Podcasts about robert pirsig

Welcome back -- at long last! Ending another unexpected break, I bring you an unexpected episode just in time for a 4/20-Easter combo, and this should mark the beginning of regular weekly or (at least) bi-weekly episode releases. I've had a lot going in my life recently, most of which has been very trying. It's brought about a lot of change, mostly for the better in the long run, but not before manifesting as horrific chronic pain for a couple months. More updates in the episode!But as for the central focus at hand, I take some time to address some of the insights I felt I gained as I gritted my teeth through intense waves of pain -- as always, I used philosophy to try and preoccupy myself and sometimes when you are pushed to your limits, you find some of your best insights. So I decided that for my episode back, embracing all the suck that I have gone through since my last episode (and all year honestly), I would explain just why all these New Agers that won't embrace the suck are seriously in the grips of mental illness. Using books like Robert Pirsig's legendary Zen and the Art of Motorcycle Maintenance and others, I get into why exactly this is the case and why's it not even a controversial stance to take. Outside of these insulated and self-congratulatory New Age communities, none of the critical thinkers are fooled. But all the same, rest assured that these 'spiritual' people will keep high-fiving and congratulating each other for saving the world in a way all too similar to the Scientologist rah-rah mindset.I'm just trying to do my part in this episode as a drop in the bucket. I hope you dig it!Related Content⁠⁠⁠⁠⁠DIVE MANUAL AUDIOBOOK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HUNT MANUAL⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BHA LINKTREE w books, shorts, and much more⁠⁠⁠⁠⁠Related EpisodesBHA Answer to Job episodeBHA The Image of GodBHA The Image of the DevilBHA Evolution of God and GoddessSource MaterialZen and the Art of Motorcycle MaintenanceAnswer to JobThe Crow's Afterword by A.A. AttanasioAd AstraThis week's featured music by talented homies of the show! Don't sleep on these underground titans, all their music is dope.The Sun Upon the Face - ZIG MENTALITYGet It Straight (feat. Purpose & Hashfinger) - Umang

Wendy Pirsig was for thirty years an archivist and writer featuring extensive web-based history for small Old Berwick Historical Society's Counting House Museum in Maine. She's a student of Myozen Joan Amaral at the Zen Center North Shore in Beverly, Massachusetts. She's done extensive work for Cuke Archives working on verbatim and minimum edit Shunryu Suzuki lectures and carefully scrutinizing DC writings and making sage suggestions. A few years ago she compiled and edited a posthumously published a book of her late husband Robert Pirsig's works: On Quality: An Inquiry Into Excellence: Unpublished and Selected Writings. See more at cuke.com/people/pirsig-wendy including a long piece on her and Robert's six weeks with the SFZC following the murder of her stepson Chris's murder in the neighborhood.

When I was at school in the 1970s, I remember a book lying around in the sixth form common room. It had a curious cover with a flower and a spanner merged together on a blue background.  The book, entitled Zen and the Art of Motorcycle Maintenance by Robert Pirsig, had become a popular classic since its publication in 1974, was an instant bestseller, and has since become an American epic.Now, I'm not sure if any of us at school actually read the book in full, as we weren't sure what to make of it. Was it about motorcycle maintenance? Was it about Zen and Eastern mysticism and philosophy? Or was it just the story of a basic American road trip? Well, here to discuss the book and to celebrate it's 50 year anniversary , I'm delighted to welcome Mark Richardson to the show.Mark is a journalist and author and former automotive editor of the Toronto Star. Among his books is a book entitled Zen and Now, which retraces Robert Pirsig's original road trip. Mark's book has been critically acclaimed as a good primer for would be readers of Zen and the Art of Motorcycle Maintenance.Mark's links;https://markrichardson.ca/Mark's Book: Zen and Now. https://www.amazon.co.uk/Zen-Now-Motorcycle-Maintenance-Departures/dp/0307390691 Undercurrent Stories links:https://linktr.ee/undercurrentstoriesIntro and outro music, 'Time for a Coffee'  Robert J. Wells © 2020Question or comment? Send us a text message.www.undercurrentstories.com

“Every line on the road is a political choice.” Marco te Brömmelstroet, a.k.a. “The Cycling Professor,” is the chair of Urban Mobility Futures at the University of Amsterdam. His book Movement, with Thalia Verkade, takes a stance against myths and received wisdoms that surround popular thinking about the rights and place of cyclists and pedestrians, urban design, and traffic engineering. Parallel to the critique, he presents new ways of thinking about how, and why we move through the world, and at what speed. -- Intro/Outro: “My White Bicycle,” by Tomorrow -- Discussed: -              Urban Cycling Institute -              Woonerf -              Chicane -              Chip Cone -              Cauliflower neighborhood, a.k.a. Bloemkoolwijk -              Fighting Traffic, by Peter Norton -              RoadDanger.org -              Stafford Beer -              Rollback of congestion pricing in New York City -              The bicycle at the bed-in, Amsterdam 1969 -              The Royal Dutch Touring Club, AWNB vs the EWNB -              School streets, Paris -              Provo – Dutch nonviolent protest group + The White Bicycle Plan -              Zen and the Art of Motorcycle Maintenance, by Robert Pirsig -              Bicycle Highways -              Anne Hidalgo + Carlos Moreno = 170,000 trees -              Groningen car ban, 1980 -              Nieuwmarkt riots, Amsterdam, 1975 -              Janette Sadiq-Khan and the Times Square pedestrianization -              Bike Bus – Sam Balto -              NYC Municipal Vehicle Active Intelligent Speed Assistance (ISA) / Speed Geofencing -              Valerie Plante, Mayor of Montreal, BIXI bikes (non-profit bike-sharing program) -              Swapfliets (Swap Bike)

Zen and the Art of Motorcycle Maintenance is the seminal motorcycle book. And its most misunderstood. Author Mark Richardson, who's book Zen and Now is an homage to Zen and the Art, gives us the lowdown on Robert Pirsig's masterpiece and chronicles the troubled life of an author Richardson calls a “genius.”

This year marks the 50th anniversary of the publication of the book Zen and the Art of Motorcycle Maintenance by Robert Pirsig. It's a peculiar book, especially for a bestseller. Not a lot of it is actually about zen or motorcycle maintenance, it combines a travelogue, a father/son story, and philosophical musings, and the structure of its narration makes it hard to follow. Thus, it's the kind of book people often buy, start, and then put down without finishing.That's initially what happened to Mark Richardson, an author and automotive journalist who was born in the UK but has lived most of his life in Canada. But when the book finally clicked for Mark, he was so inspired by it that he actually undertook Pirsig's motorcycle pilgrimage himself. Mark shares that story in Zen and Now, which intersperses stories from his own road trip with an exploration of Pirsig's life and famous book.If you've wanted to read Zen and the Art of Motorcycle Maintenance, but haven't been able to get into it, today Mark will offer an introduction to what it's all about. We discuss Pirsig's ideas on the metaphysics of quality and our relationship to technology, and how he tried to combine the ethos of Eastern and Western thought into a unified philosophy of living. We also get into why Mark wanted to recreate Pirsig's road trip, the joys of traveling by motorcycle, and what Mark learned along the way.Resources Related to the PodcastZen and the Art of Motorcycle Maintenance: An Inquiry Into Values by Robert M. PirsigZen and Now: On the Trail of Robert Pirsig and the Art of Motorcycle Maintenance by Mark RichardsonLila: An Inquiry Into Morals by Robert M. PirsigGuidebook to Zen and the Art of Motorcycle Maintenance by Ron Di Santo and Tom SteeleShop Class as Soulcraft: An Inquiry into the Value of Work by Matthew CrawfordHonda CB77/Super HawkThe Robert Pirsig Association Connect With Mark RichardsonMark's website

In this week's episode, Patrick Donley sits down with Clay Finck, host of We Study Billionaires. They do a deep dive into what Clay has learned since becoming a host at TIP, what his biggest takeaways from his favorite interviews have been, who his favorite investors are, how he structures his own portfolio and handles volatility, why The Joys of Compounding is an important book to him, and much more! Clay is a value investor who has been inspired by Chris Mayer, Nick Sleep, and Charlie Munger. He is the host of We Study Billionaires and also helps run TIP's Mastermind community, an initiative he kickstarted in 2023. IN THIS EPISODE, YOU'LL LEARN 00:00 - Intro. 02:00 - How Clay first got turned on to the world of value investing. 05:12 - What his first career steps were. 08:27 - What his thoughts are on index investing vs. active investing. 10:49 - How his transition from actuarial science to host of TIP went. 13:56 - What he's learned since starting as a host as TIP and how his life has changed. 21:38 - How he has used Twitter to share his ideas. 27:11 - What he learned from Morgan Housel's new book. 30:05 - Who he'd love to sit next to on a flight from Nebraska to New York to learn from. 47:05 - What his goal is as an investor. 50:19 - How the TIP Mastermind community has been going and what its benefits are. 58:33 - Why The Joys of Compounding is an important book for Clay. 64:52 - What's in Clay's portfolio and what some of his favorite holdings are. 69:48 - How he deals with volatility in his portfolio and what his typical holding period is. *Disclaimer: Slight timestamp discrepancies may occur due to podcast platform differences. BOOKS AND RESOURCES Join the exclusive TIP Mastermind Community to engage in meaningful stock investing discussions with Kyle and the other community members. Recommended book: Rich Dad Poor Dad by Robert Kiyosaki. Recommended book: The Compound Effect by Darren Hardy. Recommended book: Atomic Habits by James Clear. Recommended book: The Snowball by Alice Schroeder. Recommended book: The Simple Path to Wealth by JL Collins. Recommended book: Where the Money Is by Adam Seessel. Recommended book: Same as Ever by Morgan Housel. Recommended book: How Do You Know? by Chris Mayer. Recommended book: Dhando Investor by Mohnish Pabrai. Recommended book: Richer, Wiser, Happier by William Green. Recommended book: One Up On Wall Street by Peter Lynch. Recommended book: Zen and the Art of Motorcycle Maintenance by Robert Pirsig. Recommended book: The Joys of Compounding by Gautam Baid. Check out TIP587: Dino Polska: A Polish Compounder | YouTube video. Check out TIP604: Best Quality Idea Q1 2024—Evolution AB | YouTube video. Check out the books mentioned in the podcast here. NEW TO THE SHOW? Follow our official social media accounts: X (Twitter) | LinkedIn | Instagram | Facebook | TikTok. Check out our Millennial Investing Starter Packs. Browse through all our episodes (complete with transcripts) here. Try Kyle's favorite tool for picking stock winners and managing our portfolios: TIP Finance. Enjoy exclusive perks from our favorite Apps and Services. Stay up-to-date on financial markets and investing strategies through our daily newsletter, We Study Markets. Learn how to better start, manage, and grow your business with the best business podcasts. SPONSORS Support our free podcast by supporting our sponsors: Linkedin Marketing Solutions Fundrise Airbnb TurboTax HelloFresh NetSuite NerdWallet  Connect with Patrick: Twitter Connect with Clay: Website | Twitter  Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's show, Stig Brodersen talks with co-host Clay Finck. They outline how and why you should invest in high-quality businesses. IN THIS EPISODE, YOU'LL LEARN: 00:00 - Intro 01:43 - How to identify the best businesses 06:00 - Why you need to focus on barriers of entry when assessing a stock 06:44 - Why competition is for losers 18:28 - When management is important and not important in high-quality investing 23:07 - How you want the management to be compensated 24:41 - Why insider ownership is not only important but even more so how it was acquired.   57:13 - Why you should invest in stocks with two engines  1:03:01 - What is the Berkshire Summit, and how do you attend?  Disclaimer: Slight discrepancies in the timestamps may occur due to podcast platform differences. BOOKS AND RESOURCES Join the exclusive TIP Mastermind Community to engage in meaningful stock investing discussions with Stig, Clay, and the other community members. Our episode with Christian Billinger about quality investing | YouTube Video. Our episode on The Outsiders about the best CEOs | YouTube Video. Our episode about Dino Polska. A compounder with high insider ownership | YouTube Video. Chris Mayer's book, 100-baggers - read reviews of this book. Lawrence Cunningham's book, Quality Investing - read reviews of this book. Robert Pirsig's book, Zen and the Art of Motorcycle Maintenance - read reviews of this book. Check out all the books mentioned and discussed in our podcast episodes here. NEW TO THE SHOW? Check out our We Study Billionaires Starter Packs. Browse through all our episodes (complete with transcripts) here. Try our tool for picking stock winners and managing our portfolios: TIP Finance Tool. Enjoy exclusive perks from our favorite Apps and Services. Stay up-to-date on financial markets and investing strategies through our daily newsletter, We Study Markets. Learn how to better start, manage, and grow your business with the best business podcasts. SPONSORS Support our free podcast by supporting our sponsors: River Efani Salesforce Toyota Vanta Babbel Shopify Notion AI NetSuite Noble Gold Investments Ka'Chava HELP US OUT! Help us reach new listeners by leaving us a rating and review on Apple Podcasts! It takes less than 30 seconds, and really helps our show grow, which allows us to bring on even better guests for you all! Thank you – we really appreciate it! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we continue with our inquiry into rhetoric and dialectic, with Robert Pirsig's Zen and the Art of Motorcycle Maintenance. Pirsig, like Nietzsche, saw himself as a modern-day Sophist, and part of his work was the rescue of the Sophistic school from the ill repute visited upon them by the Socratics. Perhaps more expansively, Pirsig devotes his philosophical work to the question, “What is quality?”, drawing on the Greek concept of arete, or excellence. His philosophical ideas do not come to us through a dispassionate treatise, however, but through an autobiographical novel. Pirsig was treated with electroshock therapy, leaving him with a new personality, and the feeling that the person he once was is dead: he merely happens to carry the blurry memories of another man. While on a motorcycle trip with his son, Pirsig struggles to unify the dichotomy between classical and romantic, between substance and form, between the two personalities within himself, and between himself and his son. This work remains one of the most important philosophical contributions to American literature in the 20th century, and hopefully today I can show all of you why this work of “pop philosophy” is one of my favorite books, and one to which I regularly return.

After disliking Zen & The Art of Motorcycle Maintenance, Mike decides to give a Robert Pirsig book another go. Join Mike and special guest David Sparks as they consider the metaphysics of quality. Bookworm #180: Master of Change Bookworm #89: Zen and the Art of Motorcycle Maintenance On Quality by Robert Pirsig Lila by Robert […]

I'm changing up the book review channel and starting a book club.In September 2023 we reviewed 4 books on the channel. No real standouts to be honest so instead I'll mention why and how I'm going to do things differently. Basically I'm putting in a lot of effort but don't feel like I'm getting much value in return. So I'm going to streamline the process by doing them live, focusing less on creating highly detailed notes/images and by trying to engage more with you, the readers at home. Big thanks to Cole McCormick (from the America+ podcast) and Ashley Glenday for supporting the show. Very much appreciated!I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro(0:45) - Bitter Orange Tree: Jokha Alharthi(3:55) - The Diving Bell & The Butterfly: Jean-Dominique Bauby(5:27) - Swearing Is Good For You: Emma Byrne(6:48) - Zen & The Art Of Motorcycle Maintenance: Robert M. Pirsig(8:33) - Boostagram Lounge(11:33) - Coming Up In October 2023(12:56) - Changes To The Channel(17:53) - V4V: Would You Join A Book Club?Value 4 Value Support:Boostagram: https://www.meremortalspodcast.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcastConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUTwitter/X: https://twitter.com/meremortalspodInstagram: https://www.instagram.com/meremortalspodcast/TikTok: https://www.tiktok.com/@meremortalspodcastSupport the show

Hey Mere Mortalites! Juan here. I've just journeyed through 'Zen and the Art of Motorcycle Maintenance,' where road trips meet deep philosophical dives. Let's unravel the adventure, the metaphysics of Quality, and see why this classic might just redefine your understanding of life. Join me as we ride through Pirsig's masterpiece!

On today's show, Stig Brodersen talks with co-host William Green, the author of “Richer, Wiser, Happier.” With a strong focus on books, they discuss what has made them Richer, Wiser, or Happier in the past quarter.IN THIS EPISODE YOU'LL LEARN:00:00 - Intro01:27 - How to curate a book list12:53 - How can you find books the same way as your pick stocks23:32 - Which books have made us Wiser, Richer, and Happier30:14 - How the master appears when the student is ready44:13 - Whether AI changes how books are written1:25:46 - How to encourage your peers to read1:42:16 - Why you should give books away as your hobby 1:45:03 - Which two books have William recently read that he would recommendDisclaimer: Slight discrepancies in the timestamps may occur due to podcast platform differences.BOOKS AND RESOURCESListen to Stig Brodersen and William Green's episode on being Richer, Wiser, and Happier, Q1 2023 or watch the video.Listen to Stig Brodersen and William Green's episode on Money and Happiness or watch the video.Tune in to William Green's episode with Mohnish Pabrai on Playing to Win or watch the video.Tune in to William Green's episode with Jason Karp on Wealth and Health or watch the video.Listen to Clay Finck's episode with Scott Patterson about the book Chaos Kings or watch the video.William Green's book Richer, Wiser, Happier – read reviews of this book.William Green's book, The Great Minds of Investing – read reviews of this book.Scott Patterson's book, Chaos Kings – read reviews of this book.Peter Matthiessen's book, Snow Leopard – read reviews of this book.Benjamin Labatut's book, When we cease to Understand the World – read reviews of this book.Jared Diamond's book, Guns, Germs, and Steel – read reviews of this book.Yuval Harari's book, Sapiens – read reviews of this book.Michael Greger's book, How Not to Die – read reviews of this book.Mark Hyman's book, Forever Young – read reviews of this book.Steven Kotler's book, The Art of the Impossible – read reviews of this book.Dean and Anne Ornish's book, Undo It! - read reviews of this book.Robert Pirsig's book, Zen and the Art of Motorcycle Maintenance - read reviews of this book.Robert Pirsig's book, On Quality - read reviews of this book.Alice Schroder's book, The Snowball - read reviews of this book.Warren Buffett's book, The Essays of Warren Buffett - read reviews of this book.Ray Dalio's book, The Changing World Order - read reviews of this book.NEW TO THE SHOW?Check out our We Study Billionaires Starter Packs.Browse through all our episodes (complete with transcripts) here.Try our tool for picking stock winners and managing our portfolios: TIP Finance Tool.Enjoy exclusive perks from our favorite Apps and Services.Stay up-to-date on financial markets and investing strategies through our daily newsletter, We Study Markets.P.S The Investor's Podcast Network is excited to launch a subreddit devoted to our fans in discussing financial markets, stock picks, questions for our hosts, and much more! Join our subreddit r/TheInvestorsPodcast today!SPONSORSInvest in Bitcoin with confidence on River. It's the most secure way to buy Bitcoin with 100% full reserve custody and zero fees on recurring orders.Easily diversify beyond stocks and bonds, and build wealth through streamlined CRE investing with EquityMultiple.Join over 5k investors in the data security revolution with Atakama.Make connections, gain knowledge, and uplift your governance CV by becoming a member of the AICD today.Have the visibility and control you need to make better decisions faster with NetSuite's cloud financial system. Plus, take advantage of their unprecedented financing offer today - defer payments of a full NetSuite implementation. That's no payment and no interest for six months!Enjoy flexibility and support with free cancellation, payment options, and 24/7 service when booking travel experiences with Viator. Download the Viator app NOW and use code VIATOR10 for 10% off your first booking.Send, spend, and receive money around the world easily with Wise.Having physical gold physical gold can help if you have an IRA or 401(k)! Call Augusta Precious Metals today to get their free “Ultimate Guide to Gold IRAs" at 855-44-GOLD-IRA.Choose Toyota for your next vehicle - SUVs that are known for their reliability and longevity, making them a great investment. Plus, Toyotas now have more advanced technology than ever before, maximizing that investment with a comfortable and connected drive.Support our free podcast by supporting our sponsors.HELP US OUT!Help us reach new listeners by leaving us a rating and review on Apple Podcasts! It takes less than 30 seconds, and really helps our show grow, which allows us to bring on even better guests for you all! Thank you – we really appreciate it!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Trent Preszler had an epiphany to make something with the tools he inherited from his father. With no experience in woodcraft, driven only by blind will, he built a canoe. Working with his hands tested Preszler's limits but ultimately offered him a different per­spective on life, and the means to change it. "Little and Often," a USA Today Best Book of 2021, delivers a moving reflection on bereavement and inheritance through a profound father-and-son odyssey, resonating with Robert Pirsig's classic "Zen and the Art of Motorcycle Maintenance."

In this episode, William Green chats with hedge fund manager Christopher Begg, who is the CEO, Chief Investment Officer, & co-founder of East Coast Asset Management. Chris is also a revered professor at Columbia Business School, where he teaches the Security Analysis class that was originally taught by Warren Buffett's mentor, Ben Graham. Here, Chris shares powerful lessons on how to identify high-quality businesses & build a life that's defined by a commitment to quality.IN THIS EPISODE YOU'LL LEARN:00:00 - Intro03:54- How Chris Begg came to teach an investing class originally taught by Ben Graham.10:29 - What Chris learned from his ten fireside chats with Berkshire Hathaway's Todd Combs.13:17 - What Buffett & Munger taught Chris about focusing on a few great businesses.17:58 - How he finds undervalued stocks by asking, “Where are the clouds today?”26:55 - Why he's bullish on Meta & Google, despite an array of perceived threats.36:09 - How he identifies great businesses by seeking 8 layers of competitive advantage.47:13 - How to succeed through “persistent incremental progress eternally repeated.”1:00:01 - Why investors can't afford to ignore a company's impact on the environment.1:06:40 - Why consistent kindness is a potent ingredient of success, helping to build trust.1:15:22 - How Chris gains an edge by continuously compounding his interdisciplinary knowledge.1:32:17 - What he's learned about the pursuit of excellence from surfing with Josh Waitzkin.1:40:48 - Why Chris structures his workday to include meditation & contemplation.1:50:46 - What studying Andrew Carnegie—once the world's richest person—has taught him.1:53:40 - Why Chris believes that the world is headed in a better direction.Disclaimer: Slight discrepancies in the timestamps may occur due to podcast platform differences.BOOKS AND RESOURCESChris Begg's investment firm, East Coast Asset Management.One from Many by Dee Hock.Nick Sleep's list of long-term vs short-term characteristics.Robert Pirsig's Zen & the Art of Motorcyle Maintenance, Lila, & On Quality.Finite & Infinite Games by James Carse.William Green's book, “Richer, Wiser, Happier” – read the reviews of this book.William Green's Twitter.NEW TO THE SHOW?Check out our We Study Billionaires Starter Packs.Browse through all our episodes (complete with transcripts) here.Try our tool for picking stock winners and managing our portfolios: TIP Finance Tool.Enjoy exclusive perks from our favorite Apps and Services.Stay up-to-date on financial markets and investing strategies through our daily newsletter, We Study Markets.Learn how to better start, manage, and grow your business with the best business podcasts. P.S The Investor's Podcast Network is excited to launch a subreddit devoted to our fans in discussing financial markets, stock picks, questions for our hosts, and much more! Join our subreddit r/TheInvestorsPodcast today!SPONSORSIf you're aware you need to improve your bitcoin security but have been putting it off, Unchained Capital‘s Concierge Onboarding is a simple way to get started—sooner rather than later. Book your onboarding today and at checkout, get $50 off with the promo code FUNDAMENTALS.Have peace of mind knowing River holds Bitcoin in multi-sig cold storage with 100% full reserves.What does happen when money and big feelings mix? Tune in to find out on the new podcast, Open Money, presented by Servus Credit Union.Make connections, gain knowledge, and uplift your governance CV by becoming a member of the AICD today.Enjoy flexibility and support with free cancellation, payment options, and 24/7 service when booking travel experiences with Viator. Download the Viator app NOW and use code VIATOR10 for 10% off your first booking.Join over 5k investors in the data security revolution with Atakama.Apply for the Employee Retention Credit easily, no matter how busy you are, with Innovation Refunds.Invest your retirement savings in what YOU know and are passionate about with a Self-Directed IRA with New Direction Trust Company.Send, spend, and receive money around the world easily with Wise.Beat FOMO and move faster than the market with AlphaSense.Support our free podcast by supporting our sponsors.HELP US OUT!Help us reach new listeners by leaving us a rating and review on Apple Podcasts! It takes less than 30 seconds, and really helps our show grow, which allows us to bring on even better guests for you all! Thank you – we really appreciate it!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, Eric picks up examination of Robert Pirsig's Zen and the Art of Motorcycle Maintenance with Chapter Four. In this Chapter, Pirsig touches on lists and caring. Do you have thoughts to share? Leave a voice message for the Zensylvania Podcast and we may include it in this or a future episode: https://anchor.fm/zensylvania/message Thank you for visiting Zensylvania: It's a State of Mind You can support the Zensylvania podcast at https://www.patreon.com/zensylvaniapodcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/zensylvania/message

In this episode, Eric picks up examination of Robert Pirsig's Zen and the Art of Motorcycle Maintenance with Chapters Three and Five. In these chapters, Pirsig firmly established ZAMM's position as a twentieth-century gothic story while beginning to undermine a few alternate perspectives. Do you have thoughts to share? Leave a voice message for the Zensylvania Podcast and we may include it in this or a future episode: https://anchor.fm/zensylvania/message Thank you for visiting Zensylvania: It's a State of Mind You can support the Zensylvania podcast at https://www.patreon.com/zensylvaniapodcast --- Send in a voice message: https://anchor.fm/zensylvania/message

Michael Girdley is an entrepreneur. He's the owner of 10+ businesses (including fireworks, software, school, and coffee chain) totaling more than $100,000,000. And this conversation is unlike anything Michael has published publicly. We spoke about generational differences, what it's like to raise children, why he's loving Spanish, why he lacked courage when he was younger, common mistakes people make in their 20s, replacing companies with religion, and much more. - Michael's Links Twitter: https://twitter.com/girdley Linktree: https://linktr.ee/girdley - Resources Mentioned • Zen and the Art of Motorcycle Maintenance: An Inquiry into Values by Robert Pirsig – https://www.amazon.com/Zen-Art-Motorcycle-Maintenance-Inquiry/dp/0060589469 • Zen Mind, Beginner's Mind by Shunryu Suzuki – https://www.amazon.com/Zen-Mind-Beginners-50th-Anniversary/dp/1611808413 • Michael Girdley Thread on Effectuation: https://twitter.com/girdley/status/1517850790148263936 - SPONSOR: This episode is brought to you by My First Million. This is the podcast that I listen to and recommend whenever I want to learn more about business, technology, or the future. Sam Parr and Shaan Puri are hilarious, informative, and interesting. Check it out! – My Links ✉️ Newsletter: https://dannymiranda.substack.com

- Dialog pe Discord, înregistrat la 15 decembrie 2022 și difuzat pe Twitch: https://www.twitch.tv/meditatii ▶LINKURI RELEVANTE: În format video: https://youtu.be/HQ4kCm9a9qQ ▶DISCORD: – Comunitatea amatorilor de filosofie și literatură: https://discord.gg/meditatii ▶DIALOGURI FILOSOFICE: – Română: https://soundcloud.com/meditatii/sets/dialoguri-pe-discord – Engleză: https://www.youtube.com/playlist?list=PLLnaYpeWGNO8IdPaNYNkbJjNJeXrNHSaV ▶PODCAST INFO: – Website: https://podcastmeditatii.com – Newsletter: https://podcastmeditatii.com/aboneaza – YouTube: https://youtube.com/c/meditatii – Apple Podcasts: https://podcasts.apple.com/us/podcast/meditatii/id1434369028 – Spotify: https://open.spotify.com/show/1tBwmTZQHKaoXkDQjOWihm – RSS: https://feeds.soundcloud.com/users/soundcloud:users:373963613/sounds.rss ▶SUSȚINE-MĂ: – Patreon: https://www.patreon.com/meditatii – PayPal: https://paypal.me/meditatii ▶TWITCH: – LIVE: https://www.twitch.tv/meditatii – Rezumate: https://www.youtube.com/channel/UCK204s-jdiStZ5FoUm63Nig ▶SOCIAL MEDIA: – Instagram: https://www.instagram.com/meditatii.podcast – Facebook: https://www.facebook.com/meditatii.podcast – Goodreads: https://goodreads.com/avasilachi – Telegram (jurnal): https://t.me/andreivasilachi – Telegram (chat): https://t.me/podcastmeditatii ▶EMAIL: andrei@podcastmeditatii.com

¿Podemos decir si en verdad un ser humano tiene calidad? Este es uno de los cuestionamientos que plantea el nuevo libro que el licenciado Roberto Flores no presenta en su momentito literario. En este capitulo 74 retomamos el segundo libro del autor Robert Pirsig, quien profundiza aún más en su disertación al respecto de la metafísica de la moral y su desarrollo al respecto de la calidad. A través de una serie de ejemplos descubriremos la respuesta al respecto de la calidad más allá de las personas para así poder concluir ¿Cuál es el valor real de la realidad y las cosas? No olviden seguirnos, suscribirse y activar la campanita, además, pueden encontrarnos a través de nuestras redes sociales; Facebook e Instagram, y también pueden escucharnos en su plataforma de podcast favorita: https://linktr.ee/ElaquelarreconSaul_y_Alejandro Además, no se olviden seguir a nuestro patrocinador en Facebook e Instagram: https://www.facebook.com/BumbleRoller https://instagram.com/bumble.roller.s... Además, recuerden hijos e hijas malditos de la historia, seguir, darle like, activar la campanita y suscribirse al podcast de “La maldita Historia” con Oskar Olhec https://linktr.ee/Lamalditahistoria

In the latest recap episode, Beave talks about the latest Star Wars series, "Andor", and provides his review. He also gives his final opinion on Robert Pirsig's "Zen & The Art of Motorcycle Maintenance". Len and Beave discuss the conclusion of the SNL character bracket and the shocking victory of "Wayne's World". Len recommends the latest issue of The New Yorker and its article on The Spice Girls. Beave reviews albums by Pink Floyd, the Beatles, New Order and the Beastie Boys. And Len talks Pete Yorn, Matthew Sweet, Janelle Monae and goddam BILLY SQUIER. Tune in!

The newest recap episode features a ton of great music, including Johnny Cash, John Hiatt, the goddam Outfield, and the Byrds. We review albums from these artists, plus our "I Recommend", including Beave's struggles with Robert Pirsig. We also talk the World Series, the Cavs' hot start, the Kyrie Irving issue, and the Bears' recent moves. Tune in at once!

The show is directed by Broadway performer, director, choreographer Jeffrey Polk with acclaimed musician Denny Fongheiser serving as producer, musical director, drums, and percussion. Additional details about the cast and production will be revealed in the coming weeks. Listen to a sample of the music here. The idea of writing a musical/rock opera that explores the philosophical concept of “Quality” began with one of Steve's favorite books: Zen and the Art of Motorcycle Maintenance by Robert Pirsig. It is subtitled "An Inquiry Into Values," and explores the relationship between people, technology and quality. Written in 1974, it could not have contemplated the technology we live with today, but the principles are the same. Steve wanted to explore these same relationships in the modern world and mentions that during the writing, “other books started to influence and enhance my thinking about ‘What is Good and What is Not' in a world of cell phones, tablets, email and the 24-hour news cycle; particularly Brave New World by Aldous Huxley and Technopoly by Neil Postman. For the soundtrack recording, Steve and Kurt wanted to record more organically than they had in the past. This meant going into the big room at East-West Studios in Hollywood and recording the backing tracks live. To do this, Kurt (on bass) and Steve (on vocals and piano) needed to fill out the band. For this, they brought in Bruce Watson to handle guitars of all types and Denny Fongheiser on drums and percussion. Bruce--the lead guitarist with Foreigner--showed up for the sessions with an army of guitars and amps and a boatload of enthusiasm. Denny has spent many years as the drummer for Heart and many other artists including Roger Waters, John Paul Jones, Bruce Cockburn, Al Stewart, Peter Frampton, and Tracy Chapman. Denny was also the drummer on the theme song for the hit TV show “Friends.” When it came time to add background vocals, Fongheiser says, “When I was first thinking about how to do this record, I heard Kipp and Mark Lennon from the band Venice. They are a known fixture in the LA music and studio scene and come from a long pedigree of family musicians, producers and singers. During my first in person meeting with Steve and Kurt (who is a big fan of the band), I mentioned possibly using them. They were available and they delivered big!” Denny also served as the producer of the soundtrack recording. Recording the backing tracks live at the same studio where Frank Sinatra and Nirvana once recorded was thrilling. Rogers notes, “Our previous recordings were done one track and instrument at a time, but our dream was to go back to the future and record live, the way it used to be done.” The live backing tracks and guitar overdubs were recorded over 13 days at East-West. For the composers, to have 100 minutes of music go from nothing to virtually complete in such a short time was the dream come true and the only way they will ever record again! This project was always written as a musical narrative. Upon completion of the songs, the only question was should it be delivered as a film or a theatrical performance. After seeing “Hamilton,” Steve decided he definitely wanted to perform these songs with additional dialog and multiple actors live on stage and the rock opera was born.

The show is directed by Broadway performer, director, choreographer Jeffrey Polk with acclaimed musician Denny Fongheiser serving as producer, musical director, drums, and percussion. Additional details about the cast and production will be revealed in the coming weeks. Listen to a sample of the music here. The idea of writing a musical/rock opera that explores the philosophical concept of “Quality” began with one of Steve's favorite books: Zen and the Art of Motorcycle Maintenance by Robert Pirsig. It is subtitled "An Inquiry Into Values," and explores the relationship between people, technology and quality. Written in 1974, it could not have contemplated the technology we live with today, but the principles are the same. Steve wanted to explore these same relationships in the modern world and mentions that during the writing, “other books started to influence and enhance my thinking about ‘What is Good and What is Not' in a world of cell phones, tablets, email and the 24-hour news cycle; particularly Brave New World by Aldous Huxley and Technopoly by Neil Postman. For the soundtrack recording, Steve and Kurt wanted to record more organically than they had in the past. This meant going into the big room at East-West Studios in Hollywood and recording the backing tracks live. To do this, Kurt (on bass) and Steve (on vocals and piano) needed to fill out the band. For this, they brought in Bruce Watson to handle guitars of all types and Denny Fongheiser on drums and percussion. Bruce--the lead guitarist with Foreigner--showed up for the sessions with an army of guitars and amps and a boatload of enthusiasm. Denny has spent many years as the drummer for Heart and many other artists including Roger Waters, John Paul Jones, Bruce Cockburn, Al Stewart, Peter Frampton, and Tracy Chapman. Denny was also the drummer on the theme song for the hit TV show “Friends.” When it came time to add background vocals, Fongheiser says, “When I was first thinking about how to do this record, I heard Kipp and Mark Lennon from the band Venice. They are a known fixture in the LA music and studio scene and come from a long pedigree of family musicians, producers and singers. During my first in person meeting with Steve and Kurt (who is a big fan of the band), I mentioned possibly using them. They were available and they delivered big!” Denny also served as the producer of the soundtrack recording. Recording the backing tracks live at the same studio where Frank Sinatra and Nirvana once recorded was thrilling. Rogers notes, “Our previous recordings were done one track and instrument at a time, but our dream was to go back to the future and record live, the way it used to be done.” The live backing tracks and guitar overdubs were recorded over 13 days at East-West. For the composers, to have 100 minutes of music go from nothing to virtually complete in such a short time was the dream come true and the only way they will ever record again! This project was always written as a musical narrative. Upon completion of the songs, the only question was should it be delivered as a film or a theatrical performance. After seeing “Hamilton,” Steve decided he definitely wanted to perform these songs with additional dialog and multiple actors live on stage and the rock opera was born.

The show is directed by Broadway performer, director, choreographer Jeffrey Polk with acclaimed musician Denny Fongheiser serving as producer, musical director, drums, and percussion. Additional details about the cast and production will be revealed in the coming weeks. Listen to a sample of the music here. The idea of writing a musical/rock opera that explores the philosophical concept of “Quality” began with one of Steve's favorite books: Zen and the Art of Motorcycle Maintenance by Robert Pirsig. It is subtitled "An Inquiry Into Values," and explores the relationship between people, technology and quality. Written in 1974, it could not have contemplated the technology we live with today, but the principles are the same. Steve wanted to explore these same relationships in the modern world and mentions that during the writing, “other books started to influence and enhance my thinking about ‘What is Good and What is Not' in a world of cell phones, tablets, email and the 24-hour news cycle; particularly Brave New World by Aldous Huxley and Technopoly by Neil Postman. For the soundtrack recording, Steve and Kurt wanted to record more organically than they had in the past. This meant going into the big room at East-West Studios in Hollywood and recording the backing tracks live. To do this, Kurt (on bass) and Steve (on vocals and piano) needed to fill out the band. For this, they brought in Bruce Watson to handle guitars of all types and Denny Fongheiser on drums and percussion. Bruce--the lead guitarist with Foreigner--showed up for the sessions with an army of guitars and amps and a boatload of enthusiasm. Denny has spent many years as the drummer for Heart and many other artists including Roger Waters, John Paul Jones, Bruce Cockburn, Al Stewart, Peter Frampton, and Tracy Chapman. Denny was also the drummer on the theme song for the hit TV show “Friends.” When it came time to add background vocals, Fongheiser says, “When I was first thinking about how to do this record, I heard Kipp and Mark Lennon from the band Venice. They are a known fixture in the LA music and studio scene and come from a long pedigree of family musicians, producers and singers. During my first in person meeting with Steve and Kurt (who is a big fan of the band), I mentioned possibly using them. They were available and they delivered big!”Denny also served as the producer of the soundtrack recording. Recording the backing tracks live at the same studio where Frank Sinatra and Nirvana once recorded was thrilling. Rogers notes, “Our previous recordings were done one track and instrument at a time, but our dream was to go back to the future and record live, the way it used to be done.” The live backing tracks and guitar overdubs were recorded over 13 days at East-West. For the composers, to have 100 minutes of music go from nothing to virtually complete in such a short time was the dream come true and the only way they will ever record again! This project was always written as a musical narrative. Upon completion of the songs, the only question was should it be delivered as a film or a theatrical performance. After seeing “Hamilton,” Steve decided he definitely wanted to perform these songs with additional dialog and multiple actors live on stage and the rock opera was born.

In this episode, Eric explores his personal experience of minimalism and traces connections via Robert Pirsig's Zen and the Art o Motorcycle Maintenance to several underlying ideological themes that may explain some of contemporary minimalism's design ethos. Do you have thoughts to share? Leave a voice message for the Zensylvania Podcast and we may include it in this or a future episode: https://anchor.fm/zensylvania/messageThank you for visiting Zensylvania: It's a State of Mind --- Send in a voice message: https://anchor.fm/zensylvania/message --- Send in a voice message: https://anchor.fm/zensylvania/message --- Send in a voice message: https://anchor.fm/zensylvania/message

Today we have the great pleasure of talking with Ned Hall, a philosophy professor and generally “wicked smart” guy who helps us think about quality. Ned teaches us how to think like philosophers as we address questions about the quality of objects such as watches, and confront questions like: how do we assess quality? Should this be through a single question, or set of questions? What are the things that make a watch or another object high quality? What is the role of direct human attention and connection with an object and experience in understanding quality?The conversation with Ned grows out of some of the conversations we have had on the podcast about Zen and the Art of Motorcycle Maintenance. Last spring, after talking with Mark Richardson, I set out to find the pump at the rest stop where, in 1968, Robert Pirsig and his son took a water break on Highway 55 just outside of Minneapolis. The stop is still there, but the pump is not, and after some research with the relevant municipalities, it seems reasonable to conclude that the pump was removed due to the health concerns from natural wells, and it was melted down for scrap. Given this fate, we recognize the pump and its place in philosophical history with the poem “Well Water” by Randall Jarrell, read by writer, educator, and friend of the Dogwatch Jim Mahoney.

#1103 - We share some words of wisdom from author and philosopher, the late great, Robert Pirsig, on how to have a fulfilled life. See our show summary, The Professor's whiteboard, and resources mentioned in this episode here: https://biggsuccess.com/?page_id=14542 Thanks so much for listening, - George aka "The Professor" & Mary-Lynn P.S. Searching for more fulfillment? Take our free Life Purpose Quiz at BIGGsuccess.com!

An examination of 4 Zen Wisdoms from the second half of Robert Pirsig's book. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

As we get into the warmer weather of spring, many of us On the Dogwatch will start to think of road trips. One of the many great things about these trips is that they can afford us time to think about our lives. There is no more iconic North American road trip than Robert Pirsig's travels inZen and the Art of Motorcycle Maintenance. On this Dogwatch, we have the pleasure to be joined by Mark Richardson, a longtime motorcycle and automotive writer, now writing for the Globe and Mail in Canada, who retraced Pirsig's footsteps in Zen and Now: On the Trail of Robert Pirsig and the Art of Motorcycle Maintenance. In our conversation with Mark, we discuss how he decided to write his book on Pirsig, what he learned along the way, and how he thinks about Pirsig and the book now.Our feature today is the pump at the Wayside Rest Area where Pirsig stopped on the first leg of his journey on Highway 55 out of Minneapolis. Mark stopped at what seems certain to be the same stop around 2004 and pumped the pump himself. Just several days ago, I made my own trip to this small rest stop. Although the pavilion is still there, the pump has disappeared. So where is Pirsig's pump? If you have any information about this let us know, as we are on the trail of this important historical object.

A review of the first half of Robert Pirsig's bestseller. Including Best, Worst, Surprise. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this episode we are looking at how Science is slowly changing.We'll be talking with Cybernetics Expert and Philosopher Ian Glendinning about science, emergence, Robert Pirsig's "Zen and the Art of Motorcycle Maintenance", combining arts & sciences, the nature of the brain hemispheres, and Iain McGilchrist's "The Matter with Things".One of the main threads will be the balance between science and what lies beyond, and how this might be reflected in deep ontology and the architecture of our brains.Ian Glendinning's blog/website is here: psybertron.orgIntro-music is "Piano Jazz" by bensound.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode we are looking at how Science is slowly changing.We'll be talking with Cybernetics Expert and Philosopher Ian Glendinning about science, emergence, Robert Pirsig's "Zen and the Art of Motorcycle Maintenance", combining arts & sciences, the nature of the brain hemispheres, and Iain McGilchrist's "The Matter with Things".One of the main threads will be the balance between science and what lies beyond, and how this might be reflected in deep ontology and the architecture of our brains.Ian Glendinning's blog/website is here: psybertron.orgMusic Credit: "Piano Jazz" from Bensound.com.

Mike Hill joins for me for a multi-episode exploration of the masterful book “Lila: An Inquiry Into Morals” written by best-selling author Robert Pirsig. This book may be one of the most undervalued ever written, as it proposes an alternative interpretation of reality that Pirsig calls “The Metaphysics of Quality” (MOQ). According to MOQ, reality is not made up of substance, but rather it is composed of distinct patterns of value. In a Copernican-like revolution of perspective, MOQ sheds new light on age-old debates such as moral relativism, the nature of subject-object duality, good vs. evil, science vs. religion, the importance of freedom, and the primacy of action.Be sure to check out NYDIG, one of the most important companies in Bitcoin: https://nydig.com/GUESTMike's Website: https://www.mikehill.design/PODCASTPodcast Website: https://whatismoneypodcast.com/Apple Podcast: https://podcasts.apple.com/us/podcast/the-what-is-money-show/id1541404400Spotify: https://open.spotify.com/show/25LPvm8EewBGyfQQ1abIsE?si=wgVuY16XR0io4NLNo0A11A&nd=1RSS Feed: https://feeds.simplecast.com/MLdpYXYITranscript:OUTLINE00:00:00 “What is Money?” Intro00:00:08 How the Stacked Layers of Static Value Interoperate00:01:38 The Philosopher's Stone and the Value of Archetypes00:05:50 Metaphysics of Quality and the Jungian Archetypes00:09:04 Emergence of the King Archetype and Human Consciousness00:11:44 The Necessity of Physical and Mimetic Exchange to Childhood Development00:14:39 Etymology of King and Kingdom: The Organizing Principle00:16:49 What is Light is the “Shadow” of Dynamic Quality?00:21:21 Why Pathologies are Born in Darkness00:24:14 NYDIG00:25:23 Metaphors We Live By00:28:51 Flatland and the Other Dimensions of Reality00:31:04 Plato's Cave and the Shadows of Metaphysical Principles00:33:36 “The Return” and its Relationship to “Resolution”00:36:35 Linguistic Relativity: Language Shapes Thoughts00:39:16 Categorizing Metaphors00:41:40 “What is Money?” IntroSOCIALBreedlove Twitter: https://twitter.com/Breedlove22WiM? Twitter: https://twitter.com/WhatisMoneyShowLinkedIn: https://www.linkedin.com/in/breedlove22/Instagram: https://www.instagram.com/breedlove_22/TikTok: https://www.tiktok.com/@breedlove22?lang=enAll My Current Work: https://linktr.ee/breedlove22​WRITTEN WORKMedium: https://breedlove22.medium.com/Substack: https://breedlove22.substack.com/WAYS TO CONTRIBUTEBitcoin: 3D1gfxKZKMtfWaD1bkwiR6JsDzu6e9bZQ7Sats via Strike: https://strike.me/breedlove22Sats via Tippin.me: https://tippin.me/@Breedlove22Dollars via Paypal: https://www.paypal.com/paypalme/RBreedloveDollars via Venmo: https://venmo.com/code?user_id=1784359925317632528The "What is Money?" Show Patreon Page: https://www.patreon.com/user?u=32843101&fan_landing=trueRECOMMENDED BUSINESSESWorldclass Bitcoin Financial Services: https://nydig.com/Join Me At Bitcoin 2022 (10% off if paying with fiat, or discount code BREEDLOVE for Bitcoin): https://www.tixr.com/groups/bitcoinconference/events/bitcoin-2022-26217Automatic Recurring Bitcoin Buying: https://www.swanbitcoin.com/breedlove/Buy Bitcoin in a Tax-Advantaged Account: https://www.daim.io/robert-breedlove/Buy Your Dream Home without Selling Your Bitcoin with Ledn: https://ledn.io/en/?utm_source=breedlove&utm_medium=email+&utm_campaign=substack

Mike Hill joins for me for a multi-episode exploration of the masterful book “Lila: An Inquiry Into Morals” written by best-selling author Robert Pirsig. This book may be one of the most undervalued ever written, as it proposes an alternative interpretation of reality that Pirsig calls “The Metaphysics of Quality” (MOQ). According to MOQ, reality is not made up of substance, but rather it is composed of distinct patterns of value. In a Copernican-like revolution of perspective, MOQ sheds new light on age-old debates such as moral relativism, the nature of subject-object duality, good vs. evil, science vs. religion, the importance of freedom, and the primacy of action.Be sure to check out NYDIG, one of the most important companies in Bitcoin: https://nydig.com/GUESTMike's Website: https://www.mikehill.design/PODCASTPodcast Website: https://whatismoneypodcast.com/Apple Podcast: https://podcasts.apple.com/us/podcast/the-what-is-money-show/id1541404400Spotify: https://open.spotify.com/show/25LPvm8EewBGyfQQ1abIsE?si=wgVuY16XR0io4NLNo0A11A&nd=1RSS Feed: https://feeds.simplecast.com/MLdpYXYITranscript:OUTLINE00:00:00 “What is Money?” Intro00:00:08 A Purpose of Evil is to Test the Integrity of the Good00:06:09 Christ on the Cross as Emblematic of the Dynamic Tension of Being Human00:07:37 Society Frees Individuals from the Biological Chains of Necessity00:10:28 The Dynamic Tension Between The Individual and Society00:14:35 Authoritarian Government as a Wolf in Sheep's Clothing00:16:54 Evaluating the Sovereign Individual through the Lens of MoQ00:19:55 “Every Consciousness is a Center of the Universe”00:22:16 A High Quality Socioeconomic System Assimilates a Maximal Quantity of Perspectives00:25:25 A Human Being is a Collection of Ideas…00:27:07 NYDIG00:28:15 The Dynamic Tension Between the Biological and Social Layers00:32:30 The Role of Totalitarianism in the Bootstrapping of Societies00:36:22 Conditions of Oppression as a Precursor to Liberation00:39:09 Nietzsche's Three Metamorphoses: The Camel, The Lion, and The Child00:43:17 “The Moral Equivalent of War” and Life as Disobedience to Gravity00:46:35 The Dynamic Tension Between Central Banking and Bitcoin00:51:57 What Happens after The Lion Becomes The Child?00:53:31 “What is Money?” OutroSOCIALBreedlove Twitter: https://twitter.com/Breedlove22WiM? Twitter: https://twitter.com/WhatisMoneyShowLinkedIn: https://www.linkedin.com/in/breedlove22/Instagram: https://www.instagram.com/breedlove_22/TikTok: https://www.tiktok.com/@breedlove22?lang=enAll My Current Work: https://linktr.ee/breedlove22​WRITTEN WORKMedium: https://breedlove22.medium.com/Substack: https://breedlove22.substack.com/WAYS TO CONTRIBUTEBitcoin: 3D1gfxKZKMtfWaD1bkwiR6JsDzu6e9bZQ7Sats via Strike: https://strike.me/breedlove22Sats via Tippin.me: https://tippin.me/@Breedlove22Dollars via Paypal: https://www.paypal.com/paypalme/RBreedloveDollars via Venmo: https://venmo.com/code?user_id=1784359925317632528The "What is Money?" Show Patreon Page: https://www.patreon.com/user?u=32843101&fan_landing=trueRECOMMENDED BUSINESSESWorldclass Bitcoin Financial Services: https://nydig.com/Join Me At Bitcoin 2022 (10% off if paying with fiat, or discount code BREEDLOVE for Bitcoin): https://www.tixr.com/groups/bitcoinconference/events/bitcoin-2022-26217Automatic Recurring Bitcoin Buying: https://www.swanbitcoin.com/breedlove/Buy Bitcoin in a Tax-Advantaged Account: https://www.daim.io/robert-breedlove/Buy Your Dream Home without Selling Your Bitcoin with Ledn: https://ledn.io/en/?utm_source=breedlove&utm_medium=email+&utm_campaign=substack

Mike Hill joins for me for a multi-episode exploration of the masterful book “Lila: An Inquiry Into Morals” written by best-selling author Robert Pirsig. This book may be one of the most undervalued ever written, as it proposes an alternative interpretation of reality that Pirsig calls “The Metaphysics of Quality” (MOQ). According to MOQ, reality is not made up of substance, but rather it is composed of distinct patterns of value. In a Copernican-like revolution of perspective, MOQ sheds new light on age-old debates such as moral relativism, the nature of subject-object duality, good vs. evil, science vs. religion, the importance of freedom, and the primacy of action.Be sure to check out NYDIG, one of the most important companies in Bitcoin: https://nydig.com/GUESTMike's Website: https://www.mikehill.design/PODCASTPodcast Website: https://whatismoneypodcast.com/Apple Podcast: https://podcasts.apple.com/us/podcast/the-what-is-money-show/id1541404400Spotify: https://open.spotify.com/show/25LPvm8EewBGyfQQ1abIsE?si=wgVuY16XR0io4NLNo0A11A&nd=1RSS Feed: https://feeds.simplecast.com/MLdpYXYITranscript:OUTLINE00:00:00 “What is Money?” Intro00:00:08 Seeing Quality or Excellence as the Ultimate Reality00:06:07 Human Egotism and Our Failure to Understand the Universe…00:09:01 The Connection Between Quality and Resolution00:12:52 Money as the Most Dynamic Static Representation of Value00:14:59 An Excellent Performance Exists as the Bleeding Edge of Order and Chaos00:17:23 The Pioneers Taking Arrows in the Back in Pursuit of Excellence00:20:02 NYDIG00:21:10 Analogizing Metaphysical Perspective to Selecting the Right Map for the Job00:24:55 Metaphysics of Quality and its Role in the Destruction of Moral Relativism00:28:59 Introducing Pirsig's Platypus Paradox…00:32:12 The Platypus Blew Out Biological Categories and Led to a Procrustean Bed00:35:51 Light as a Phenomenological Representation of Pure Dynamic Quality00:38:03 “The Whole World as a Marketplace of Kingdoms within Kingdoms within Kingdoms…”00:40:19 Life as a Strategy Stack with an Overarching Aim of Territoriality00:43:37 Property as an Abstract Expression of the Extended Human PhenotypeSOCIALBreedlove Twitter: https://twitter.com/Breedlove22WiM? Twitter: https://twitter.com/WhatisMoneyShowLinkedIn: https://www.linkedin.com/in/breedlove22/Instagram: https://www.instagram.com/breedlove_22/TikTok: https://www.tiktok.com/@breedlove22?lang=enAll My Current Work: https://linktr.ee/breedlove22​WRITTEN WORKMedium: https://breedlove22.medium.com/Substack: https://breedlove22.substack.com/WAYS TO CONTRIBUTEBitcoin: 3D1gfxKZKMtfWaD1bkwiR6JsDzu6e9bZQ7Sats via Strike: https://strike.me/breedlove22Sats via Tippin.me: https://tippin.me/@Breedlove22Dollars via Paypal: https://www.paypal.com/paypalme/RBreedloveDollars via Venmo: https://venmo.com/code?user_id=1784359925317632528The "What is Money?" Show Patreon Page: https://www.patreon.com/user?u=32843101&fan_landing=trueRECOMMENDED BUSINESSESWorldclass Bitcoin Financial Services: https://nydig.com/Join Me At Bitcoin 2022 (10% off if paying with fiat, or discount code BREEDLOVE for Bitcoin): https://www.tixr.com/groups/bitcoinconference/events/bitcoin-2022-26217Automatic Recurring Bitcoin Buying: https://www.swanbitcoin.com/breedlove/Buy Bitcoin in a Tax-Advantaged Account: https://www.daim.io/robert-breedlove/Buy Your Dream Home without Selling Your Bitcoin with Ledn: https://ledn.io/en/?utm_source=breedlove&utm_medium=email+&utm_campaign=substack

Do you find yourself wondering what Lent has in common with Robert Pirsig's book Zen and the Art of Motorcycle Maintenance?  Well then, this episode is for you!———————————————————————————————————————. Have a spiritual, theological, or religious question you would like me to tackle?Contact me via email:    Dan@skypilot.zoneAnd be sure to check me out on Facebook: https://www.facebook.com/SkyPilotFaithQuest...........................................................................................Music: Composed for SkyPilot: Faith Quest by Arlan Sunnarborg

What a great conversation with Diana Weber, Mom, Consultant, Agile Coach + Expert, Lightworker and beautiful soul. Join us to hear the conversation and learn about her:·       Learnings came from major life challenges.·       Openness to synchronicities led her path.·       Connection of mind, body, spirit create courageous authenticity.·       View on holding space for others to support their growth.·       Philosophy: ‘when the student is ready the teacher will appear'.·       Writing that has been an incredible healing tool.·       Book she's writing: ‘Journey Well'.·       Journey of meditation helped shut off the inner critic saboteur.·       Trust in her intuition, let go of resistance AND take action.·       Mantra she says to herself in the mirror every day.Diana offers such vulnerable insight into her journey and what she has learned along the way. Her suggestions and viewpoints on how we can shift align perfectly with our new phase of evolution as humans.  Recommendations from Diana:·      Arda: Private consulting on Agile and Change Agent shift for organizations. Email diana@arda.io and check out Diana's blog athttp://www.journeywell.blog/ ·      Podcasts, workshops, masterclasses, meetups and books that inspire you, expand your openness and growth.  Here are some of her favorite books:·      The Power of Now (book) by Eckart Tolle – The Power of Now: A Guide to Spiritual Enlightenment is a book by Eckhart Tolle. The concept of self-reflection and presence in the moment.·      Zen and the Art of Motorcycle Maintenance by Robert Pirsig·      The Four Agreements by Don Miguel Ruiz·      Untethered Soul by Michael Singer·      Tuesdays with Morrie by Mitch Albom·      The next person you meet in heaven by Mitch Albom·      Many books by Wayne Dyer·      Diana follows the teachings from Abraham Hicks and from The Secret.·      American Heart Association – www.heart.org – Focuses to build public awareness, improve healthy behavior habits and ensure research is inclusive.·      JDRF – Juvenile Diabetes Research Foundation – www.jdrf.orgprovides a broad array of community and activist services to the T1D population and actively advocates for regulation favorable to medical research and approval of new and improved treatment modalities. Listen here https://angiemccourt.transistor.fm/episodes

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: The benefits of madness: A positive account of arationality , published by Skatche on the AI Alignment Forum. This post originated in a comment I posted about a strange and unpleasant experience I had when pushing myself too hard mentally. People seemed interested in hearing about it, so I sat down to write. In the process, however, it became something rather different (and a great deal longer) than what I originally intended. The incident referred to in the above comment was a case of manic focus gone wrong; but the truth is, often in my life it's gone incredibly right. I've gotten myself into some pretty strange headspaces, but through discipline and quick thinking I have often been able to turn them to my advantage and put them to good use. Part 1, then, lays out a sort of cognitive history, focusing on the more extreme states I've been in. Part 2 continues the narrative; this is where I began to learn to ride them out and make them work for me. Part 3 is the incident in question: where I overstepped myself and suffered the consequences. Some of you, however, may want to skip ahead to part 4 (unless you find my autobiographical writings interesting as a case study). There, I've written a proposal for a series of posts about how to effectively use the full spectrum of somatic and cognitive states to one's advantage. I have vacillated for a long time about this, for reasons that will be discussed below, but I decided that if I was already laying this much on the line, I might as well take it a step further. Read if you will; and if you're interested, please say so. Part 1: My cognitive background Let's start with full disclosure: there is madness in my family. My father was an alcoholic; it was clear to all of us that he also had some other psychological issues, but I never fully learned the details. My sister has been variously diagnosed with depression, bipolar, borderline personality disorder, etc, and has a breakdown about three or four times a year. My brother is also bipolar. He's had two manic episodes so far; he became psychotic during the first one, and both times he's been hospitalized. And then there's me: the sane, dependable one. That's what I thought, anyway, until my brother had his first episode and I started to look back on my own history. I'd always regarded myself as rather unusual, certainly, but basically stable. But seeing full-blown psychosis for the first time, and within my own family at that, gave new definition and clarity to some of the experiences I had had. My first episode happened when I was in my senior year of high school. I had been getting into New Age for about six months, reading rather credulously the work of one Dr. Joshua David Stone, author of the Ascension Manual and a number of other books inspired primarily by theosophy. I had not thought much about spirituality since renouncing God at the age of twelve, yet a vague unease had led me to begin seeking. Once I got started, I just ate it up; yet the vague unease persisted. I did my best to believe and to perform the meditative exercises, and for the most part I did, but it just wasn't sitting quite right. During winter break of that year, I began reading Zen and the Art of Motorcycle Maintenance, by Robert Pirsig. Now, here was something new: Pirsig rejected the analytic method as the sole arbiter of truth, yet he was also clearly uncomfortable with holism and spirituality. In fact, he seemed uncomfortable with all his ideas: they had come to him during a period of degenerating mental illness, culminating in a nervous breakdown and subsequent electroshock therapy. Yet rather than dismiss these ideas, he seemed determined to confront them and grapple with them, to sift for genuine insights among the delusions. Even more interesting was his rhetorical style: rather than simply...

'We are all artists of the Anthropocene. We inherently are because this is the world that we're living in right now. There's no other world. We were down earlier at Robert's Creek (BC) and it's a salmon bearing stream. I think of it like we're artists in the Anthropocene, like fish would be in the ocean: the water is all around us and the Anthropocene is all around us. I think it may be what Ben Okri is tasking us with is: can you describe the water? It's all we know, but we need to be able to look from this moment now into the future and maybe that's the job of artists. We're the visionaries, we can see the future and we can envision it in different ways. I think he speaks to that too at the end of the article about saying part of why we need to talk about the times we're in now is in relationship to a future, whatever that future looks like. And I do spend a lot of time trying to negotiate my belief in the future.'Kendra Fanconi, Robert's Creek, BC 2021My 2nd conversation with theatre artist and art + climate activist Kendra Fanconi in Robert's Creek, BC about the ‘Artist Brigade', Ben Okri, eco-restoration, eco-grief & reauthoring the world, with excerpts from e43 haley, e30 maggs & é37 lebeau. Robert's Creek is on the ancient and unceded territory of the shishalh Nation.  The shishalh people call Robert's Creek xwesam.  I've known Kendra for many years, first through her work with Radix Theatre then as an arts and environment advocate in the community, notably through The Only Animal company, which she co-founded with Eric Rhys Miller in 2005 and which has created over 30 shows  that ‘take theatre places it has never gone before'. I've always admired Kendra's vision, her calm demeanour, her strategic mind, and deep commitment to environment issues, as you'll hear on our conversation, which recorded in her kitchen in Robert's Creek, BC. My goal with this series of second conversations is to go deeper into issues from our initial conversation, to hear updates on their work as well as their vision for the future. Kendra gave me an update on the ‘Artists Brigade' project, her perspectives Nigerian novelist and poet Ben Okri's call to action Artists must confront the climate crisis – we must write as if these are the last days article, ecological restoration, the work of death doula and climate grief advisor Corey Mathews (Hardeman), the impact of eco-anxiety and about reauthoring the world, including excerpts from e43 haley, e30 maggs & é37 lebeau.Links mentioned during our conversation :Jason DeCaires Taylor (coral reef work)Alana MitchellGreenhouse (two-day climate intensive for Artist Brigade)David Suzuki FoundationI was also moved by this quote from my conversation with Kendra:I think the climate movement is full of love and care. Those are the people who get involved. Even though we have this sort of vision of the angry activists. I think at the heart of it, it's about care and love. And so, I found that definition of climate grief and the link of love and loss to be very reassuring and to know that grieving in community, which may be is, I mentioned to you earlier, this sort of love that I have for this climate brethren, artists who care about climate, that I've found on how nourishing that is for me. Maybe we all do it together? We're locked in this love and loss and we're doing it as a community and versus doing it alone, which I feel like I did do for many years before I got involved in this way. It's just so much better.Excerpt from previous conscient episodes used in e87: David Haley (e43 haley):What I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it.David Maggs (e30 maggs):Complexity is the world built of relationships and it's a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we've been sort of under the thumb of the old world. We've always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don't have. What I've been trying to do with this report (Art and the World After This) is articulate the way in which these different disruptions are putting us in a very different reality and it's a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.Anne-Catherine Lebeau (é37 lebeau.):Note: translation from the FrenchFor me, it is certain that we need more collaboration. That's what's interesting. Moving from a 'Take Make Waste' model to 'Care Dare Share'. To me, that says a lot. I think we need to look at everything we have in the arts as a common good that we need to collectively take care of. Often, at the beginning, we talked in terms of doing as little harm as possible to the environment, not harming it, that's often how sustainable development was presented, then by doing research, and by being inspired, among other things, by what is done at the Ellen MacArthur Foundation in England, around circular economies, I realized that they talk about how to nourish a new reality. How do you create art that is regenerative? Art that feeds something.Ocean view at Robert's Creek, November 24, 2021Kendra Fanconi, eyes closed, in her Kitchen, Robert's Creek, BC. November 24, 2021Kendra (and cat) at bridge over the creek at her house, Robert's Creek, BC November 24, 2021 *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'Welcome back to the History of 2021 in Canada seminar. We're going to conclude our case study today of the 2nd season of the conscient podcast.'Claude Schryerou can listen to part one here. This is the conclusion!The setting is an undergraduate university history seminar course called ‘History of 2021 in Canada'. I want to thank my son Riel for the idea. It is set in the distant future, where a professor is presenting a ‘case study' based on the second season of the conscient podcast as part of a class on art in 2021. There are four people in the class: the teacher played by myself, a young male student is played by my son Riel Schryer, a young female student, who is online, is played by my daughter Clara Schryer and a female adult student is played by my wife Sabrina Mathews. I want to thank the cast. A reminder that most of the narration is in English, but there are elements and excerpts of the interviews that are in French and some of the narrations as well. Episode 64 features excerpt from the following episodes in season 2 (in order of appearance):e19 reality (1m05s) (Claude Schryer reading Catherine Ingram)e43 haley (2m29s)e58 huddart (3m55s)e19 reality (5m27s) (Claude Schryer reading Britt Wray)e33 toscano (8m13s)e19 reality (9m53s) (Claude Schryer reading Richard Wagamese)e30m maggs (11m09s)e36 fanconi (13m07s)é37 lebeau (15m08s)e43 haley (16m36s) (second excerpt)e59 pearl (20m00s)e19 reality (21m51s) (Claude Schryer reading Todd Dufresne)e52 mahtani (23m05s)e22 westerkamp (23m58s)e54 garrett (25m19s)e41 rae (27m03s)e67 wanna be an ally (29m47)Screen grab of Reaper software edit of e64Recording cast : Sabrina Mathews (adult student), Claude Schryer (professor) and Riel Schryer (male student): September 2021, OttawaRecording cast : Clara Schryer (female student): September 2021, OttawaScriptNote: Some of the script has been slightly modified during the recording through improvisation and is not captured in this text.(Sounds of students chatting, arriving in class and sitting down)Teacher: Hello students. Let's start the class. Welcome back to the History of 2021 in Canada seminar. Last time we had to disrupt the class because of the air pollution alarm but now the air quality is acceptable, and we can breathe again so hopefully the alarm won't go off again. Let's pick it up where we left off last week. I see we have the same group as last week. a few students in class and one online. Je vous rappelle que c'est une classe bilingue. A quick reminder that we're going to conclude our case study today of the second season of the conscient podcast, which produced by an Ottawa based sound artist, Claude Schryer and at the end the last class he was reading a quote from a dharma teacher Catherine Ingram.  I think we'll start by playing that again so that you remember what that was about. Despite our having caused so much destruction, it is important to also consider the wide spectrum of possibilities that make up a human life.  Yes, on one end of that spectrum is greed, cruelty, and ignorance; on the other end is kindness, compassion, and wisdom. We are imbued with great creativity, brilliant communication, and extraordinary appreciation of and talent for music and other forms of art. … There is no other known creature whose spectrum of consciousness is as wide and varied as our own.Teacher: Alright. Let's talk about art. One of the key moments in the 2020s was when society started to understand that climate change was a cultural issue and that the role of art was not so much to provide solutions, even though they are important, but to ask hard questions and to help people overcome barriers to action. Here is excerpt that I really like a lot from British ecological artist David Haley. It's fromepisode 43:Climate change is actually a cultural issue, not a scientific issue. Science has been extremely good at identifying the symptoms and looking at the way in which it has manifest itself, but it hasn't really addressed any of the issues in terms of the causes. It has tried to use what you might call techno fix solution focused problem-based approaches to the situation, rather than actually asking deep questions and listening.Adult student: The 2020s sure were a strange time. I heard that some said it was the most exciting time to be alive, but I think it would have been terrifying to live back then and … Teacher (interrupting): You're right and that they were tough times, but they were also a time of possibilities, and some people saw how the arts could step up to the plate and play a much larger role. One of these was Stephen Huddart who was the CEO of a foundation called the JW McConnell Family Foundation based in Montreal. Let's listen to him in episode 58 talk about the crisis and the role of the arts. This is now an existential crisis, and we have in a way, a conceptual crisis, but just understanding we are and what this is, this moment, all of history is behind us: every book you've ever read, every battle, every empire, all of that is just there, right, just right behind us. And now we, we are in this position of emerging awareness that in order to have this civilization, in some form, continue we have to move quickly, and the arts can help us do that by giving us a shared sense of this moment and its gravity, but also what's possible and how quickly that tipping point could be reached.Male student: They keep talking about tipping points. What's a tipping point?Teacher: Ah. Right, sorry about that. I should have filled you in about that. Let me find a quote from episode 19 where Schryer actually refers to an expert on this (sound of typing). Here it is. It's from Canadian writer Britt Wray in an article called Climate tipping points: the ones we actually want. Again, this is Schryer reading that quote. Oh, and you'll notice in this one the sound of a coocoo clock in this one. Schryer liked to insert soundscape compositions in between his interviews in season 2. Here is Britt Wray: When a small change in a complex system produces an enormous shift, that new pathway gets reinforced by positive feedback loops, which lock in all that change. That's why tipping points are irreversible. You can't go back to where you were before. A tipping point that flips non-linearly could be the thing that does us in, but it could also be the thing that allows us to heal our broken systems and better sustain ourselves. Adult student: So, they knew back in the 2020's that they were on the verge of irreversible collapse due to climate change and yet they did nothing to heal their broken systems?  Teacher: It's not that they did nothing but rather that they did not do enough, quickly enough. it's easy to look back and be critical but that's why we're looking at this history and trying to understand what happened back then and what it means to us now. You are students of history, and you know how significant it can be. There were so many theories and great writing about the need for radical change back then by authors such as Richard Heinberg, Jeremy Lent, Robin Wall Kimmerer, Naomi Klein,Michael E. Mann, and so many more, and there were also great podcasts like Green Dreamer and For the Wild that provided words of warning, interviewed brilliant people and alternatives paths forward, it was all there – but at first it did little to mobilise the population. People were pretty comfortable in their lifestyle and mostly lived in a kind of denial about the climate emergency. People only really started changing their behaviour when climate change affected them directly, like a fire or flood in their backyard, and this is when it became clear that the arts had a role to play in shaping the narrative of change and changing the culture. I'll give you an example, performance artist and podcaster Peterson Toscanotalksabout the power of storytelling and the idea of touching people hearts and minds. This is from episode 33:It's artists who not only can craft a good story, but also, we can tell the story that's the hardest to tell and that is the story about the impacts of climate solutions. So, it's really not too hard to talk about the impacts of climate change, and I see people when they speak, they go through the laundry list of all the horrors that are upon us and they don't realize it, but they're actually closing people's minds, closing people down because they're getting overwhelmed. And not that we shouldn't talk about the impacts, but it's so helpful to talk about a single impact, maybe how it affects people locally, but then talk about how the world will be different when we enact these changes. And how do you tell a story that gets to that? Because that gets people engaged and excited because you're then telling this story about what we're fighting for, not what we're fighting against. And that is where the energy is in a story.Female student: Right, so something as simple as a story could change a person's behaviour? Teacher: Yes, it could, because humans are much more likely to understand an issue through a narrative, image or allegory than through raw scientific data. In fact, we need all of it, we need scientists working with artists and other sectors to effect change. People have to work together. As I was listening to episode 19 this next quote struck me as a really good way to talk about the power of words to affect change. It's by Indigenous writer Richard Wagamese in episode 19 :To use the act of breathing to shape air into sounds that take on the context of language that lifts and transports those who hear it, takes them beyond what they think and know and feel and empowers them to think and feel and know even more.  We're storytellers, really. That's what we do. That is our power as human beings.Teacher: How is everyone doing? Need a break? No, ok, well, let's take a look at arts policy in 2021 now. Cultural theorist and musician Dr. David Maggs, wrote a paper in 2021 called Art and the World After This that was commissioned by the Metcalf Foundation. In this excerpt from episode 30, Dr. Maggs explains the unique value proposition of the arts and how the arts sector basically needed to, at the time, reinvent itself:  Complexity is the world built of relationships and it's a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we've been sort of under the thumb of the old world. We've always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don't have. What I've been trying to do with this report is articulate the way in which these different disruptions are putting us in a very different reality and it's a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.Adult student: We studied this report in an art history class. It's a good piece of writing. I think it had 3 modes of engagement: greening the sector, raising the profile :Teacher: … and I think it was reauthoring the world if I remember correctly. It's interesting to note how the arts community were thinking about how to create ecological artworks as well as theoretical frameworks and how does that happen. I'll give you a couple of examples. First, an environmental theatre company in Vancouver called The Only Animal. Let's listen to their artistic director Kendra Fanconi inepisode 36:Ben Twist at Creative Carbon Scotland talks about the transformation from a culture of consumerism to a culture of stewardship and we are the culture makers so isn't that our job right now to make a new culture and it will take all of us as artists together to do that? …  It's not enough to do carbon neutral work. We want to do carbon positive work. We want our artwork to be involved with ecological restoration. What does that mean? I've been thinking a lot about that. What is theatre practice that actually gives back, that makes something more sustainable? That is carbon positive. I guess that's a conversation that I'm hoping to have in the future with other theatre makers who have that vision.Teacher: This actually happened. The arts community did develop carbon positive arts works. To be realistic the amount of carbon removed from the atmosphere was probably minimal but the impact on audiences and the public at large was large.  At the time and still today, it gets people motivated and open the door to change. People started creating their own carbon positive projects Female student: (interrupting) Amazing! I just found a video of their work on You Tube…Teacher: Please share the link in the chat. It's always good to see what the work looked like. The other example I would give is in Montreal with a group called Écoscéno, which was a circular economy project that recycled theatre sets. Now this one is in French, so let me explain that what Anne-Catherine Lebeau, the ED of that organization is saying. She suggests that the arts community should look at everything it has as a common good, praises the Ellen MacArthur Foundation in England for their work on circular economies and she underlines the need to create art that is regenerative…Let's listen to Anne-Catherine Lebeau in episode 37:. Pour moi, c'est sûr que ça passe par plus de collaboration. C'est ça qui est intéressant aussi. Vraiment passer du modèle ‘Take Make Waste' à ‘Care Dare Share'. Pour moi, ça dit tellement de choses. Je pense qu'on doit considérer tout ce qu'on a dans le domaine artistique comme un bien commun dont on doit collectivement prendre soin. Souvent, au début, on parlait en termes de faire le moins de tort possible à l'environnement, ne pas nuire, c'est souvent comme ça que l'on présente le développement durable, puis en faisant des recherches, et en m'inspirant, entre autres, de ce qui se fait à la Fondation Ellen MacArthur  en Angleterre, en économie circulaire, je me suis rendu compte qu'eux demandent comment faire en sorte de nourrir une nouvelle réalité. Comment créer de l'art qui soit régénératif? Qui nourrisse quelque chose.Male student (interrupting) Sorry, wait, regenerative art was a new thing back then? Teacher: Actually, regenerative art had been around for a while, since the 1960 through the ecological art, or eco art movement that David Haley, who we heard from earlier in this class. he and other eco artists did work with the environment and ecosystems. Let's listen to another excerpt from David Haley from episode 43:What I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it. When I say I work with ecology, I try to work with whole systems, ecosystems. The things within an ecosystem are the elements with which I try to work. I try not to introduce anything other than what is already there. In other words, making the space as habitat for new ways of thinking, habitat for biodiversity to enrich itself, habitat for other ways of approaching things. I mean, there's an old scientific adage about nature abhors a vacuum, and that vacuum is the space as I see it.Teacher : So eco art was an important movement but it did not become mainstream until the 2020s when natural resources on earth were drying up and people started looking at art forms that were about ecological balance and a harmonious relationship with nature. . Now, fortunately, many artists had tested these models over the years so there was a body of work that already existed about this... Btw there's a great book about eco art that came out in 2022 called Ecoart in Action: Activities, Case Studies, and Provocations for Classrooms and Communities. I'll  put it on the reading list for you so that you can get it form the library. All of this to say that in retrospect, we can see that 2021 was the beginning of the end of capitalism that Dr. Todd Dufresne predicted, and the arts were at the heart of this transformation because they had the ability to us metaphor, imagery, illusion, fantasy, and storytelling to move people's hearts and presented a new vision of the world. So, I think you're starting to see how things were unfolding in the arts community in 2021. What was missing was coordination and some kind of strategic structure to move things along in an organized way now this was happening in the Uk with Julie's Bicycle and Creative Carbon Scotland and similar organizations, but we did not have that in Canada. I want you to listen to an excerpt of Schryer's conversation with Judi Pearl, who ended up being a very important figure in the arts in the 2020's because she was a co- founder with Anjali Appadurai, Anthony Garoufalis-Auger, Kendra Fanconi, Mhiran Faraday, Howard Jang, Tanya Kalmanovitch, David Maggs, Robin Sokoloski and Schryer himself of an organization called SCALE, which I mentioned earlier. Here is Judi Pearl who explains what SCALE was about in episode 59:It's a national round table for the arts and culture sector to mobilize around the climate emergency. A few months ago, you and I, and a few others were all having the same realization that while there was a lot of important work and projects happening at the intersection of arts and sustainability in Canada, there lacked some kind of structure to bring this work together, to align activities, to develop a national strategy, and to deeply, deeply question the role of arts and culture in the climate emergency and activate the leadership of the sector in terms of the mobilization that needs to happen in wider society. SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.Teacher: OK, time is passing quickly here. there are many other examples in season 2 of the role of the arts, about community-engaged arts, immersive systems, activist art, ritual based art, etc. but in the interests of time, I suggest we move to the notion of hope now. There were so many amazing books and podcasts about hope during this time. Schryer mentions that he enjoyed the book by Thomas Homer-Dixon's Commanding Hope, Eslin Kelsey's Hope Matters, Joanna Macy's and Chris Johnstone's classic from 2010, Active Hope but there were many others. The thing about hope back then is that it was aspirational. Indeed, andthere were many different forms of hope. Let's start with Schryer reading a quote from Dr. Todd Dufresne in episode 19:We're all being “radicalized by reality.” It's just that for some people it takes a personal experience of fire, landslide, or hurricane to get their attention. I'm afraid it takes mass death and extinction. … Whoever survives these experiences will have a renewed appreciation for nature, for the external world, and for the necessity of collectivism in the face of mass extinction. There's hope in this — although I admit it's wrapped in ugliness.Teacher: And it is very ugly, isn't it...? Here's another take on hope from composer Dr. Annie Mahtani in episode 52. Annie was director of a electroacoustic music festival in the UK where the focus of the 2021 was on listening and how listening could us better understand our environment. If we can find ways to encourage people to listen, that can help them to build a connection, even if it's to a small plot of land near them. By helping them to have a new relationship with that, which will then expand and help hopefully savour a deeper and more meaningful relationship with our natural world, and small steps like that, even if it's only a couple of people at a time, that could spread. I think that nobody, no one person, is going to be able to change the world, but that doesn't mean we should give up.Female student: I love the focus on listening. I think Schryer was a specialist in acoustic ecology, if I remember correctly.Teacher: Yes. On a similar wavelength, here's excerpt from soundscape composer Hildegard Westerkamp from episode 22:We need toallow for time to pass without any action, without any solutions and to just experience it. I think that a slowdown is an absolute… If there is any chance to survive, that kind of slowing down through listening and meditation and through not doing so much. I think there's some hope in that.Teacher: Thankfully, we did survive, and we did develop the capacity to listen and slow down as Westerkamp suggests. She was quite prescient in this way. But the notion of hope was elusive, because science keep telling us that they were headed for catastrophe, and there was good reason to be concerned about this and this created massive tension. Male Student: How did they manage that? Teacher: They just kept going in spite of the uncertainty and the grim prospect... As I mentioned earlier, no-one knew if was possible to stop the destruction of the planet, but they kept going on and they   use art not only to change systems abut also to keep up morale.  Let's listen to this excerpt from episode 54 with theatre artistIan Garrett: I don't want to confuse the end of an ecologically unsustainable, untenable way of civilization working in this moment with a complete guarantee of extinction. There is a future. It may look very different and sometimes I think the inability to see exactly what that future is – and our plan for it - can be confused for there not being one. I'm sort of okay with that uncertainty, and in the meantime, all one can really do is the work to try and make whatever it ends up being more positive. There's a sense of biophilia about it.Male student: OK, they knew that there would be trouble ahead but what about adaptation and preparedness in the arts community. How did they prepare and adapt to the changing environment? Did they not see it coming?Adult Student: It's one thing to raise awareness through art but how did art actually help people deal with the reality of fires, floods, climate refugees and all of that?Teacher:  Remember that art had the ability to touch people emotions and motivate them to change their attitudes and lifestyles, but it was also a way to teach people how to adapt while continuing to enjoy the things around them. Artist-researcher and educator Jen Rae is a good example. Rae and her colleagues in Australia did a lot of work in the 2020's to develop tools and resources that call upon art to reduce harm during emergencies.  The notion of preparedness. This is from episode 41:The thing about a preparedness mindset is that you are thinking into the future and so if one of those scenarios happens, you've already mentally prepared in some sort of way for it, so you're not dealing with the shock. That's a place as an artist that I feel has a lot of potential for engagement and for communication and bringing audiences along. When you're talking about realities, accepting that reality, has the potential to push us to do other things. It's great to hear about Canada Council changing different ways around enabling the arts and building capacity in the arts in the context of the climate emergency. It'll be interesting to see how artists step up.Teacher: Online student, you have a question. Please go ahead. Female student: Did artists step up? Teacher: Yes, they did. For example, in 2021, there were the Green Sessions organized by SoulPepper Theatrecompany and the Artists for Real Climate Action (ARCA), a really great collective of artists who did all kinds of activist art projects that set the tone for years to come. Some of the most impactful art works were the ones that directly addressed the culture of exploitation and the disconnection from nature that caused the ecological crisis in the first place, so it was not observations but also critique of the root of the issues that humanity was facing at the time. There was also a body work by Indigenous artists, writers, curators and educators that was extremely important and transformative. A good example is Towards Braiding, a collaborative process developed by Elwood Jimmy and Vanessa Andreotti, developed in collaboration with Sharon Stein, in 2020 that opened the door to new ways of working with indigenous communities in cultural institutions and all kinds of settings. It was very impactful. I found an episode from conscient podcast episode 67 from season 3 called ‘wanna be an ally' where Schryer talks about this book and reads the poem called ‘wanna be an ally' from Towards Braiding and I think it's worth listening to the whole thing. It's really important to understand these perspectives. conscient podcast, episode 67, ‘wanna be an ally'? I've been thinking about decolonization and reconciliation and other issues in our relations with indigenous communities. I was reading a text the other day that really affected me positively but also emotionally and I wanted to read it to you. If you remember last episode, I talked about the idea of radical listening. Well, this is a type of radical listening in the sense that each of these words are, I think very meaningful and important for us all to consider. It's from a document called Towards Braiding by Elwood Jimmy and Vanessa. Andreotti written in collaboration with Sharon Stein and it's published by the Musagetes Foundation. I'd like to start by thanking them all for this a very important document that essentially talks about how to, or proposes how to engage indigenous and non-indigenous relations in an institutional setting and, principles and methods, to consider. It's very well-written and I recommend a strongly as something to read and something to do, but for now, I'll just read this poem, on page 39 of the document and, and leave it at that for today because, it's already a lot to consider and as we listen more radically, that means just sitting back and listening with our full attention and openness of mind. So here it is.don't do it for charity, for feeling good, for looking good, or for showing others that you are doing good don't do it in exchange for redemption from guilt, for increasing your virtue, for appeasing your shame, for a vanity award don't put it on your CV, or on Facebook, or in your thesis, don't make it part of your brand, don't use it for self-promotion don't do it as an excuse to keep your privileges, to justify your position, to do everything except what would be actually needed to change the terms of our relationship do it only if you feel that our pasts, presents and futures are intertwined, and our bodies and spirits entangled do it only if you sense that we are one metabolism that is sick, and what happens to me also happens to you do it recognizing that you have the luxury of choice to participate or not, to stand or not, to give up your weekend or not, whereas others don't get to decide don't try to “mould” me, or to “help” me, or to make me say and do what is convenient for you don't weaponize me (“I couldn't possibly be racist”) don't instrumentalize me (“my marginalized friend says”) don't speak for me (“I know what you really mean”)don't infantilize me (“I am doing this for you”) don't make your actions contingent on me confiding in you, telling you my traumas, recounting my traditions, practicing your idea of “right” politics, or performing the role of a victim to be saved by you or a revolutionary that can save you and expect it to be, at times, incoherent, messy, uncomfortable, difficult, deceptive, paradoxical, repetitive, frustrating, incomprehensible, infuriating, boring and painful — and prepare for your heart to break and be stretched do you still want to do it? then share the burdens placed on my back, the unique medicines you bring, and the benefits you have earned from this violent and lethal disease co-create the space where I am able to do the work that only I can and need to do for all of us take a step back from the centre, the frontline from visibility relinquish the authority of your interpretations, your choice, your entitlements, surrender that which you are most praised and rewarded for don't try to teach, to lead, to organize, to mentor, to control, to theorize, or to determine where we should go, how to get there and why offer your energy to peel potatoes, to wash the dishes, to scrub the toilets, to drive the truck, to care for the babies, to separate the trash, to do the laundry, to feed the elders, to clean the mess, to buy the food, to fill the tank, to write the grant proposal, to pay the tab and the bail to do and support things you can't and won't understand,and do what is needed, instead of what you want to do, without judgment, or sense of martyrdom or expectation for gratitude, or for any kind of recognitionthen you will be ready to sit with me through the storm with the anger, the pain, the frustration, the losses, the fears, and the longing for better times with each other and you will be able to cry with me, to mourn with me, to laugh with me, to “heart” with me, as we face our shadows, and find other joys, in earthing, breathing, braiding, growing, cooking and eating, sharing, healing, and thriving side by side so that we might learn to be ourselves, but also something else, something that is also you and me, and you in me, and neither you nor me Teacher: We need to wrap this class up soon, but I think you've noticed that Schryer was deeply influenced by indigenous writers and knowledge keepers of his time. He published a blog in September 2021 that quotes Australian academic and researcher Dr. Tyson Yunkaporta from episode 321 of the Green Dreamer podcast. I'll read a short excerpt now but encourage you to listen to the entire interview if you get a chance. Teacher:The most damaged people on the planet are going to have to set aside their IOUs, set aside any kind of justice, or hope for justice or karma, or anything else, and carry the load for another thousand years to keep everything alive. And it's going to be hard just to forgive and then hand over all this wealth of knowledge and relationship and everything else to the people who are still holding the capital from the last great heist and are not going to give it up or share it anyway. The only way that's going to save the entire planet is to bring everybody back under the law of the land, and be very generous with our social systems, open them up and bring everybody back in. And that's going to be really hard, because at the same time, people are going to be trying to extract from that, corrupt that and everything else. Adult student: That's interesting. It kind of brings us back to the notion of reality and grief, but Yunkaporta doesn't even mention art in that quote so how do we connect the dots with the arts here?Teacher (interrupting): It's a good point but the presence of arts and culture is implied through the notion of the transfer of knowledge and through relationships with humans and the natural world. I think art is there he just did not use the word. Most indigenous cultures at that time did not consider art as separate activity from day-to-day life. It's interesting to observe Yunkaporta's prophesy is essentially what is happening in our world today, isn't it? We're slowly returning to the natural laws of the land, at least in the habitable parts of the planet, and our social systems are being transformed by the knowledge and expertise of Indigenous peoples, right? It's true that we had to go through a tremendous amount of suffering to get there – and we still are - but we seem to be on the other side of that elusive just transition that Anjali Appadurai spoke about in episode 23. So that's why 2021 in the arts in Canada is such an interesting topic and that's why we spent two classes on it as part of this course on Canada in the year 2021. The arts essentially planted seeds for massive transformation that came later. Artists and cultural workers at the time guided the way for that transformation. Unfortunately, we're almost out of time for today's class and my voice is getting tired... I suggest we end the class with another quote from that same blog by Schryer. I've just put it in the chat. I suggest we read it out loud as a group, OK? I'll start and then point to the next person to read out loud. I'll begin.  Now that season 2 is complete, I've been thinking about I can be most useful to the ecological crisis. Is it by sharing more knowledge about art and climate through podcasts like this one? Is it by engaging in more activist and protest art? Or is it by developing more green policies for the arts sector? All of these will likely help, but I think the most useful thing for me to do is to listen radically. Let me explain what I mean by listening radically. Male Student: Listening radically is about listening deeply without passing judgment. Listening radically is about knowing the truth and filtering out the noise. Listening radically is about opening attention to reality and responding to what needs to be done.Female Student: I conclude this blog with a quote that I used at the end of episode 1 of this podcast by Indigenous writer Richard Wagamese, from his novel, For Joshua. ‘We may not relight the fires that used to burn in our villages, but we carry the embers from those fires in our hearts and learn to light new fires in a new world.'Adult Student: ‘We can recreate the spirit of community we had, of kinship, of relationship to all things, of union with the land, harmony with the universe, balance in living, humility, honesty, truth, and wisdom in all of our dealings with each other.'Teacher: OK. We'll continue with more about Canada in 2021 next week. Thanks so much for being such an engaged and fun group today. Merci. Miigwech.(speaking softly under the professor, improvised)Male Student: Thanks Prof. I'm really exhausted but I learned a lot. Female Student: Moi aussi. Merci pour cette classe. Aurevoir 2021. Adult Student: Yup, I learned a lot, but I'm bushed. Does anyone want to go for coffee? *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'I think capitalism is over, but the problem is we have nothing to replace it with. Here's when we need artists, and others, to tell us what kind of vision they have for a future that is different than that: a future of play and meaningful work would be one future that I think is not just utopic, but very possible. 'dr. todd dufresne, e21 conscient podcastVideo version:Transcriptione21 dufresne : capitalism is over, my conversation with philosopher Dr. Todd Dufresne about reality, grief, art and the climate crisis.Democracy of SufferingI think capitalism is over, but the problem is we have nothing to replace it with. Here's when we need artists, and others, to tell us what kind of vision they have for a future that is different than that: a future of play and meaningful work would be one future that I think is not just utopic, but very possible. So there's a possible future moving forward that could be much better than it is right now, but we're not going to get there without democracy of suffering as we're experiencing it now and will at least over the next 20, 30, 40 years until we figure this out, but we need to figure it out quickly.e22 westerkamp : slowing down through listening, my conversation with composer and listener Hildegard Westerkamp about acoustic ecology and the climate crisis.Some HopeWe need toallow for time to pass without any action, without any solutions and to just experience it. I think that a slowdown is an absolute - if there is any chance to survive - that kind of slowing down through listening and meditation and through not doing so much. I think there's some hope in that.e23 appadurai: what does a just transition look like?,my ‘soundwalk' conversation with climate activist Anjali Appadurai about the just transition and the role of the arts in the climate emergency.The deeper diseaseThe climate crisis and the broader ecological crisis is a symptom of the deeper disease, which is that rift from nature, that seed of domination, of accumulation, of greed and of the urge to dominate others through colonialism, through slavery, through othering – the root is actually othering – and that is something that artists can touch. That is what has to be healed, and when we heal that, what does the world on the other side of a just transition look like? I really don't want to believe that it looks like exactly this, but with solar. The first language that colonisation sought to suppress, which was that of indigenous people, is where a lot of answers are held.e24 weaving : the good, possible and beautiful, my conversation with artist jil p. weaving about community-engaged arts, public art, the importance of the local, etc.The roles that artists can playThe recognition, and finding ways to assist people, in an awareness of all the good, the possible and the beautiful and where those things can lead, is one of the roles that artists can specifically play. e25 shaw : a sense of purpose, my conversation with Australian climate activist Michael Shaw about support structures for ecogrief and the role of art.Listen to what the call is in youIt's a real blessing to feel a sense of purpose that in these times. It's a real blessing to be able to take the feelings of fear and grief and actually channel them somewhere into running a group or to making a film or doing your podcasts. I think it's important that people really tune in to find out what they're given to do at this time, to really listen to what the call is in you and follow it. I think there's something that's very generative and supportive about feeling a sense of purpose in a time of collapse.e26 klein : rallying through art, my conversation with climate emergency activist Seth Klein about his book A Good War : Mobilizing Canada for the Climate Emergency, the newly formed Climate Emergency Unit and his challenge to artists to help rally us to this causeMy challenge to artists todayHere would be my challenge to artists today. We're beginning to see artists across many artistic domains producing climate and climate emergency art, which is important and good to see. What's striking to me is that most of it, in the main, is dystopian, about how horrific the world will be if we fail to rise to this moment. To a certain extent, that makes sense because it is scary and horrific, but here's what intrigued me about what artists were producing in the war is that in the main, it was not dystopian, even though the war was horrific. It was rallying us: the tone was rallying us. I found myself listening to this music as I was doing the research and thinking, World War II had a popular soundtrack, the anti-Vietnam war had a popular soundtrack. When I was a kid in the peace and disarmament movement, there was a popular soundtrack. This doesn't have a popular soundtrack, yet.é27 prévost : l'énergie créatrice consciente (in French), my conversation with sound artist, musician and radio producer Hélène Prévost about the state of the world and the role of artists in the ecological crisis.The less free art is, the less it disturbsIt is in times of crisis that solutions emerge and that would be my argument. It is in this solution to the crisis that, yes, there is a discourse that will emerge and actions that will emerge, but we can't see them yet. Maybe we can commission them, as you suggest: Can you make me a documentary on this? or Can you make me a performance that will illustrate this aspect? But for the rest, I think we must leave creative energy be free, but not unconscious. That's where education, social movements and education, or maybe through action. You see, and I'm going to contradict myself here, and through art, but not art that is servile, but art that is free. I feel like quoting Josée Blanchette in Le Devoirwho, a week ago, said 'the less free art is, the less it disturbs'.é28 ung : résilience et vulnérabilité (in French), my conversation with educator and philosopher Jimmy Ung about the notion of privilege, resilience, the role of the arts in facilitating intercultural dialogue and learning, education, social justice, etc. Practicing resilienceResilience, at its core, is having the ability to be vulnerable and I think often resilience is seen as the ability to not be vulnerable, and for me, the opposite, more like resilience is the ability to be vulnerable and to believe with hope. Maybe we have the ability to bounce back, to come back, to rise again, to be reborn? I think that's a way of practicing resilience, which is more and more necessary. Because if we want to move forward, if we want to learn and learn to unlearn, we will have to be vulnerable and therefore see resilience as the ability to be vulnerable.e29 loy, : the bodhisattva path my conversation with professor, writer and Zen teacher David Loy about the bodhisattva path, the role of storytelling, interdependence, nonduality and the notion of ‘hope' through a Buddhist lens.The ecological crisis as a kind of the karmaSome people would say, OK, we have a climate crisis, so we've got to shift as quickly as possible as we can from fossil fuels to renewable sources of energy, which is right. But somehow the idea that by doing that we can just sort of carry on in the way that we have been otherwise is a misunderstanding. We have a much greater crisis here and what it fundamentally goes back to is this sense of separation from the earth, that we feel our wellbeing, therefore, is separate from the wellbeing of the earth and that therefore we can kind of exploit it and use it in any way we want. I think we can understand the ecological crisis as a kind of the karma built into that way of relating and exploiting the earth. The other really important thing, which I end up talking about more often, is I think Buddhism has this idea of the bodhisattva path, the idea that it's not simply that we want to become awakened simply for our own benefit, but much more so that we want to awaken in order to be a service to everyone. e30 maggs : art and the world after this, my conversation with cultural theorist David Maggs about artistic capacity, sustainability, value propositions, disruption, recovery, etc.Entanglements of relationshipsComplexity is the world built of relationships and it's a very different thing to engage what is true or real in a complexity framework than it is to engage in it, in what is a modernist Western enlightenment ambition, to identify the absolute objective properties that are intrinsic in any given thing. Everyone is grappling with the fact that the world is exhibiting itself so much in these entanglements of relationships. The arts are completely at home in that world. And so, we've been sort of under the thumb of the old world. We've always been a kind of second-class citizen in an enlightenment rationalist society. But once we move out of that world and we move into a complexity framework, suddenly the arts are entirely at home, and we have capacity in that world that a lot of other sectors don't have. What I've been trying to do with this report (Art and the World After This) is articulate the way in which these different disruptions are putting us in a very different reality and it's a reality in which we go from being a kind of secondary entertaining class to, maybe, having a capacity to sit at the heart of a lot of really critical problem-solving challenges.e31 morrow : artists as reporters, my conversation with composer, sound artist, performer, and innovator Charlie Morrow about the origins of the conscient podcast, music, acoustic ecology, art and climate, health, hope and artists as journalists. In tune with what's going on in the worldI think that artists are for the most part in tune with what's going on in the world. We're all reporters, somehow journalists, who translate our message into our art, as art is in my mind, a readout, a digested or raw readout of what it is that we're experiencing. Our wish to be an artist is in fact, in order to be able to spend our lives doing that process.é32 tsou : changer notre culture (in French), my conversation (in French) with musician and cultural diplomacy advisor Shuni Tsou about citizen engagement, cultural action, the ecological crisis, arts education, social justice, systemic change, equity, etc,Cultural change around climate actionCitizen engagement is what is needed for cultural change around climate action. It's really a cultural shift in any setting. When you want to make big systemic changes, you have to change the culture and arts and culture are good tools to change the culture.e33 toscano : what we're fighting for, my conversation podcaster and artist Peterson Toscano about the role of the arts in the climate crisis, LGBTQ+ issues, religion, the wonders of podcasting, impacts, storytelling, performance art, etc. Where the energy is in a storyIt's artists who not only can craft a good story, but also we can tell the story that's the hardest to tell and that is the story about the impacts of climate solutions. So it's really not too hard to talk about the impacts of climate change, and I see people when they speak, they go through the laundry list of all the horrors that are upon us and they don't realize it, but they're actually closing people's minds, closing people down because they're getting overwhelmed. And not that we shouldn't talk about the impacts, but it's so helpful to talk about a single impact, maybe how it affects people locally, but then talk about how the world will be different when we enact these changes. And how do you tell a story that gets to that? Because that gets people engaged and excited because you're then telling this story about what we're fighting for, not what we're fighting against. And that is where the energy is in a story.é34 ramade : l'art qui nous emmène ailleurs (in French), my conversation (in French) with art historian, critic, curator and art and environment expert Bénédicte Ramade on the climate emergency, nature, music, visual arts, ecological art, etc.With music, you can convey so many thingsI am thinking of artist-composers who write pieces based on temperature readings that are converted into musical notes. This is also how the issue of global warming can be transmitted, from a piece played musically translating a stable climate that is transformed and that comes to embody in music a climatic disturbance. It is extraordinary. Is felt by the music, a fact of composition, something very abstract, with a lot of figures, statistical curves. We are daily fed with figures and statistical curves about the climate. ‘They literally do nothing to us anymore'. But on a more sensitive level, with the transposition into music, if it is played, if it is interpreted, ah, suddenly, it takes us elsewhere. And when I talk about these works, sometimes people who are more scientific or museum directors are immediately hooked, saying ‘it's extraordinary with music, you can convey so many things.e35 salas : adapting to reality, my conversation with Spanish curator + producer Carmen Salas on reality, ecogrief, artists & the climate crisis, arts strategies, curating and her article Shifting ParadigmsArtists need help in this processI find that more and more artists are interested in understanding how to change their practice and to adapt it to the current circumstances. I really believe artists need help in this process. Like we all do. I'm not an environmental expert. I'm not a climate expert. I'm just a very sensitive human being who is worried about what we are leaving behind for future generations. So, I'm doing what I can to really be more ethical with my work, but I'm finding more and more artists who are also struggling to understand what they can do. I think when in a conversation between curators or producers like myself and people like you - thinkers and funders - to come together and to understand the current situation, to accept reality, then we can strategize about how we can put things into place and how we can provide more funding for different types of projects.e36 fanconi : towards carbon positive work, my conversation with theatre artist and art-climate activist Kendra Fanconi, artistic director of The Only Animal about the role of the arts in the climate emergency, carbon positive work, collaboration and artists mobilization.Ecological restorationBen Twist at Creative Carbon Scotland talks about the transformation from a culture of consumerism to a culture of stewardship and we are the culture makers so isn't that our job right now to make a new culture and it will take all of us as artists together to do that? …  It's not enough to do carbon neutral work. We want to do carbon positive work. We want our artwork to be involved with ecological restoration. What does that mean? I've been thinking a lot about that. What is theatre practice that actually gives back, that makes something more sustainable? That is carbon positive. I guess that's a conversation that I'm hoping to have in the future with other theatre makers who have that vision.é37 lebeau : l'art régénératif (in French), my conversation with Écoscéno co-founder and executive director Anne-Catherine Lebeau on collaboration, circular economies, the role of art in the climate crisis, moving from ‘Take Make Waste' to ‘Care Dare Share' and creating regenerative art.From 'Take Make Waste' to 'Care Dare Share'For me, it is certain that we need more collaboration. That's what's interesting. Moving from a 'Take Make Waste' model to 'Care Dare Share'. To me, that says a lot. I think we need to look at everything we have in the arts as a common good that we need to collectively take care of. Often, at the beginning, we talked in terms of doing as little harm as possible to the environment, not harming it, that's often how sustainable development was presented, then by doing research, and by being inspired, among other things, by what is done at the Ellen MacArthur Foundation in England, around circular economies, I realized that they talk about how to nourish a new reality. How do you create art that is regenerative? Art that feeds something.e38 zenith : arts as medicine to metabolize charge, my conversation with animist somatic practitioner, poet, philosopher, ecologist and clown Shante' Sojourn Zenith about reality, somatics, ecological grief, rituals, nature, performance and ecological imaginations.The intensity that's left in the systemArt is the medicine that actually allows us to metabolize charge. It allows us to metabolize trauma. It takes the intensity that's left in the system, and this goes all the way back to ritual. Art, for me, is a sort of a tributary coming off from ritual that is still sort of consensually allowed in this reality when the direct communication with nature through ritual was silenced, so it comes back to that wider river…e39 engle : the integral role of the arts in societal change, my conversation with urbanist Dr. Jayne Engle about participatory city planning, design, ecological crisis, sacred civics, artists and culture in societal and civilizational change.How change occursThe role of artists and culture is fundamental and so necessary, and we need so much more of it and not only on the side. The role of arts and culture in societal and civilizational change right now needs to be much more integral into, yes, artworks and imagination - helping us to culturally co-produce how we live and work together into the future and that means art works - but it also means artists perspectives into much more mainstream institutions, ideas, and thoughts about how change occurs.e40 frasz : integrated awakeness in daily life, my conversation with researcher and strategic thinker Alexis Frasz about ecological crisis, creative climate action, community arts, Buddhism, leadership and cross-sectoral arts practices. A lack of agencyThere is a lot of awareness and interest in making change and yet change still isn't really happening, at least not at the pace or scale that we need. It feels to me increasingly like there's not a lack of awareness, nor a lack of concern, or even a lack of willingness, but actually a lack of agency. I've been thinking a lot about the role of arts, and culture and creative practice in helping people not just wake up to the need for change, but actually undergo the entire transformational process from that moment of waking up (which you and I share a language around Buddhist practice). There's that idea that you can wake up in an instant but integrating the awakeness into your daily life is actually a process. It's an ongoing thing.e41 rae : a preparedness mindsetmy conversation with artist-researcher, facilitator and educator Jen Rae about art and emergency preparedness, community arts, reality, ecological grief, arts and climate emergency in Australia How artists step upThe thing about a preparedness mindset is that you are thinking into the future and so if one of those scenarios happens, you've already mentally prepared in some sort of way for it, so you're not dealing with the shock. That's a place as an artist that I feel has a lot of potential for engagement and for communication and bringing audiences along. When you're talking about realities, accepting that reality, has the potential to push us to do other things. It's great to hear about Canada Council changing different ways around enabling the arts and building capacity in the arts in the context of the climate emergency. It'll be interesting to see how artists step up.e42 rosen : when he climate threat becomes real, my conversation with architect Mark Rosen about what is enough, green buildings, how to change the construction industry, barriers and constraints in finding solutions to the climate crisis and deferred ecological debt.The idea of enoughThe idea of enough is very interesting to me. The idea that the planet doesn't have enough for us on our current trajectory is at the heart of that. The question of whether the planet has enough for everyone on the planet, if we change the way we do things is an interesting way. Can we sustain seven, eight, nine billion people on the planet if everyone's idea of enough was balanced with that equation? I don't know, but I think it's possible. I think that if we've shown nothing else as a species, as humans, it's adaptability and resiliency and when forced to, we can do surprisingly monumental things and changes when the threat becomes real to us.ConstraintsOne of the things that I find very interesting in my design process as an architect is that if you were to show me two possible building sites, one that is a green field wide open, with nothing really influencing the site flat, easy to build, and then you show me a second site that is a steep rock face with an easement that you can't build across. Inevitably, it seems to be that the site with more constraints results in a more interesting solution and the idea that constraints can be of benefit to the creative process is one that I think you can apply things that, on the surface, appear to be barriers instead of constraints. Capitalism, arguably, is one of those, if we say we can't do it because it costs too much, we're treating it as a barrier, as opposed to us saying the solution needs to be affordable, then it becomes a constraint and we can push against constraints and in doing so we can come up with creative solutions and so, one way forward, is to try and identify these things that we feel are preventing us from doing what we know we need to do and bringing them into our process as constraints, that influence where we go rather than prevent us from going where we need to go.e43 haley: climate as a cultural issue my conversation with British ecoartist David Haley about ecoart, climate change as a cultural issue, speaking truth to power, democracy, regeneration, morality, creating space and listening.Deep questions and listeningClimate change is actually a cultural issue, not a scientific issue. Science has been extremely good at identifying the symptoms and looking at the way in which it has manifest itself, but it hasn't really addressed any of the issues in terms of the causes. It has tried to use what you might call techno fix solution focused problem-based approaches to the situation, rather than actually asking deep questions and listening.A regenerative way of doing and thinkingGoing back to reality, one of the issues that we are not tackling is that we're taking a dystopian view upon individual activities that creates guilt, syndromes, and neuroses which of course means that the systems of power are working and in terms of actually addressing the power - of speaking truth to power - we need to name the names, we need to name Standard Oil, IG Farben who now call themselves ESSO, Chevron, Mobil, DuPont, BP, Bayer, Monsanto BASF, Pfizer and so on. These are the people that control the governments that we think we're voting for and the pretense of democracy that follows them. Until those organizations actually rescind their power to a regenerative way of doing and thinking, we're stuffed, to put pretty bluntly.Create the space for life to move onwardsWhat I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it. When I say I work with ecology, I try to work with whole systems, ecosystems. The things within an ecosystem are the elements with which I try to work. I try not to introduce anything other than what is already there. In other words, making the space as habitat for new ways of thinking, habitat for biodiversity to enrich itself, habitat for other ways of approaching things. I mean, there's an old scientific adage about nature abhors a vacuum, and that vacuum is the space as I see it.e44 bilodeau : the arts are good at changing culture, my conversation with playwright and climate activist Chantal Bilodeau about theatre, cultural climate action, the role of art in the climate emergency and how to build audiences and networksLet's think about it togetherI think of the arts as planting a seed and activism as being the quickest way you can get from A to B. So activism is like, this is what we're going to do. We have to do it now. This is a solution. This is what we're working towards and there's all kinds of different solutions, but it's about action. The arts are not about pushing any one solution or telling people, this is what you need to do. It is about saying here's a problem. Let's think about it together. Let's explore avenues we could take. Let's think about what it means and what it means, not just, should I drive a car or not, but what it means, as in, who are we on this earth and what is our role? How do we fit in the bigger ecosystem of the entire planet? I think the arts are something very good to do that and they are good at changing a culture.e45 abbott : a compassionate, just and sustainable world, my conversation with filmmaker Jennifer Abbott about her film The Magnitude of all Things, reality, zen, compassion, grief, art and how to ensure a more compassionate, just and sustainable livable world.Untangling the delusionThe notion of reality and the way we grasp reality as humans is so deeply subjective, but it's also socially constructed, and so, as a filmmaker - and this is relevant because I'm also a Zen Buddhist - from both those perspectives, I try to explore what we perceive as reality to untangle and figure out in what ways are we being diluted? And in what ways do we have clear vision? And obviously the clearer vision we can have, the better actions we take to ensure a more compassionate, just and sustainable livable world. I'm all for untangling the delusion while admitting wholeheartedly that to untangle it fully is impossible.We're headed for some catastropheIn terms of why people are so often unable to accept the reality of climate change, I think it's very understandable, because the scale and the violence of it is just so vast, it's difficult to comprehend. It's also so depressing and enraging if one knows the politics behind it and overwhelming. I don't think we, as a species, deal with things that have those qualities very well and we tend to look away. I have a lot of compassion, including for myself, in terms of how difficult it is to come to terms with the climate catastrophe. It is the end of the world as we know it. We don't know what exactly the new world is going to look like, but we do know we're headed for some catastrophe. e46 badham : creating artistic space to think, my conversation with Dr Marnie Badham about art and social justice practice Australia and Canada, research on community-engaged arts, cultural measurement, education and how the arts create space for people to think through issues such as the climate emergency.There's a lot that the arts can doI think going forward, there's a lot that the arts can do. Philosophically art is one of the only places that we can still ask these questions, play out politics and negotiate ideas. Further, art isn't about communicating climate disaster, art is about creating space for people to think through some of these issues.e47 keeptwo : reconciliation to heal the earth, my conversation with Indigenous writer, editor, teacher and journalist Suzanne Keeptwo about Indigenous rights and land acknowledgements, arts education, cultural awareness and the role of art in the climate emergency.Original AgreementIn the work that I do and the book that I've just had published called, We All Go Back to the Land, it's really an exploration of that Original Agreement and what it means today. So I want to remind Indigenous readers of our Original Agreement to nurture and protect and honor and respect the Earth Mother and all of the gifts that she has for us and then to introduce that Original Agreement to non-indigenous Canadians or others of the world that so that we can together, as a human species, work toward what I call the ultimate act of reconciliation to help heal the earth.é48 danis : l'art durable (in French), my conversation with author and multidisciplinary artist Daniel Danis on sustainable art, consciousness, dreams, storytelling, territory, nature, disaster and the role of art in the ecological transitionImages of our shared ecology are bornIt's like saying that we make art, but it's an art that, all of a sudden, just like that, is offered. We don't try to show it, rather, we try to experience something and to make people experience things and therefore, without being in the zone of cultural mediation, but to be in a zone of experiences, of exchanges and therefore that I don't control. For example, in the theatre, a bubble in which I force the spectator to look and to focus only on what I am telling them, how can we tell ourselves about the planet? How can we tell ourselves about our terrestrial experiences, where we share a place between branches, clay, repair bandages and traces of the earth on a canvas or ourselves lying on the earth? No matter, all the elements that one could bring as possible traces of a shareable experience are present, and from there, all of a sudden, images of our shared ecology are born.Art must emit wavesFor me, a manifestation of art must emit waves and it is not seen, it is felt and therefore it requires the being - those who participate with me in my projects or myself on the space that I will manifest these objects there - to be in a porosity of my body that allows that there are waves that occur and necessarily, these waves the, mixed with the earth and that a whole set, we are in cooperation. It is sure that it has an invisible effect which is the wave, and which is the wave of sharing, of sharing, not even of knowledge, it is just the sharing of our existence on earth and how to be co-operators?e49 windatt : holistic messages, my conversation with Indigenous artist Clayton Windatt of about visual arts, Indigenous sovereignty, decolonization, the arts and social change, communications, artists rights, the climate emergency and hope.Make a changeWhat if you tasked the arts sector with how to make messages, not about the crisis, but on the shifts in behavior that are necessary on a more meaningful basis. When the pandemic began and certain products weren't on the shelves at grocery stores, but there was still lots of stuff. There were shortages, but there wasn't that much shortage. How much would my life really change if half the products in the store were just not here, right and half of them didn't come from all over in the world? Like they were just: whatever made sense to have it available here and just having less choice. How terrible would that be: kind of not. How can we change behavior on a more holistic level, and have it stick, because that's what we need to do right now, and I think the arts would be a great vehicle to see those messages hit everybody and make a change.e50 newton : imagining the future we want, my conversation with climate activist Teika Newton about climate justice, hope, science, nature, resilience, inter-connections and the role of the arts in the climate emergency.There are no limitsThere are so many amazing people across this country who are helping to make change and are holding such a powerful vision for what the future can be. We get trapped in thinking about the paradigm limit in which we currently live, we put bounds on what feels like reality and what feels possible. There are no limits, and the arts helps us to push against that limited set of beliefs and helps us to remember that the way that we know things to be right now is not fixed. We can imagine anything. We can imagine the future we want.We need to love the things around usI see that there are a lot of ways in which people in my community use the landscape in a disrespectful way. Not considering that that's someone's home and that a wild place is not just a recreational playground for humans. It's not necessarily a source of wealth generation. It's actually a living, breathing entity and a home to other things and a home to us as well. I find that all really troubling that there is that disconnection and it sometimes does make me despair about the future course that we're on. You know, if we can't take care of the place that sustains us, if we can't live with respect for not just our human neighbours, but our wilderness neighbors, I don't know how well we're going to fare in the future. We need to love the things around us in order to care for them.Feel connected to othersHaving the ability to come together as a community and participate in the collective act of creating and expressing through various media, whether that's song, the written word, poetry, painting, mosaic or mural making, so many different ways of expressing, I think are really, really valuable for keeping people whole grounded, mentally healthy and to feel connected to others. It's the interconnection among people that will help us to survive in a time of crisis. The deeper and more complex the web of connections, the better your chances of resilience.e51 hiser : the emotional wheel of climate, my conversation with educator Dr. Krista Hiser on research about climate education, post-apocalyptic and cli-fi literature, musical anthems, ungrading, art as an open space and the emotional wheel of the climate emergency.Help them see that realityWhat motivates me is talking to students in a way that they're not going to come back to me in 10 years with this look on their face, you know, Dr. Hiser, why didn't you tell me this? Why didn't you tell me? I want to be sure that they're going to leave the interaction that we get to have that they're going to leave with at least an idea that someone tried to help them see that reality.The last open spaceThe art space is maybe the last open space where that boxiness and that rigidity isn't as present.Knowledge intermediariesThe shift is that faculty are really no longer just experts. They are knowledge brokers or knowledge intermediaries. There's so much information out there. It's so overwhelming. There are so many different realities that faculty need to interact with this information and create experiences that translate information for students so that students can manage their own information.Not getting stuck in the griefThere's a whole range of emotions around climate emergency, and not getting stuck in the grief. Not getting stuck in anger. A lot of what we see of youth activists and in youth activism is that they get kind of burned out in anger and it's not a sustainable emotion. But none of them are emotions that you want to get stuck in. When you get stuck in climate grief, it is hard to get unstuck, so moving through all the different emotions — including anger and including hope — and that idea of an anthem and working together, those are all part of the emotion wheel that exists around climate change.e52 mahtani : listening and connecting, my conversation with composer Dr. Annie Mahtani about music, sound art, the climate emergency, listening, nature, uncertainty, festivals, gender parity and World Listening DayThat doesn't mean we should give upIf we can find ways to encourage people to listen, that can help them to build a connection, even if it's to a small plot of land near them. By helping them to have a new relationship with that, which will then expand and help hopefully savour a deeper and more meaningful relationship with our natural world, and small steps like that, even if it's only a couple of people at a time, that could spread. I think that nobody, no one person, is going to be able to change the world, but that doesn't mean we should give up. Exploration of our soundscapesFor the (BEAST) festival we wanted to look at what COVID has done to alter and adjust people's practice, the way that composers and practitioners have responded to the pandemic musically or through listening and also addressing the wider issues: what does it mean going forwards after this year, the year of uncertainty, the year of opportunity for many? What does it mean going forward to our soundscape, to our environmental practice and listening? We presented that goal for words, as a series of questions, you know, not expecting necessarily any answers, but a way in a way to address it and a way to explore and that's what the, the weekend of concerts and talks and workshops was this kind of exploration of our soundscapes, thinking about change and thinking about our future.e53 kalmanovitch : nurturing imagination, my conversation with musician Dr. Tanya Kalmanovitch about music, ethnomusicology, alberta tar sands, arts education, climate emergency, arts policy and how artistic practice can nurture imaginationThe content inside a silenceOne of the larger crises we face right now is actually a crisis of failure of imagination and one of the biggest things we can do in artistic practice is to nurture imagination. It is what we do. It's our job. We know how to do that. We know how to trade in uncertainty and complexity. We understand the content inside a silence, it's unlocking and speaking to ways of knowing and being and doing that when you start to try to talk about them in words, it is really challenging because it ends up sounding like bumper stickers, like ‘Music Builds Bridges'. I have a big problem with universalizing discourses in the arts, as concealing structures of imperialism and colonialism.GriefNormal life in North America does not leave us room for grief. We do not know how to handle grief. We don't know what to do with it. We push it away. We channel it, we contain it, we compartmentalize it. We ignore it. We believe that it's something that has an end, that it's linear or there are stages. We believe it's something we can get through. Whereas I've come to think a lot about the idea of living with loss, living with indeterminacy, living with uncertainty, as a way of awakening to the radical sort of care and love for ourselves, for our fellow living creatures for the life on the planet. I think about how to transform a performance space or a classroom or any other environment into a community ofcare. How can I create the conditions by which people can bear to be present to what they have lost, to name and to know what we have lost and from there to grieve, to heal and to act inthe fullest awareness of loss? Seeing love and loss as intimately intertwined.StorytellingMy idea is that there's a performance, which is sort of my offering, but then there's also a series of participatory workshops where community members can sound their own stories about where we've come from, how they're living today and the future in which they wish to live, what their needs are, what their griefs are. So here, I'm thinking about using oral history and storytelling as a practice that promotes ways of knowing, doing and healing … with storytelling as a sort of a participatory and circulatory mechanism that promotes healing. I have so much to learn from indigenous storytelling practices. Nature as musicWe are all every one of us musicians. When youchoose what song you wake up to on your alarm or use music to set a mood. You sing a catchy phrase to yourself or you sing a child asleep: you're making musical acts. Then extend that a little bit beyond that anthropocentric lens and hear a bird as a musician, a creek as a musician and that puts us into that intimate relationship with the environment again.AlbertaI guess this is plea for people to not think aboutoil sands issues as being Alberta issues, but as those being everyone everywhere issues, and not just because of the ecological ethical consequences ofthe contamination of the aquifer, what might happen if 1.4 trillion liters of toxic process water, if the ponds holding those rupture, what might happen next…That story will still be there, that land and the people, the animals and the plants, all those relationships will still be imperiled, right? So to remember, first of all, that it's not just an Alberta thing and that the story doesn't end just because Teck pulled it's Frontier mining proposal in February, 2020. The story always goes on. I want to honor the particular and the power of place and at the same time I want touplift the idea that we all belong to that place.e54 garrett : empowering artists, my conversation with theatre artist Ian Garrett about ethics, theatre, education, role of art in Climate Emergency, Sustainability in Digital Transformation & carbon footprint of Cultural Heritage sector. Complete guarantee of extinctionI don't want to confuse the end of an ecologically unsustainable, untenable way of civilization working in this moment with a complete guarantee of extinction. There is a future. It may look very different and sometimes I think the inability to see exactly what that future is – and our plan for it - can be confused for there not being one. I'm sort of okay with that uncertainty, and in the meantime, all one can really do is the work to try and make whatever it ends up being more positive. There's a sense of biophilia about it.A pile of burning tiresThe extreme thought experiment that I like to use in a performance context is: if you had a play in which the audience left with their minds changed about all of their activities, you could say that that is positive. But, if the set that it took place on was a pile of burning tires – which is an objectively bad thing to do for the environment – there is a conversation by framing it as an arts practice as to is there value in having that impact, because of the greater impact. And those sorts of complexities have sort of defined the fusion and different approaches in which to take; it's not just around metrics.Individual values towards sustainabilityThe intent of it [the Julie's Bicycle Creative Green Tools] is not like LEED in which you are getting certified because you have come up with a precise carbon footprint. It's a tool for, essentially, decision-making in that artistic context, that if you know this information, then you have a better way to consider critically the way that you are making and what you're making and how you are representing your values and those aspects, regardless of whether or not it is explicitly part of the work. And so there's lots of tools in which I've had the opportunity to have a relationship with which that are really about empowering artists, arts makers, arts collectives to be able to make those decisions so that their individual values towards sustainability – regardless of what they're actually making – can also be represented and that they can make choices that best represent those regardless of whether or not they're explicitly creating something for ‘earth day'.The separation of the artist from the personThe separation of the artist from the person and articulating as a profession is a unique thing, whereas an alternative to that could just be that we are expressive and artistic beings that seeks to create and have different talents but turning that into a profession is something that we've done to ourselves and so while we do that, we exist within systems, our cultural organizations exist within systems, that have impacts much farther outside of it so that a systems analysis approach is really important.é55 trépanier : un petit instant dans un espace beaucoup plus vaste (in French), my  conversation with indigenous artist France Trépanier about colonialism, indigenous cultures, ecological transition, time, art, listening, dreams, imagination and this brief moment…The responsibility to maintain harmonious relationshipsI think that with this cycle of colonialism, and what it has brought, that we are coming to the end of this century, and with hindsight, we will realize that it was a very small moment in a much larger space, and that we are returning to very deep knowledge. What does it mean to live here on this planet? What does it mean to have the possibility, but also the responsibility to maintain harmonious relationships? I say that the solution to the climate crisis is ‘cardiac'. It will go through the heart. We are talking about love of the planet. That's the work.Terra nulliusFor me, the challenge of the ecological issue or the ecological crisis in which we find ourselves is to understand the source of the problem and not just to put a band-aid on it, not just to try to make small adjustments to our ways of living, but to really look at the very nature of the problem. For me, I think that something happened at the moment of contact, at the moment when the Europeans arrived. They arrived with this notion of property. They talked about Terra Nullius, the idea that they could appropriate territories that were 'uninhabited' (I put quotation marks on uninhabited) and I think that was our first collision of worldviews.Eurocentric vision of artistic practicesIf we take a longer-term view of how the eurocentric view of artistic practices have imposed itself on the material practices of world cultures, this is going to be a very small moment in history. The idea of disciplines, the way in which the Eurocentric vision imposed categories and imposed a certain elitism of practices. The way it also declassified the material culture of the First Nations, or it was not possible, it was not art. Art objects became either artifacts or crafts. It was completely declassified, we didn't understand. I think the first people who came here didn't understand what was in front of them.The real tragedyThe artist Mike MacDonald was telling a story, Mike, who is a Mi'kmaq artist, who is with us now, but who has done remarkable work, a new media artist, he was telling a story once about one of the elders in his community, he was saying that the real tragedy of Canada, it's not that people have been prevented from speaking their language. The real tragedy is that the newcomers have not adopted the cultures here. So 'there have been great misunderstandings. Rewriting the worldI don't think we need to rewrite anything at all. I think we just need to pay attention and listen. We just need to shut up a little bit for a while. Because it's in the notion of authoring there is the word 'author' which presupposes the word authority and I'm not sure that's what we need right now. I think it's the opposite. I think we need to change our relationship to authority. We need to deconstruct that idea when we're being the decision makers or the masters of anything. I don't think that's the right approach. I think you have to listen. I'm not saying that we shouldn't imagine - I think that imagination is important in this attentive listening - but to think that we are going to rewrite is perhaps a little pretentious.é56 garoufalis-auger : surmonter les injustices (in French), my conversation with activist Anthony Garoufalis-Auger about sacrifice, injustices, strategies, activism, youth, art, culture, climate emergency and disaster SacrificeIt's going to take sacrifice and it's going to take a huge commitment to change things, so maybe getting out of our comfort zone will be necessary at this point in history. What's interesting is looking at the past and the history of humanity. It has taken a lot of effort to change things, but at least we have examples in history where we have come together to overcome injustices. We need to be inspired by this.We are really heading for disasterThe people around me, the vast majority, understand where we are with climate change. There is a complete disconnect with the reality that we see in our mass culture and in the news which is not a constructed reality. What science tells us is reality. We are really heading for disaster. é57 roy : ouvrir des consciences (in French), my conversation with artist Annie Roy on socially engaged art, grief, cultural politics, nature, how to open our consciousness, the digital and the place of art in our livesThe contribution of artIs being creative also about getting away from the world, pure to the source as it is, rather than just accepting that we're small and we should go back to the basics? I don't know if art brings us back to the essential versus brings us back to drifting completely. Maybe creativity or creation takes us so far away that we imagine ourselves living on Mars in a kind of platform that doesn't look like anything, or we won't need the birds, then the storms, then the this and that. We will have recreated a universe from scratch where it is good to live. That could be the contribution of art. I don't like this art too much.Opening consciousness If we are in reality and then we say to ourselves in the current world, it is necessary that it insufflate desire and power towards a better future. But it is not the artist who is going to decide and then that disturbs me. It bothers me to have a weight on my shoulders, to change the world while not having the power to do it, real. The power I have is to open consciousness, to see dreams in the minds of others and to instill seeds of possibility for a future.On the back of artThe artist is a being who lives in his contemporaneity, who absorbs the 'poop' in everything that happens and tries to transform it into something beautiful, then powerful for a springboard to go towards better. But we could leave it at that, in the sense that people, how do they use art in their lives? The artist may have all his wills, but what is the place of the art that we make in our lives? Because they are between four walls, in a museum or in very specific places. It's not always integrated into the flow of the day as something supernatural. It's a framed moment that we give away like we consume anything else. Then, if you consume art like anything else, like you go to the spa or you go shopping and then you buy a new pair of pants and then it feels good to have gone to a play. Wasn't that good? Yeah, it's cool but it's not going to go any further than anything other than a nice thrill that's going to last two or three hours and then you're going to get in your Hummer and go home all the same. I think that's putting a lot on the back of art.e58 huddart : the arts show us what is possible, my conversation with Stephen Huddart about dematerialization, nature, culture, capital, supporting grassroots activity, innovation and how the arts can show us what is possible.Existential crisisThis is now an existential crisis, and we have in a way, a conceptual crisis, but just understanding we are and what this is, this moment, all of history is behind us: every book you've ever read, every battle, every empire, all of that is just there, right, just right behind us. And now we, we are in this position of emerging awareness that in order to have this civilization, in some form, continue we have to move quickly, and the arts can help us do that by giving us a shared sense of this moment and its gravity, but also what's possible and how quickly that tipping point could be reached.DematerializationI think we have to more broadly, dematerialize and move from a more material culture to some more spiritual culture, a culture that is able to enjoy being here, that experiences an evolutionary shift towards connection with nature, with all of that it entails with the human beings and the enjoyment and celebration of culture and so I think those two perspectives that the arts have an essential and so important and yet difficult challenge before them.Gabrielle RoyLet's just say that on the previous $20 bill, there's a quote from Gabrielle Roy. It's in micro-type, but it basically says : 'how could we have the slightest chance of knowing each other without the arts'. That struck me when I read that and thought about the distances, that have grown up between us, the polarization, the prejudices, all of those things, and how the arts create this bridge between peoples, between lonely people, between dreamers and all people and that the arts have that ability to link us together in a very personal and profound and important ways. Capital A lot of my time is really now on how do we influence capital flows? How do we integrate the granting economy with all that it has and all of its limits with the rest of the economy: pension funds, institutional investors of various kinds, family offices and so on, because we need all of these resources to be lining up and integrated in a way that can enable grassroots activity to be seen, supported, nurtured, linked to the broader systems change that we urgently need, and that takes the big capital moving so that's a space that I'm currently exploring and I'm looking for ways to have that conversation.e59 pearl : positive tipping points, my conversation with arts organiser Judi Pearl about theatre, climate emergency, collaboration, arts leadership, intersection of arts and sustainability and the newly formed Sectoral Climate Arts Leadership for the Emergency (SCALE)That gathering placeIt's (SCALE, the Sectoral Climate Arts Leadership for the Emergency) a national round table for the arts and culture sector to mobilize around the climate emergency. A few months ago, you and I, and a few others were all having the same realization that while there was a lot of important work and projects happening at the intersection of arts and sustainability in Canada, there lacked some kind of structure to bring this work together, to align activities, to develop a national strategy, and to deeply, deeply question the role of arts and culture in the climate emergency and activate the leadership of the sector in terms of the mobilization that needs to happen in wider society. SCALE is really trying to become that gathering place that will engender that high level collaboration, which hopefully will create those positive tipping points.é60 boutet : a la recherche d'un esprit collectif (in French), my conversation with arts practice researcher Dr. Danielle Boutet on ecological consciousness, reality, activism, grief, art as a way of life, innovation and spiritualityUnconsciousCollectively, we are unconscious. We try to talk about ecological consciousness. If there is a collective psyche, which I believe there is, I do think there is a kind of collective mind, but it is a mind that is unconscious, that is not capable of seeing itself, of reflecting and therefore not capable of meditating, not capable of transforming itself, and therefore subject to its fears and its impulses. I am quite pessimistic about this, in the sense that ecological grief, all grief and all fear is repressed at the moment. There are activists shouting in the wilderness, screaming, and people are listening, but in a fog. It is not enough to bring about collective action. Therefore, our grieving is far from being done, collectively.Changing our relationship to nature We need to change our relationship to nature, our way of relating to others, and it's not the generalizing science that's going to tell us, it's this kind of science of the singular and the experience of each person. For me, it is really a great field of innovation, of research and I see that the artists go in this direction. You know, you and I have been watching the changes in the art world since the 1990s. I see it through the artists who talk about it more and more and integrate their reflection in their approach. How art can help humans evolveI hear a lot of people calling for artists to intervene and of artists also saying that something must be done, etc. I think that art is not a good vehicle for activism. I'm really sorry for all the people who are interested in this. I don't want to shock anyone, but sometimes it can risk falling into propaganda or ideology or a kind of facility that I am sorry about, in the sense that I think art can do so much more than that and go so much deeper than that. Art can help humans to evolve. It is at this level that I think that we can really have an action, but I think that we have always had this action, and it is a question of doing it again and again and again.e61sokoloski: from research to action, my conversation with arts leader Robin Sokoloski about cultural research, arts policy, climate emergency, community-engaged arts, creative solution making and how to create equitable and inclusive organizational structuresConnections to truly impact policyI think that there needs to be greater capacity within the art sector for research to action. When I say that the art sector itself needs to be driving policy. We need to have the tools, the understanding, the training, the connections to truly impact policy and one thing that Mass Cultureis really focused on at the moment is how do we first engage the sector in what are the research priorities and what needs to be investigated together and what that process looks like, but then how do you then take that research create it so that it drives change.Creative Solution MakingI'm very curious to see what the arts can do to convene us as a society around particular areas of challenges and interests that we're all feeling and needing to face. I think it's about bringing the art into a frame where we could potentially provide a greater sense of creative solution making instead of how we are sometimes viewed, which is art on walls or on stages. I think there's much more potential than that to engage the arts in society.Organizational StructuresWe do have the power as human beings to change human systems and so I think I'm very curious of working with people who are like-minded and who want to operate differently. I often use the organizational structure as an example of that because it is, as we all know is not a perfect model. We complain about it often and yet we always default to it. How can we come together, organize and, and bring ideas to life in different ways by changing that current system, make it more equitable, make it more inclusive, find ways of bringing people in and not necessarily having them commit, but have them come touch and go when they need to and I feel as though there'll be a more range of ideas brought to the table and just a more enriching experience and being able to bring solutions into reality by thinking of how our structures are set up and how we could do those things differently.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Although it isn't often talked about, one of the biggest health challenges adults face is the arrival of a newborn baby. In this episode of the Podcast, John discusses strategies he's cooking up to make the arrival of his new daughter as smooth as possible, including the habits he's planning on changing to make room for a new baby. Notably, we discuss whether using a smart phone and caring for an infant match well. Also explored is the concept of parental "set and setting." Usually described in the context of hallucinogenic drugs, mindset (set) and setting (physical location) would seem to play a big role in the success of new parents, and especially their moods. We explore parental set and setting against the backdrop of a quote by Robert Pirsig in the famous novel, Zen and the Art of Motorcycle Maintenance: "Physical discomfort is important only when the mood is wrong. Then you fasten on to whatever thing is uncomfortable and call that the cause. But if the mood is right, then physical discomfort doesn't mean much."  Podcast listeners can get a 15% discount on custom nutrition plans with the code PODCASTGF. Thanks for listening! 

Climate change is actually a cultural issue, not a scientific issue. Science has been extremely good at identifying the symptoms and looking at the way in which it has manifest itself, but it hasn't really addressed any of the issues in terms of the causes. It has tried to use what you might call techno fix solution focused problem-based approaches to the situation, rather than actually asking deep questions and listening.david haley, conscient podcast, may 6, 2021, united kingdomI first came across David Haley's work as an eco artist and eco educator through the Eco Art Network, notably his Going beyond Earthly essay, from which I drew this quote in e19 reality:We now need aesthetics to sensitize us to other ways of life and we need artists to sensitize us to the shape of things to come.I was hooked on his thinking and was enchanted when we had a conversation on May 6, 2021.  For example:Going back to reality, one of the issues that we are not tackling is that we're taking a dystopian view upon individual activities that creates guilt, syndromes, and neuroses which of course means that the systems of power are working and in terms of actually addressing the power - of speaking truth to power - we need to name the names, we need to name Standard Oil, IG Farben who now call themselves ESSO, Chevron, Mobil, DuPont, BP, Bayer, Monsanto BASF, Pfizer and so on. These are the people that control the governments that we think we're voting for and the pretense of democracy that follows them. Until those organizations actually rescind their power to a regenerative way of doing and thinking, we're stuffed, to put pretty bluntly.I was also touched by his idea of ‘space as habitat for new ways of thinking' (which made me think of the adage ‘do no harm'):What I have learned to do, and this is my practice, is to focus on making space. This became clear to me when I read, Lila : An inquiry into morals by Robert Pirsig. Towards the end of the book, he suggests that the most moral act of all, is to create the space for life to move onwards and it was one of those sentences that just rang true with me, and I've held onto that ever since and pursued the making of space, not the filling of it. When I say I work with ecology, I try to work with whole systems, ecosystems. The things within an ecosystem are the elements with which I try to work. I try not to introduce anything other than what is already there. In other words, making the space as habitat for new ways of thinking, habitat for biodiversity to enrich itself, habitat for other ways of approaching things. I mean, there's an old scientific adage about nature abhors a vacuum, and that vacuum is the space as I see it.As I did with all episodes this season, I have integrated excerpts from previous episodes in this case, from e19 reality in this episode, including moments of silence.I would like to thank David for taking the time to speak with me, for sharing his deep knowledge of ecological art practices, his insights as an eco educator and for his vision of a path forward that ‘creates space'.For more information on David's work, see www.Davidhaley.ukLinksDavid Haley, Going beyond EarthlyThe Clock of the Long Now : The Ideas Behind the World's Slowest Computer by Stewart BrandLila : An inquiry into morals by Robert PirsigGreenhouse Britain, by Helen Mayer Harrison and Newton Harrison and the Harrison Studio & Associates Britain *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Pirsig on motorcycles --- Send in a voice message: https://anchor.fm/johnb/message

Robert Pirsig's seminal book, Zen and the Art of Motorcycle Maintenance has a lot that we can take away to craft our own story.  In this Monday Nugget I wanted to share an excerpt about how we can ask better questions of ourselves and our circumstances to achieve richer, deeper stories. As always I'd love it if you head over to soulcrafttribe.com to sign up for our email.  No spammy crap just useful stuff and we'll let you know when the latest episode drops.  Sincerely, Brian Ehrlich 

If you only listen to one DBC episode, make it this one! You'll get serious wisdom and insight into life, society and thoughts on writing. Hashi Mohamed came to the UK age 9 as a Kenyan-born Somali refugee. He grappled with poor housing, schooling and prospects to find his way to a career as barrister - one of the UK's most elite professions. He talks to Hajar about his memoir People Like Us: What it Takes to Make it in Modern Britain and two of his favourite novels: Zen and the Art of Motorcycle Maintenance by Robert Pirsig and Disgrace by JM Coetzee. For more on Hashi, head to his website hashimohamed.comSupport this show http://supporter.acast.com/the-dabblers-book-club. Hosted on Acast. See acast.com/privacy for more information.

Robert Pirsig Interview on BBC Radio This programme was first aired by the BBC on their Radio 4 FM station on 31 October, 1993 at 19:30 GMT. source: http://genome.ch.bbc.co.uk/a0fb6cf0ce1d453fba868d2d1a0de25e Pirsig on motorcycles In these previously unpublished video promos, we hear Robert Pirsig discuss his personal experience with motorcycles (amongst other things) and also from John Sutherland - his late Sixties motorcycle riding buddy www.newsngn.com --- Send in a voice message: https://anchor.fm/johnb/message

Technically, you don't take a trip. It takes you. If you could take a trip, you could also put it back when you were done with it. But you can't. Now that we've cleared that up, let's talk about Robert and Chris and the trip they took. It was a 1968 trip from Minneapolis to San Francisco on a 1964 Honda Superhawk with Chris riding on the back because he was only 11 years old. When that trip was over, Robert remembered a lot of things that never really happened. And in 1974 those memories became Zen and the Art of Motorcycle Maintenance, the best-selling philosophy book ever written. It stayed near the top of the best-seller lists for more than a decade. I agree with a lot of what Robert wrote. But a little of what he wrote makes me wonder if he was crazy. We'll talk more about that later. These are the things Robert wrote that I agree with:“You look at where you're going and where you are and it never makes sense, but then you look back at where you've been and a pattern seems to emerge.” “The real purpose of the scientific method is to make sure nature hasn't misled you into thinking you know something you actually don't know.” “It's the sides of the mountain which sustain life, not the top.” “The more you look, the more you see.” “First you get the feeling, then you figure out why.” “We're in such a hurry most of the time we never get much chance to talk. The result is a kind of endless day-to-day shallowness, a monotony that leaves a person wondering years later where all the time went and sorry that it's all gone.” “When you live in the shadow of insanity, the appearance of another mind that thinks and talks as yours does is something close to a blessed event.” I like that last statement for 2 reasons. (1.) “The appearance of another mind that thinks and talks as yours does” is sort of why Wizard Academy exists. (2.) Is it just my imagination, or have you noticed that the shadow of insanity (and not the good kind of insanity) seems to be growing wider and darker across our land? I'm seeing and hearing things today that would have been unthinkable 10 years ago. One last quote from the book:“But to tear down a factory or to revolt against a government or to avoid repair of a motorcycle because it is a system is to attack effects rather than causes; and as long as the attack is upon effects only, no change is possible. The true system, the real system, is our present construction of systematic thought itself, rationality itself, and if a factory is torn down but the rationality which produced it is left standing, then that rationality will simply produce another factory. If a revolution destroys a systematic government, but the systematic patterns of thought that produced that government are left intact, then those patterns will repeat themselves in the succeeding government. There's so much talk about the system. And so little understanding.” I suppose that's what worries me most about the dark shadow of insanity spreading across our land. If we remove the people who are casting that shadow – but we don't change the patterns of thought that elevated them – we'll replace those people with more just like them. I said earlier that we'd talk about Robert being a little bit crazy.Robert Pirsig was treated with electroconvulsive therapy on numerous occasions when he was institutionalized with paranoid schizophrenia and clinical depression between 1961 and 1963. He was 35 when he got out. His son Chris was 6. They began their road trip 5 years later. At its heart, Zen and the Art of Motorcycle Maintenance is an exploration of the underlying belief systems of Western culture. In his foreword to that book, Robert told readers that despite its title, the book should “in no way be associated with that great body of factual information relating to orthodox Zen Buddhist practice.” He added, “It's not very factual on motorcycles either.”...