site Nathan uses to manage his invoices and accounts. Leadpages  – The drag and drop tool Nathan uses to quickly create his webinar landing pages which convert at 35%+ Audible – Nathan uses Audible when he's driving from Austin to San Antonio (1.5 hour drive) to listen to audio books.   Show Notes provided by Mallard Creatives  

In this exciting installment, I open with a classic joke I heard Super Dave Osborne tell once, I incorrectly refer to this as episode 17, which it's not, it's episode number 18 and I also praise Detroit (also play a short audio clip of the old Detroit local dance show, The Scene), defend Marina Abramovich, support the idea of not knowing everything and I talk about the return of the X-Files. Put on your favorite pair of pants, it's ArtHouse Radio!